Note return to page 1 *Trust.

Note return to page 2 *The concession of Saturninus and Bassianus against their own immediate claim, has a pleasing degree of mild dignity in it, which recommends them to general esteem.

Note return to page 3 *This speech gives us a favourable idea of Titus as a general and a father.

Note return to page 4 *Shakespeare, through Tamora, utters well his usual favourite subject, mercy, of which he seems to have had a very just and forceable feeling.

Note return to page 5 †The whole of this circumstance is objectionable, and had better not be brought to view in our days; however characteristic it might be in a Roman conqueror. Human sacrifices were ever an insult upon common sense and humanity, but this is aggravated by a peculiar degree of stern, savage ferocity.

Note return to page 6 *This reflection is nervous and instructive, for attention to good in this life is of no consequence, if that to come is not as here hinted: our author has put a similar reflection into the mouth of Macbeth, and not improperly; for a sensible villain will reflect properly, tho' he acts otherwise.

Note return to page 7 *Robe.

Note return to page 8 *This is a very unnecessary and base blot upon the character of Titus; marking him rather as a choleric superannuated ideot, than an able warrior, or a sensible man.

Note return to page 9 †However changeable and ungrateful human nature may be, such a sudden mean unmanly change as this of Saturninus is hardly supposeable, or if so, proves a disgraceful picture of human nature.

Note return to page 10 *Titus shews surely too little of the spirited old Roman, in acknowledging the forced aukward hypocritical softening of Saturnine, so readily.

Note return to page 11 *There is neither a great share of writing or event in this act; the two principal circumstances offend humane feelings, and the other parts do not compensate for them.

Note return to page 12 *Aaron makes a very fanciful poetical outset, and prepares expectation for a striking character.

Note return to page 13 *There is such a deliberate unprovoked villainy proposed, and acceded to here, as raises the most unpleasing ideas, and marks Aaron for our abhorrence.

Note return to page 14 *To run like swallows is a very strange phrase. Would not the word skim have been more figurative, both as to swiftness of progression and agility of turning?

Note return to page 15 *This Gothic queen is not only very indecent here, but strangely romantic; yet her speech is both fanciful and poetical.

Note return to page 16 *We cannot think Lavinia's insinuation by any means a proof of her delicacy, but that Tamora seems unprovoked to have exacted a retort.

Note return to page 17 †Though we have not mentioned, as yet, one commentator by name, we cannot help here observing that the facetious and tart Dr. Kenrich, who, in his ludicrous lectures on Shakespeare, has found fault with every opinion but his own, and has endeavoured to wash the Black-moor Othello white, will probably find, that calling Aaron raven-coloured is no proof of sootiness, as there have been some white ravens.

Note return to page 18 *How any man, especially such a genius as Shakespeare, could think that the horrid purport of this scene could be passable on the stage, or in the closet, we are at a loss to conceive.

Note return to page 19 †These two lines furnish a most infamous idea, dreadful for an author to conceive; more horrid for a female character to utter.

Note return to page 20 ‡Though resentment of injuries is not only incident to, but commendable in human nature; yet such as this detestable queen praises is wretched.

Note return to page 21 *The machinations of Aaron speak a disposition most unnatural, one that delights in wickedness and cruelty.

Note return to page 22 *The very introduction to this scene is truly shocking to human feelings, and the mutilated object too impracticable for representation.

Note return to page 23 †This speech is, through the whole, poetically conceived and harmoniously expressed, but the subject is too painful for attention to derive any satisfaction from it, and is also too long for an actor's expression: we are pretty confident it will never be spoken, therefore have been less curious in marking lines for omission.

Note return to page 24 ‡The second act is so incumbered with horrible incidents, so replete with blood, death, and maiming, that we cannot think it capable of giving pleasure to any class of mankind.

Note return to page 25 *However fanciful and allusive the marked lines may be, they are however ill-suited to Titus's situation: The poet rather speaks than the character.

Note return to page 26 *In the rapidity of sorrow so much should not have been furnished; it must pall in repetition, however amuse in perusal.

Note return to page 27 *There is an oblique charge against Providence in this line, because his prayers have not been directly granted; but though private passions naturally utter this, it were better to be suppressed in public.

Note return to page 28 †Some of these lines should certainly be omitted, were it possible to make the play representable; though there is fine fancy, and great pathos in them; particularly in the allusion of the rock, and surrounding ocean.

Note return to page 29 †As limbo is from bliss—Limbo and bliss seems, at first, a strange vulgar contrast; but the idea is clearly, “as far from help, as hell is from heaven.”

Note return to page 30 *Aaron's proposition and Titus's acceptance are exceeding strange circumstances; and the event is a most abominable accumulation of horror.

Note return to page 31 *This Aaron is a most unprovoked, determined and abominable villain, scarce credible in human nature.

