were contented that
"Four or five most vile and ragged foils
Right ill-disposed, in brawl ridiculous,"
should serve to represent to their imagination the name of Agincourt.
We consent to this just as we do to Greeks and Romans speaking English on the stage of London, or French on that of Paris; or to men of any country speaking in verse at all; or to all the other demands made upon our belief in playing. We can dispense with the assistance of such downright matter-of-fact interpreters as those who volunteer their services to assure us that the lion in Pyramus and Thisbe is not a lion in good earnest, but merely Snug the joiner. But there are difficulties of a more subtle and metaphysical kind to be got over, and to these, too, Shakspeare not unfrequently alludes. In the play before us,—Midsummer Night's Dream,—for example, when Hippolita speaks scornfully of the tragedy in which Bottom holds so conspicuous a part, Theseus answers, that the best of this kind (scenic performances) are but shadows, and the worst no worse if imagination amend them. She answers that it must be your imagination then, not theirs. He retorts with a joke on the vanity of actors, and the conversation is immediately changed. The meaning of the Duke is, that, however we may laugh at the silliness of Bottom and his companions in their ridiculous play, the author labours under no more than the common calamity of dramatists. They are all but dealers in shadowy representations of life; and if the worst among them can set the mind of the spectator at work, he is equal to the best. The answer to Theseus is, that none but the best, or, at all events, those who approach to excellence, can call with success upon imagination to invest their shadows with substance. Such playwrights as Quince the carpenter,—and they abound in every literature and every theatre,—draw our attention so much to the absurdity of the performance actually going on before us, that we have no inclination to trouble ourselves with considering what substance in the background their shadows should have represented. Shakspeare intended the remark as a compliment or a consolation to less successful wooers of the comic or the tragic Muse, and touches briefly on the matter; but it was also intended as an excuse for the want of effect upon the stage of some of the finer touches of such dramatists as himself, and an appeal to all true judges of poetry to bring it before the tribunal of their own imagination; making but a matter of secondary inquiry how it appears in a theatre, as delivered by those who, whatever others may think of them, would, if taken at their own estimation, "pass for excellent men." His own magnificent creation of fairy land in the Athenian wood must have been in his mind, and he asks an indulgent play of fancy not more for Oberon and Titania, the glittering rulers of the elements, who meet
"—— on hill, in dale, forest, or mead,
By paved fountain, or by rushy brook,
Or on the beached margent of the sea,
To dance their ringlets to the whistling wind,"