are but intrusive matter amid the romantic loves, all chivalrous and a little classical, of Theseus and Hippolita, and the jealousies unearthly, and yet so earthly, of Fairy Land. The romance of early Greece was sometimes strangely confused by the romance of the middle ages. It would take a long essay on the mixture of legends derived from all ages and countries to account for the production of such a personage as the "Duke ycleped Theseus" and his following; and the fairy mythology of the most authentic superstitions would be ransacked in vain to discover exact authorities for the Shakspearian Oberon and Titania. But, no matter whence derived, the author knew well that in his hands the chivalrous and classical, the airy and the imaginative, were safe. It was necessary for his drama to introduce among his fairy party a creature of earth's mould, and he has so done it as in the midst of his mirth to convey a picturesque satire on the fortune which governs the world, and upon those passions which elsewhere he had with agitating pathos to depict. As Romeo, the gentleman, is the unlucky man of Shakspeare, so here does he exhibit Bottom, the blockhead, as the lucky man, as him on whom Fortune showers her favours beyond measure.
This is the part of the character which cannot be performed. It is here that the greatest talent of the actor must fail in answering the demand made by the author upon our imagination. The utmost lavish of poetry, not only of high conception, but of the most elaborate working in the musical construction of the verse, and a somewhat recondite searching after all the topics favourable to the display of poetic eloquence in the ornamental style, is employed in the description of the fairy scenes and those who dwell therein. Language more brilliantly bejewelled with whatever tropes and figures rhetoricians catalogue in their books is not to be found than what is scattered forth with copious hand in Midsummer Night's Dream. The compliment to Queen Elizabeth,
"In maiden meditation fancy-free,"
was of necessity sugared with all the sweets that the bon-bon box of the poet could supply; but it is not more ornamented than the passages all around. The pastoral images of Corin
"Playing on pipes of corn, and versing love
To amorous Phillida;"
the homely consequences resulting from the fairy quarrel,
"The ox hath therefore stretch'd his yoke in vain,
The ploughman lost his sweat, and the green corn