Note return to page 32 †This speech is allowable as rising to the frenzy of grief, but in any other way is exceedingly censurable; the ideas have dignity, but seem exaggerated. The four last lines had better be expunged.

Note return to page 33 *What an uncommon assemblage of horrid images are here bundled together! Nature seems to have been thrown out of all consideration.

Note return to page 34 *This scene we think entirely superfluous, and therefore mark it all through for omission.

Note return to page 35 *By vulgar expression the term of violent hands may perhaps be justifiable, though she has no hands to commit violence with; but if we do admit the expression, we must highly condemn Titus's advice, however suicide might, among the Romans, be reckoned a virtue.

Note return to page 36 *The last ten lines of this speech have very considerable merit, and might with advantage be transposed to a preceding scene.

Note return to page 37 †This speech is highly worthy our author's pen; it breathes the very soul of compassion and humanity.

Note return to page 38 ‡Who that had heard or perused our author's admirable delineation of frenzy in Lear, but must wonder at this inferior attempt at madness, when the aggravation is certainly greater, as Lear feels only for himself; but Titus has himself and his butchered children to feel for.

Note return to page 39 †The complexion of this act is so exceeding sanguinary, that even a cannibal must shrink; and we are more and more astonished that so humane a man, as Shakespeare certainly was, could at any time be so unlike himself.

Note return to page 40 *Speaking of the Divinity in the singular is uncharacteristic.

Note return to page 41 †Strange that Shakespeare should so frequently introduce scraps of Latin, unless to please the royal pedagogue of his day.

Note return to page 42 *Here again the Divinity is improperly introduced, as well as out of character.

Note return to page 43 *A ray of humanity, extremely agreeable, as so few gleams occur in this piece, here breaks in to illume Aaron's diabolical character.

Note return to page 44 *Here death again unnecessarily and unaccountably stalks forth; again the princes make a most poltroon figure in this scene; but Aaron, if what he has to say and do, was fit to hear, see, or utter, must sit well on an actor of strong ideas, and adequate powers of execution.

Note return to page 45 *This scene being intricate, trifling, and to us superfluous, we have marked it for omission; however, as to many of the marked passages, we must observe, that some lines of speeches of connection would be necessary for representation.

Note return to page 46 *The last scene of this act has meaning, spirit, and well-adapted expression; indeed the whole has more reading and acting merit than either the second or third: Saturninus, however, makes a most mean pufillanimous figure.

Note return to page 47 *The family of Andronicus appear to be almost as willing agents for the grave as their opponents.

Note return to page 48 †As plurality of gods is often mentioned in this piece, to talk of popish ceremonies seems contradictory; though Lucius, by swearing in the singular, appears to be a christian.

Note return to page 49 *Our author certainly meant that Aaron should cut a capital figure in this scene; and so in truth he does, but upon such very execrable principles that much of the merit is abated.

Note return to page 50 *This laborious recapitulation of imagery, too shockingly continued and most painfully heightened in the colouring, is more calculated to offend than please; it thrills our feelings.

Note return to page 51 *Making a pye of human flesh, and deluding a mother, however bad, to eat of her own offspring, is such a brutal climax of revenge as is scarce to be conceived; and the successive murders here certainly suggested to Fielding the conclusion of Tom Thumb, where Kings, Queens and Knaves lie scattered on the ground.

Note return to page 52 *There is a most nervous confirmed uniformity of savageness in this speech of Aaron's; he is drawn most consistently and perseverantly wicked; there is no male character in the play but him that requires abilities beyond mediocrity; a stern latitude of expression seems to be essential to his sentiments and situation. Tamora, his execrable paramour, requires haughty and insinuative powers. The fifth Act has more bloodshed but less horror than any of the others, save in the article of the pye; but whether to give it preference to all, or any, we know not.

Note return to page 53 *Few authors, except Shakespeare, could have told Egeon's long story in so easy a flow of natural expression as we find it here; notwithstanding one hundred and three lines of narration are assigned to him in three speeches, even decently recited, they must please.

Note return to page 54 *Go.

Note return to page 55 *The quibbling in this speech is very humorous, especially as it is an opening of the mistakes, and, to say truth, a very pleasant one.

Note return to page 56 *This act consisting of two scenes, one grave, the other whimmy, must act well, and requires very little if any alteration; it needs no curtailing, being short, and sufficiently progressive.

Note return to page 57 *Shakespeare appears to have had a very sensible, consequently not a supercilious or tyrannical idea of female concessions, in the state of wedlock.

Note return to page 58 *Adriana exhibits a very ridiculous but a very common degree of womanish jealousy, painful to itself, though without foundation.

Note return to page 59 *We wish all the marked lines omitted; attention must be wearied with so long a continuation of snip-snap word-catching.

