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all the feelings connected with them, like snatches of half-forgotten musick heard indistinctly and at intervals. There is this effect produced by Ariel's songs, which (as we are told) seem to sound in the air, and as if the person playing them were invisible. We shall give one instance out of many of this general power.
" Enter FERDINAND; and ARIEL, invisible, playing and singing.
Come unto these yellow sands,
Hark, hark ! bowgh wowgh: the watch dogs bark,
The strain of strutting chanticleer
Cry cock-a doodle doo.
Ferdinand. Where should this musick be? in air or earth?
Of his bones are coral made :
Nothing of him tliat doth fade,
But doth soffer a sea change,
Ferdinand. The ditty does remember my drown'd father.
The courtship between Ferdinand and Miranda is one of the chief beauties of this play. It is the very purity of love. The pretended interference of Prospero with it heightens its interest, and is in character with the magician, whose sense of preternatural power makes him arbitrary, tetchy, and impatient of opposition.
The TEMPEST is a finer play than the Midsummer Night's Dream, which has sometimes been compared with it; but it is not so fine a poem. There are a greater number of beautiful passages in the latter. Two of the most striking in the TEMPEST are spoken by Prospero. The one is that admirable one when the vision which he has conjured up disappears, beginning “ 'The cloud-capp'd towers, the gorgeous palaces,” &c. which has been so often quoted, that every schoolboy knows it by heart; the other is that which Prospero makes in abjuring his art.
" Ye elves of hills, brooks, standing lakes, and groves,
Whereof the ewe not bites; and you whose pastime
We must not forget to mention, among other things in this play, that Shakspeare has anticipated nearly all the arguments on the Utopian schemes of modern philosophy.
“ Gonzalo. Had I the plantation of this isle, my lord-
Gonzalo. ['th' commonwealth I would by contraries
And women too; but innocent and pure:
Sebastian. And yet he would be king on't.
Sebastian. No marrying 'mong his subjects ?
Gonzalo. I would with such perfection govern, sir,
Sebastian. Save his majesty !"
MIDSUMMER NIGHT'S DREAM.
Bottom the Weaver is a character that has not had justice done him. He is the most romantick of mechanicks. And what a list of companions he has Quince the Carpenter, Snug the Joiner, Flute the Bellows-mender, Snout the Tinker, Starveling the Tailor; and then again, what a group of fairy attendants, Puck, Peaseblossom, Cobweb, Moth, and Mustardseed ! It has been observed that Shakspeare's characters are constructed upon deep physiological principles ; and there is something in this play which looks very like it. Bottom the Weaver, who takes the lead of
“ This crew of patches, rude mechanicals,
follows a sedentary trade, and he is accordingly represented as conceited, serious, and fantastical. He is ready to undertake any thing and every thing, as if it was as much a matter of course as the motion of his loom and shuttle. He is for playing the tyrant, the lover, the lady, the lion. “He will roar that it