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    inclination of other figures in parallel , but never equal lines /' is transferable "mutatis mutandis" to the composition of colours in harmonious distribution . We tr&ce it farther * we discover it in its lii g heft ^ erfeict ] p | j in - poetry . The ' Queen Mab' of Mercu ' tio is Jn itself admirably still more so as a characteristic efl ' usion ; and aoain , it has a fre ightage of artistjcal truth , as trending wi . ^ i , t ^ .. . /^ QoiirJ ^ t - £ p ^ reb 9 di | i « ^ 9 f

    Romeo , which it prologues , and the deep passipn of the glitte ring , biit eventful masqu § ra 4 ef Jhe fault $$ d ffjLte of ttie Thane of Candor fcoyer in the a ^ r , mnr ^ y ^ i tj ^ - ^^ fjuj ancantation , and *' g iye dreadful note of prepajc ^^ c ^ n " . . . tft th $ stijl deeper treactjery an ( J deadlier dispp ^ ition . gf b ^ s successor , the Churl Apemantus snarling at mankind without ^ n injury ,

    and Alcibiades , resenting an injury in arn ^ s , an $ accompanied ) p > y Phrynia and Timandra , e ; ach contribute to define the individuality of | ine broken-hearted misanthropy Qf ^ ijxion , which seems to owe it § bitterness to madness , liije , fl a ^^ fmind which disables the character of Hamlet , is akin to tlj ? il ^ hich confounds the superficial philosophy , the world-gatlie ^ ed wisdom of Polonius ;—his madness ( for " tpuched" heis , though not

    in the fanner of a march-hare ) has its parallel , but pot equal line in the disordered wits of poor Ophelia ; hi $ active purpose , such a § it is , in the revenge of Laertes . ; Why multiply ( examples—let any one susceptible of the effect pf a play of Shakspeare , study under the gp ^ aq c <| of tfie effect—the manner in which it is produced , and % \\\ & principle

    of composition will be apparent . Tl | e finest example of such an analysis is perhaps SchlegeFs demonstration pf the advantage—nay , t ^ e nece ^ ity of evqry character iij ptpgi ^ g and Juliet to t ^ e general effect , the er ^ tire senti ^ ent p ( JW , e , oweto Germany the knowledge that a play pf Shakspeare is a whole . , in

    Ap jaqalpgous h ^ niony may also exipt combinations pf subordinate dignity ; j ^ d a conception aqd enjbqclyjnent pf the ^ amiabje n ^? iy be as complete in itself as of ^ h ^ Jie fO ^ . The whimsical may be idealized , concentrated , harnac-njzed , ^ s may the indignant . Hudibras g ive ^ birth ape ) b ^ ing to as consistent a train of mental delectation as 4 c ^ We ^ °$ $ * Wmetheus .

    put it 18 Qbservable Uuju ; the eleroeijts ol | Lne iQvyer idealities q $ § mpst of tjb ^ F po ^^ T tp their ii ^ diyi 4 u ? il an ^ Jies ^ to th ^ ir ^ rpprMe wa ^ ity ; J $$ y . ^ e , a } so m ^ ^^ afg ble and sg | f-* % i pteQt , apflL ,. jf ; ^ e . e % t of n , ^ . on ^ < 9 f , ^ e $$ v > fime 4 p ^ jts fgm ^ th p effect ^ ^ p ^ h ftl ^ it p ^ Qdu ^ ^^ eflfec ^ be ^^ g . a larger ratio to that of its whole , than does M the separate p ^ rt pf $ WkQU p { ^ upf rior ideality ^ o , ^ cpr ^^ jy ^ . Falft ^ ff is not & MmbU frjit ft # arfee pf Fal » t * ff tyjlj ym alon ^ frr

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    HI ^ i ? ¥ > p ¥ wl 48 § fem $ ^ mmi «* $ : f ?«* wH * f'

• Citation
  • Monthly Repository (1806-1838) and Unitarian Chronicle (1832-1833), June 1, 1837, page 338, in the Nineteenth-Century Serials Edition (2008; 2018) ncse.ac.uk/periodicals/mruc/issues/vm2-ncseproduct1832/page/20/