Note return to page 60 *This speech is much too long and somewhat indecent, therefore should be curtailed.

Note return to page 61 *This Act like the latter part of the former must, adequately performed, create laughter; but we think the mistakes rather huddled too fast upon one another; risibility pressed upon too long together, and too uniformly, must flag.

Note return to page 62 *The jingle and quibble of this scene press rather too close upon patience either public or private; very voluble and spirited utterance might make it entertain an audience; but as it is rather long, some of it might, and should be spared.

Note return to page 63 *Of all Dramatic colloquial versification, alternate rhimes are most strange and unnatural; certainly Shakespeare meant by such variations of stile to relieve his genius, or to please some reigning caprice in his days.

Note return to page 64 †There is a very fulsome idea offered here, which should be consigned to oblivion.

Note return to page 65 *The allusions to countries have little humour and less decency in them, wherefore they should be rejected.

Note return to page 66 *The third Act has more spirit and variety than either of the preceding ones; it must act well, possessed by capable performers.

Note return to page 67 *Shakespeare has laid the stress on the wrong syllable in importun'd, upon the second instead of the third: the line would stand more correct thus; “And since I have not importun'd you much.”

Note return to page 68 *The confusion of this scene is very naturally and pleasantly wrought; there is no superfluous playing upon words nor strained punning.

Note return to page 69 *This idea, is far-fetched, for the mind impressing the features; but has something very poetical and emphatic in it.

Note return to page 70 †Sheriffs officers in England used to wear buff garments; Shakespeare, perhaps, forgot his characters are in Ephesus.

Note return to page 71 †The part of this speech marked for omission is very objectionable, bordering so closely on profaneness. It is, by no means, consistent with our author's general sentiments in matters of a serious or religious nature.

Note return to page 72 †This is a very pleasant laughable speech, highly in favour of a fit actor, and extremely agreeable to the reader.

Note return to page 73 †Matters through this scene are conducted with very entertaining perplexity; and spirited performance must make it relish poignantly with intelligent auditors.

Note return to page 74 ‡The fourth Act in representation must have a more forceable effect than the first, second, or third, and may be stiled truly comic, both as to incidents and dialogue.

Note return to page 75 †The Abbess's mode of bringing Adriana to confess her spirit of jealousy is well devised, and her corrective sentiments show great sensibility, and liberality of heart.

Note return to page 76 *All that follows in this speech being but a tedious recapitulation of what has been transacted before the audience, deserves omission, in that respect; though it is natural in Antipholis, to be very explicit to the Duke, and a wronged person, in the warmth of complaint, is apt to dwell on every minute particular of his injuries.

Note return to page 77 *The intricacy thus far thickens in a very agreeable entertaining manner.

Note return to page 78 *This not knowing of Egeon is an increase of confusion very aptly and naturally suggested; it works well upon attention and pleasant feelings.

Note return to page 79 †The ecclaircissement of plot in this play flows very naturally from the circumstances, and must please intelligent auditors and readers, as must in our idea the whole of this Act.

Note return to page 80 *By introducing the word Dream as a part of the Title, he evidently meant to prepare for a rambling incoherence of plot, and he certainly chose Midsummer for the season, to accommodate the favourite children of his romantic fancy, his Fairies.

Note return to page 81 †This assimilation is beautifully expressed, and finely adapted, without the torture of uncouth rhimes; youth may be justly said to wither time with protracted expectation, when tough penurious age stands between it and enjoyments which it has a right to expect.

Note return to page 82 †This Egeus, though he seems a harsh peremptory parent, yet he gives a much more sensible account of the means which have allured his daughter, than Brabantio in Othello, who talks of witching drugs and charms.

Note return to page 83 ‡The compulsive statute here adverted to, did no honour to the Athenian legislature who framed it, and gave parents a most tyrannical jurisdiction.

Note return to page 84 †This mediatorial interference is friendly, but upon exceeding unphilosophical, and rigid, not to say unnatural principles.

Note return to page 85 &verbar2;The thought in this line, if should had been used instead of must, would have been thoroughly just and pleasing.

Note return to page 86 §We doubt whether the title of Nun could be properly applied to one of Diana's votaries.

Note return to page 87 †This declaration of Theseus preferring those who fulfil the laws of nature to those who live in unprofitable abstraction, is truly sensible, and the simile perfectly agreeable.

Note return to page 88 ‡Lysander asserts his claim in a sensible, spirited and conclusive manner.

Note return to page 89 *Tempest of the eyes, is rather a forced expression: A tempest in the mind to flood the eyes is natural and deducible enough.

Note return to page 90 †The intersection of these single lines has a pretty effect in reading, and must have a better on the stage.

Note return to page 91 *There is great sublimity of idea in this allusion.

