Prospero and his world of spirits are a set of
moralists; but with Oberon and his fairies we are launched at once
into the empire of the butterflies. How beautifully is this race of
beings contrasted with the men and women actors in the scene, by a
single epithet which Titania gives to the latter, 'the human
mortals'! It is astonishing that Shakespeare should be considered,
not only by foreigners, but by many of our own critics, as a gloomy
and heavy writer, who painted nothing but 'gorgons and hydras, and
chimeras dire'. His subtlety exceeds that of all other dramatic
writers, insomuch that a celebrated person of the present day said
that he regarded him rather as a metaphysician than a poet. His
delicacy and sportive gaiety are infinite. In the MIDSUMMER'S NIGHT
DREAM alone, we should imagine, there is more sweetness and beauty
of description than in the whole range of French poetry put
together. What we mean is this, that we will produce out of that
single play ten passages, to which we do not think any ten passages
in the works of the French poets can be opposed, displaying equal
fancy and imagery. Shall we mention the remonstrance of Helena to
Hermia, or Titania's description of her fairy train, or her disputes
with Oberon about the Indian boy, or Puck's account of himself and
his employments, or the Fairy Queen's exhortation to the elves to
pay due attendance upon her favourite, Bottom; or Hippolita's
description of a chace, or Theseus's answer? The two last are as
heroical and spirited as the others are full of luscious tenderness.
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