328 
Though the happiest and most divert- 
img incident of this drama is introduced 
too early to give full effect to the inter- 
est of the fable, the plot is, upon the 
whole, excellent; the characters are very 
various; and, with the exception of the 
eccentric parts of Pistol and Nym, they 
are admirably discriminated, and exhibit 
genuine portraits of nature, 
Measure ror MEASURE, 
I find it difficult altogether to accede 
to the opinion of Dr. Johnson, respect- 
ing this play. He pronounces the light 
or comic part, to be very natural and 
pleasing, but censures the graver scenes 
as possessiig more labour than elegance, 
It appears to me, that the chief merit 
of the play consists in the grave or tra- 
ic parts; and perhaps few of the dramas 
of, Shakespeare can boast scenes of 
higher excellence than those between 
Angelo and Isabella in the second, and 
Claudio and Isabella in the third act. 
There is indeed much humour mingled 
with much indecorum, in the low parts; 
and the character of Lucio, when di- 
vested of its superfiuities, is happily sus- 
tained, and exhibits at times the best 
manner of the poet. 
Mucs Apo atovr NotuHine. 
Act V. Scene 3. 
Pardon, Goddéss of the Night, 
Those that slew thy virgin Knight. 
¢¢ Knight, in its original signification,” 
says Dr. Johnson, “ means follower, or 
pupil, and in this sense may be feminine. 
Helena, in All’s Well that Ends Well, 
uses Knight in the same signification.” 
This is by no means a satisfactory expla~ 
nation. In a former scene, a wretched 
conceit is intended on the word hero. 
“© Q Hero, what a hero had’st thou been,” 
&c. And the same favorite quibble 
has just been repeated in the epitaph. 
*‘ Done to death by slanderous tongues 
was the Hero that here lies.” In the 
song, therefore, the term Knight seems 
applied to this Hero, with what was pro- 
bably- deemed an happy allusion to her 
name. Helena, in the passage referred 
to by Dr. Johnson says, *‘ Diana no 
queen of Virgins, that would suffer her 
. poor Knight to be surprised without res- 
cue or ransom.” But the word ts not 
ysed in either instance, in a proper femi- 
nine sense, but figuratively and allu- 
sively. The original signification of the 
word, was certainly not an the conteta- 
plation of Shakespeare. 
Critical Remarks on Shakespeare. 
[Nov. 1, 
Love’s Lazour Lost.«=Act. I. Rag 1. 
To love, to wealth, to pomp, I pine and dies 
With all these living in philosophy. 
Dr. Johnson supposes Dumaine to mean, 
that he finds love, pomp, and wealth, in 
philosophy. But the words “ all these,” 
refer, I think clearly, to all these compa- 
nions, viz. Longueville, Biron, and the 
King, opposed to the * gross world’s ba« 
ser slaves.” This play, however de- 
hased, by perhaps a spurious mixture of 
low and despicable nonsense and impu- 
rity, is radically good; and there are, as 
Dr, J. has observed, “ scattered through 
the whole many sparks of genius.” Up- 
on the most impartial estimate of its me= 
rits, it is certainly a production, though 
rejected by some as supposititious, to 
Which the talents of Shakespeare’s con- 
temporaries were utterly unequal. The 
glowing pencil of the great poet.is ex- 
tremely conspicuous in_ the following 
passages, from many which might be 
selected: 
His eye begets occasion for his wit, 
Which his fair tongue, conceit’s expository 
Delivers in such apt and gracious words, | 
That aged ears play truant at his tales, 
And younger hearings are quite ravished, 
Act II. Scene 2. 
So sweet a kiss the golden sun gives not 
‘To those fresh morning drops upon the rose $ 
Nor shines the silver moon one half so bright 
Through the transparent bosom of the deep, 
As doth thy face through tears. i 
Act IW. Scene 4. 
Who sees the heavenly. Rosaline, - 
That, like a rude and savage man of Inde 
At the first opening of the gorgeous East, 
Bows not his vassal head? a 
She passes praise, _ 
A withered hermit fourscore winters worn, 
Might shake off fifty, looking in her eye. 
Ait. IV: Scene & 
\ 
For valour is not Love an Hercules— 
Subtle as sphinx—as sweet and musical 
As bright Apollo’s lute strung with pepalr ES 
: Ii id. 
Tweirtu NicutT.—Act I. Scene 1, 
That strain again—it had a dying fall 5 
O-it came o’er my ear like the sweet South, 
That breathes upon a bank of violets, ” 
Stealing and giving odour. 9 . 
In this charming simile, the poet never 
aimed, as Dr. Warburton, by a false re- 
fnement, supposes, at “ exact poem c 