Note return to page 92 †We love not mention of destiny unless to refute so prejudicial and uncomfortable a notion; the idea here inculcated, especially respecting Love, is too much encouraged both among young and old.

Note return to page 93 ‡There could not be a prettier or more fervent set of oaths coined in the amorous stile than those uttered by Hermia with so much affectionate delicacy; but we wish the Author had not here, nor on any other occasion, changed pleasing emphatic blank verse for unpleasing unnatural rhimes.

Note return to page 94 *There is an agreeable strain of pastoral simplicity runs through this, and the preceding speech.

Note return to page 95 †Here we have another picturesque account of Love drawn up with fancy and propriety.

Note return to page 96 ‡Helena here manifests that childish degree of amorous weakness, which takes the foolishest steps to gratify even in part its own fond feelings.

Note return to page 97 *This small scrap of jingling exclamation has great merit in its stile; its affected loftiness, alliteration and strained figures are admirably in the Burlesque strain.

Note return to page 98 *The disposition of parts in this curious piece is admirably characteristic of the director, and his illiterate mechanical assistants.

Note return to page 99 *This circumstantial enumeration of beards, seems to be a satirical stroke at the fashionable attachment in Shakespeare's days to that superfluous ornament of the face much venerated in some nations at this time; or it may be he meant a sarcasm on stage application of certain colours to certain characters. We have seen an absurd attention paid to this on our stage.

Note return to page 100 †The first Act of this piece might stand very well in a modern theatre; it is not deficient in stile or sentiment; a little of the serious part might perhaps be spared, but so small a portion, we have not marked the different lines.

Note return to page 101 *From these characters some years since was taken a musical Drama, called the Fairies, which, thro' well adapted composition, and good performance, was favourably received.

Note return to page 102 †Shakespeare had an inexhaustible fund of fancy for supernatural Beings; he gave them language peculiar and happily adapted to themselves.

Note return to page 103 *This description of Puck's mischievous qualification, so much believed by the credulous, is well introduced, and happily supported; it fully satisfies us on the subject; yet in the next speech our luxurious bard improves upon the imagery, and pours forth a fresh flood of fancy.

Note return to page 104 *This speech throughout is so obviously beautiful, it possesses such elegance, and is so chaste both in idea and versification, that, though too long for repetition, we know not which lines might be spared.

Note return to page 105 *This scene of altercation is conducted with becoming dignity of stile and purity of expression; points not easily attended, to where so rough a foundation is laid for quarrel, as that turbulent passion Jealousy.

Note return to page 106 †The author here meant, and paid an exquisitely delicate compliment to Queen Elizabeth.

Note return to page 107 †If, as he says, Puck can circle the globe in forty minutes, Oberon's present message must be of considerable extent, as he allows the time of a whale's swimming a league to do it in; but Fairies, and their excursions, defy all calculation.

Note return to page 108 *Though the monkey and ape are well distinguished by the annexed epithets; yet we object to their having additions when the preceding ones are named without any; to some this remark may seem more nice than useful, but a little critical consideration will prove it well founded.

Note return to page 109 *There is somewhat very mean, and we hope unnatural, in the open servility of Helena's affection: though some women will bear great slights, yet not one, we think, would wish to rank with a dog, except one of that kind which commands peculiar estimation.

Note return to page 110 *Bats.

Note return to page 111 ‡This musical passage is very poetical and characteristic; by the addition of harmonious notes it has a charming effect.

Note return to page 112 †The passages here marked should be omitted, for though founded in delicacy, they may raise warm ideas.

Note return to page 113 *“On the dank and dirty ground.”—We apprehend the line would run better,—On the dank bedewed ground.

Note return to page 114 †If the marked part is left out, the line should be, Upon thy maiden eyes I throw.

Note return to page 115 *This soliloquy is in favour of an actress, and will employ both flexible powers of features and expression. This act, in our estimation, falls short of the first, though there are new characters and somewhat more business; however the difference is very small.

Note return to page 116 *The wonderful delicacy of these clowns fearing to fright the ladies, appears to be a stroke at some squeamish critics, who objected to deaths on the stage; and stating the measure of the lines, seems a sarcasm on the then mode of writing those introductory pieces; which have got even in this day to a strange state of modification.

Note return to page 117 *This device of Bottom's to render the lion a familiar creature is admirably ludicrous, and very natural for such a wise stage projector.

Note return to page 118 †The obvious simplicity of this device is truly pleasant, and the various difficulties started in this scene, are admirable burlesque upon those laborious play-wrights who puzzle themselves with trifles, and after much pains reconcile them in a foolish, and less laughable manner.

Note return to page 119 *This metamorphose is merely farcical, or rather pantomimical, but would make the galleries and school-boys laugh.

Note return to page 120 †This song is too good for Bottom; one somewhat touching an ass would have been more uitable, as tending more to mirth and his condition.

