adies are slightly discriminated as individuals, in that Hermia,
besides her brevity of person, is the more tart in temper, and the
more pert and shrewish of speech, while Helena is of a rather milder
and softer disposition, with less of confidence in herself. So too in
the case of Demetrius and Lysander the lines of individuality are
exceedingly faint; the former being perhaps a shade the more caustic
and spiteful, and the latter somewhat the more open and candid. But
there is really nothing of heart or soul in what any of them do: as we
see them, they are not actuated by principle at all, or even by any
thing striking so deep as motive: their conduct issues from the more
superficial springs of capricious impulse and fancy, the "jugglery of
the senses during the sleep of reason"; the higher forces of a mental
and moral bearing having no hand in shaping their action. For the
fairy influences do not reach so far as to the proper seat of motive
and principle: they have but the skin-depth of amorous caprice; all
the elements of character and all the vital springs of faith and
loyalty and honour lying quite beyond their sphere. Even here the
judgment or the genius of the Poet is very perceptible; the lovers
being represented from the start as acting from no forces or
inspirations too deep or strong for the powers of Fairydom to
overcome. Thus the pre-condition of the two pairs in their
whim-bewilderment is duly attempered to the purposed dream-play of the
general action. Nor is the seeming stanchness of Hermia and Demetrius
in the outset any exception to this view; for nothing is more wilful
and obstinate than amorous caprice or skin-deep love during its brief
tenure of the fancy.

* * * * *

Of all the characters in this play, Bottom descends by far the most
into the realities of common experience, and is therefore much the
most accessible to the grasp of prosaic and critical fingers. It has
been thought that the Poet meant him as a satire on the envies and
jealousies of the greenroom, as they had fallen under his keen yet
kindly eye. But, surely, the qualities uppermost in Bottom the Weaver
had forced themselves on his notice long before he entered the
greenroom. It is indeed curious to observe the solicitude of this
protean actor and critic, that all the parts of the forthcoming play
may have the benefit of his execution; how great is his concern lest,
if he be tied to one, the others may