Note return to page 121 *Titania proposes as agreeable Fairy entertainment for her gallant as might be wished.

Note return to page 122 †If Bottom is represented by a good low comedian, this scene must have a spirited effect; his application of the fairies names is very ludicrous.

Note return to page 123 *Though Puck's narration possesses spirit, ease, and painting, yet as it only recites what is already known, and not with uncommon force or humour, we think the scene would begin better with Oberon's speech, supposing he had heard all from his attendant spirit before they appear.

Note return to page 124 *The frequent naps taken in this play are extremely propitious to Oberon's whims; however he does not in this place appear mischievously or ill-naturedly designed.

Note return to page 125 *“O's and eyes of light:” a very strange phrase. Query, Might not this expression O's, by an error in the press, have crept in; and the original writing have been—Orbs and eyes of light?

Note return to page 126 *This appeal to former friendship is natural, agreeable, and affecting; being spun out rather too far, we have marked some lines for omission.

Note return to page 127 *The puzzles of love are very entertainingly produced in this scene, but imagination seems too much sifted, and therefore frequently reproduces ideas by which they are unavoidably enervated; we wish all the marked lines laid aside.

Note return to page 128 *Abide.

Note return to page 129 †This line of Helena's, and the idea it contains by being exceedingly low, may create laughter, and the following one gains some value from its insignificance. In representation the former had better be altered, and strengthened.

Note return to page 130 *The Fairy descriptions all through this play are abundantly rich, but Puck here surpasses all the rest, being awfully charming; though all departed bodies have wormed beds, yet giving them to the wicked peculiarly is finely conceived.

Note return to page 131 *This is a very peculiar jingle to end an Act with; methinks it would have a better effect in the representation, if it were set to musick; and we conceive it may admit of some doubt whether our Author did not intend it so.

Note return to page 132 *Fist.

Note return to page 133 *This speech has great merit, and with many others, makes considerable amends for some weaker passages.

Note return to page 134 *This reconciliation between the Fairy King and Queen, the manner of it, and the expression are all exceeding pleasant; and, as far as we can conceive of such existences, the versification and fancy are very well adapted.

Note return to page 135 †Beginning.

Note return to page 136 *The chief part of this speech was plundered almost verbatim by Nat. Lee, and modestly, without any acknowledgement, given to Varanes, in his Tragedy of Theodosius. The observations thrown out upon hunting are poetically descriptive; and highly pleasing to any one who has a taste for the exhilerating sports of the chace.

Note return to page 137 *Our Author has shewn great knowledge of nature, making Bottom wake with his part of Pyramus in his head; for whatever possesses strict attention while the faculties are at large, is apt to impress them when locked in slumber, and to break out with the waking moment: the whole of this soliloquy is very pleasant, and much in character.

Note return to page 138 *The short low comedy scene between these mechanical actors has merit, and concludes this Act well; which has more spirit than the third.

Note return to page 139 *This speech is most inimitably fine; it is exceeding rich in thought, and powerful in expression; the distinction between a poetical frenzy, and a real one, is pictured with philosophical precision in a fine flow of versification, two points not easily united; the contractedness of the former, mostly jarring with the latitude of the latter.

Note return to page 140 †The condescension here manifested by Theseus, is an excellent lesson to greatness, of kind humility; persons in high station should ever graciously receive the most trifling offices of simple loyalty or attachment; the intention, to every generous mind, gives or takes away real value. Theseus in his speech sensibly vindicates his acceptance of an unpolished attempt to please.

Note return to page 141 ‡The humour of this prologue is artfully contrived; for by taking away the misplaced periods, and that which appears a matter abrupt and ignorant, is not without meaning and complaisance: a satirical stroke is levelled at those who, in verse, always pause at the end of a line, which frequently we hear from unskilled readers and speakers.

Note return to page 142 *Stage-deaths, as well as many other tragic incidents, are sometimes liable to ridicule. Our author unquestionably meant this as a satire upon the abrupt, and sometimes absurd, introduction of such events.

Note return to page 143 †We have heard this piece of Pyramus and Thisbe performed with burlesque music; and in that shape it had a very pleasing effect. The excellence of the several performers, particularly that of Mr. Beard, in Pyramus, cannot be forgot by those who have seen the piece.

Note return to page 144 *The Play in reality ends here, but loth to forget his Fairies, Shakespeare has brought them on by way of Epilogue; and what he gives them to say or sing is very poetical. He is most inimitably happy in painting these children of romantic fancy.

Note return to page 145 *Puck's address to the Audience is a politic and plausible bait for applause; it contains too a modest sensible apology for the visionary circumstances which are frequently met with in this Dramatic Dream. If the Burlesque Tragedy is well performed, the fifth Act must be more laughable than any of the other four.

Note return to page 146 *This is a good dramatic title; how far the purport of it is fulfilled, our progress through the piece will show.

Note return to page 147 †It was remarked by the critics of those days, that Congreve's bombast tragedy, the Mourning Bride, was saved by some very happy lines at the beginning. If such a preparation, which will not be disputed, softens the rigour of criticism, we think the six first lines of this speech are a most favourable introduction; the idea they convey is philosophical, full of dignity, and suitably expressed.

Note return to page 148 *We have already complained of unnecessary jingles, and are sorry to meet with it so offensively multiplied in this play.

Note return to page 149 †This speech of Biron's makes us naturally and agreeably acquainted with the romantic obligation this abstracted monarch lays upon his nobles: though peers are in general fond of pleasing royalty, we apprehend an English King would get but few subscribers to such restrictions.

Note return to page 150 *Biron's quibbles upon the use of study are strangely conceived, and full as strangely expressed.

Note return to page 151 †Shakespeare has, upon many occasions, been justly called nature's peculiar favourite; has he not in the production of Biron's rhapsodical heterogeneous ideas, through this scene, most blameably offended his very kind mother, to indulge that wanton gipsy imagination in her sportive vein.

Note return to page 152 ‡If this play was to be brought into a state of representation, all lines marked with inverted commas, we apprehend, might be properly omitted.

Note return to page 153 *This second explanation of the king's design is superfluous, unless to introduce mention of the French Princess.

Note return to page 154 †Biron, though he has signed the agreement, continues a foe to the practice: why our author should take so much pains to throw a slight on speculation, we know not, except that writing without study himself, he thought it unnecessary; or more probably, he points at the enthusiasm of it.

Note return to page 155 *Shakespeare, in the opinion of some critics, may be thought never to have erred more than in turning a Spaniard into a son of fashion: it is well known that, even to this day, they are in Spain tenacious of their own mode, despisers of all other fashions, and are all withal proudly reserved, unsocially grave: and yet men of such eccentric dispositions, fantastic imitators of the fashions of other nations, merely for the sake of particularity, are to be found very where.

Note return to page 156 *The circumstantial pompous verbosity of this ludicrous epistle gives it high relish to an intelligent reader; but nine tenths of an audience, we are confident, would not understand its drift, much less taste its merit.

Note return to page 157 †Minnow,—a worm. The phrase is aptly suited to such an illiterate, insignificant clown, as Costard.

Note return to page 158 *Whenever we meet with a scene of paltry punning miserable word catching, and fritters of wit, which is too often the case in this undertaking; we most cordially lament, that our author lived in an age when such trash was palatable.

Note return to page 159 †For the stage, we think the scene would begin much better with this speech of the Don's, in which he pleasantly makes us acquainted with his amorous feelings; and the shame of being subjected by a tender passion is very characteristic.

Note return to page 160 *Armado's national and natural pride are admirably depicted by wanting precedents amongst great men, to justify what he fancies a weakness in himself. Vain folly ever fancies that dignified examples sanctify the grossest absurdities.

Note return to page 161 *It is somewhat odd that Armado, who had complained of Costard for associating with a woman contrary to the king's decree, should here mention a design of visiting her, tho' himself equally liable to censure and punishment.

Note return to page 162 *We know not how this climax of baseness can be justified; why the animated clay which composes a foot, is baser than the inanimate materials of leather and common earth, we cannot tell, unless we strain our idea to the corruption of human nature, which is too abstract for Armado.

Note return to page 163 †This soliloquy possesses pleasantry, and well delivered must tickle an audience; it gives the first Act a spirited conclusion: which first Act we may, without the spirit of cavilling, pronounce a heavy collection of obscure ideas, and a dull unaffecting introduction to the other four; indifferently calculated for the stage, and nearly as much so for the closet.

Note return to page 164 *This speech of Boyet's is chaste and elegant; the idea with which it concludes, of Nature's starving the world to enrich the Princess, is rather hyperbolical; but allowable in a courtier, especially a French one.

Note return to page 165 *To give this line an easy flow in utterance, we must accent the second syllable of importunes, though the stress properly falls on the last. The licentia poetica should never lay traps for false pronunciation, if avoidable.

Note return to page 166 *This line conveys a beautiful idea of virtue's purity, and repugnance to any stain. The whole speech is excellently descriptive; indeed, Shakespeare shows himself, upon all occasions, an admirable delineator of characters.

Note return to page 167 †The account of Biron in this speech prettily apologises for his talking, like Gratiano, “an infinite deal of nothing” in the first Act: Rosaline's admiring him for loquacity, is natural enough; as a chattering man sometimes, indeed too often, gains female estimation.

Note return to page 168 *The squibs of repartee thrown in here, are pleasant and pertinent, they give the King a proper opportunity of perusing the proposal. We think leaving out the marked lines would preserve the Princess's delicacy more entire.

Note return to page 169 *This is one of the strongest expressions we remember to have met;—to arrest the word, conveys a most vigorous and apt idea.

Note return to page 170 *The snip-snap questions and answers in this scene are rather weak to read, but well pronounced on the stage, would have a pleasant and spirited effect.

Note return to page 171 †If this speech was cleared of its rhymes, it would possess much merit; it is most fancifully picturesque, and very happily paints the various symptoms of a new caught amorous infection.

Note return to page 172 *Moth in this speech exhibits an odd collection of caricature and obscure ideas: where an author's fancy is strained, and a reader's conception put on the rack, humour, sense, and satire, however strong, must lose much of their effect.

Note return to page 173 †The distinguished lines might very well be spared.

Note return to page 174 *All that comes in between this line and Armado's soliloquy, after Moth goes for Costard, should be omitted as disgraceful to the Author, and a heavy tax upon patience, whether conveyed through the ear or the eye.

Note return to page 175 *It is strange that vitiated taste, however general and greatly patronized, could prevail upon a man of Shakespeare's sense and genius to shew such painful obsequiousness as he manifests in playing upon words; but, no doubt, he meant to ridicule the custom. A passage in the Merchant of Venice confirms it. After a long string of punning in Launcelot's mouth, Lorenzo remarks, “How every fool can play upon a word!—

Note return to page 176 *This line should be wholly left out, as should the two marked lines below.

Note return to page 177 †Biron's soliloquy has humour and variety; it reads well, but must speak much better. Of the second Act, we say that it is more fanciful and spirited than the first, yet heavy for exhibition.

Note return to page 178 †Tho' the Princess is in this speech rather obscure and quibbling; yet the humane sensibility of her ideas is pleasing, and the effect, which love of praise frequently manifests is well suggested; we imagine Shakespeare could here have furnished fanciful reprehensions to the barbarous custom of taking away life for diversion; and we wonder he did not make use of the occasion.

Note return to page 179 *Breaking the neck of the wax, conveys to us a very odd and objectionable idea, if we do not recur to the fanciful vein of conversation, which the Princess has been indulging thro' the scene.— In her foregoing speech, she says, “You can carve—Break up this capon.”

Note return to page 180 †Shakespeare has made his Don an epistolary enthusiast, and has furnished him with a train of ideas, and a peculiarity of stile, no author but himself could have produced.

Note return to page 181 *The repartee dialogue in many parts of this play somewhat resembles the scenes of Benedict and Beatrice in Much ado about Nothing; but falls short in point of wit, fluency, and humour; besides there is too much of it; from sameness it is too likely to become heavy.

Note return to page 182 †If the Author supposed this soliloquy could from recitation be understood, he stretched opinion much; it is sure very obscure and immaterial.

Note return to page 183 *Striking out all the marked lines would be rendering our great but wild Author more justice than he allowed himself.

Note return to page 184 *What intelligent humour Shakespeare could suppose from this pedant Holofernes is by no means apparent to us; his scraps of latin, as they are introduced, must be as tasteless to classical, as intricate to illiterate readers: It is not impossible, however, that our Author had seen such a character in life. The scene would be advantaged certainly by omitting the distinguished lines.

Note return to page 185 *The third Act, instead of rising, as it should do, above the second, falls below it, having less fancy, meaning, and humour.

Note return to page 186 *This soliloquy is rather a quaint method of letting us know that Biron is in love; a good comic actor might perhaps give it some pleasantry in speaking, but it does not seem so well calculated for the mouth of a genteel character.

Note return to page 187 †This idea of being stricken with love is exceeding odd, but far from unpleasant.

Note return to page 188 ‡The king's description of his passion is truly poetical; rich in fancy, harmonious in expression, and admirably picturesque; to give it the highest praise, it is worthy of Shakespeare.

Note return to page 189 *An amazing strained idea, comparing a triumvirate to a triple tree, and love to the place of execution. We should recommend an omission of these two lines.

Note return to page 190 †Longaville's verses are judiciously and agreeably varied from those of the King.

Note return to page 191 *This scene is well designed, and pleasingly written for stage effect.

Note return to page 192 *Dumain's picture of amorous effects, is as well imagined, though not so highly coloured, or so strongly marked as either of the preceding ones; indeed there seems more abundance in them all than could be expected from an author in so short a space.

Note return to page 193 *To make the king censure his romantic companions, though he was equally reproachable himself, we esteem a good dramatic conception: that it contains a degree of royal hypocrisy we admit, but do not think much out of character for such a king; who, like many abstract philosophers, shows great propensity to weakness.

Note return to page 194 †Biron's speeches are smart and applicable; but though we have not marked those passages which we judge might be spared, yet we are bold to pronounce the scene considerably too long for representation.

Note return to page 195 *Bringing Biron's letter against himself is a good incident; but we think intermingled raillery in consequence of it, would have been more entertaining and more to the purpose than what follows.

Note return to page 196 †Biron's panegyric is rather in the strain of hyperbole, but most beautifully poetical; and very justifiable, as the effect of an inflamed imagination: the idea of Rosaline's influence being like that of the sun, in Indian worship, glows with the full energy of compliment.

Note return to page 197 *This speech of Biron's is equally luxuriant and meritorious with the former: indeed the idea is continued; having made his mistress, like the sun, an object of adoration, he now furnishes her with the sun-like power of renovating nature.

Note return to page 198 †All marked from this line ought to be omitted, tho' there are many fine ideas, as finely expressed.

Note return to page 199 *This is a very just and philosophical opinion; for nothing can be more certain than the benumbing effects of too intense application on the mind, as well as debilitation to the body by over strained exercise.

Note return to page 200 †This and the following eighteen lines are inexpressibly beautiful and pregnant with fancy; they feelingly speak their great Author.

Note return to page 201 *Though Holofernes is to us as insipidly pedantic as some existing school-masters we know, yet the oblique strictures he here throws out against the difference between orthography and pronunciation contain just satire.

Note return to page 202 *That Shakespeare was not only possessed of a very poetical, but a very patient genius, many of his pieces verify, but this in particular; for sure no man besides himself ever pursued ideas through such labyrinths of expression, nor ever cloathed them more enigmatically.

Note return to page 203 *Lopping off this conclusive scene entirely, would be no prejudice to the fourth Act; which, though better than the third, has not much intrinsic merit to boast; there are many jewels and many soils.

Note return to page 204 *Boyet's observation here is singularly odd; they must be very blind lovers, who could not distinguish their several mistresses without a sight of the presents sent to each; the Princess's immediate device of masks shows how easily such politicians may be puzzled.

Note return to page 205 †To make deception probable, the ladies should be nearly sized, and have different cloaths from what they first appeared in.

Note return to page 206 *This is a pretty description of repartees utter'd with female volubility; but is rather too great a compliment to the rhapsodical discourse which precedes it.

Note return to page 207 *The ladies play upon their gallants with a considerable share of humour, and the Author manifests spirited pleasantry in the writing of it.

Note return to page 208 †Biron in this speech produces much apt and agreeable sentiment, but expressed in a most quibbling manner; half of it might be spared in speaking.

Note return to page 209 *Biron's discovery does not manifest much depth of penetration; indeed he seems, upon the whole, one of those conceited gentlemen who never think they have said enough.

Note return to page 210 *Costard, in his first mention of Pompey, mistakes very naturally the name; how he comes to be correct in it afterwards, we know not.

Note return to page 211 †This pageant is in the true burlesque stile of what is vulgarly called, Christmas mumming,—St. George and the Dragon, &c.

Note return to page 212 *Shakespeare was extremely prolific in whimsical and outrè similies; yet however odd they may seem, they are, critically examined, justly applicable.

Note return to page 213 *This projected battle was designed evidently for an incident of great humour, but it does not work upon us that effect.—It rather makes us wish for a gratification we do not receive; the Don's shirtless excuse is peculiarly barren of humour: the scene might be curtailed, as marked, to advantage.

Note return to page 214 *It is amazing to conceive the superabundant descriptions of love in its various shapes and influences which Shakespeare draws, and all just though very different: This is not one of the least pleasing and poetical.

Note return to page 215 *A world-without-end bargain, is a forced expression, and rather blameable, as seeming to be taken from the Liturgy.

Note return to page 216 †The Princess's proposed trial of her gallant's fidelity by perseverance in his scheme of philosophical abstinence and abstraction, is very sensibly and prettily imagined.

Note return to page 217 *Rosaline's injunction upon her swain is as aptly conceived, and as pleasant as that of the Princess; and the explanation she gives of its effects in the following speech is not only fanciful, but just.

Note return to page 218 †Shakespeare, sensible that his piece wanted a dramatic conclusion, by disposition of characters has very properly thrown in this remark.

Note return to page 219 †Our author in this hemistich evidently adverts to those breaches of time he so often ran into, especially upon historical subjects.

Note return to page 220 *This and the preceding verse of the song (which have more spirit and fancy than sonnets generally show) have by the stage been advantageously transferred to our author's Comedy, As you like it, where, by the help of very agreeable music, they often please the public ear.

Note return to page 221 †We are now come to the end of this whimsical piece; if barely leaving off dialogue and dropping the curtain can be called a conclusion: we rather think it a simple escape from readers and an audience. The fifth Act is much longer and heavier than any of the others, we have pointed out the most obvious omissions, but many more might be made without impropriety.

Previous section