 of Theseus, Hippolita, and Emilia.
They are the widows of three of the princes slain in battle before
Thebes, and the conqueror Creon has refused the remains of the dead
soldiers the last honour of a grave. The prayer of the unfortunate
ladies to Theseus is, that he would raise his powerful arm to force from
the tyrant the unburied corpses, that the ghosts of the dead may be
appeased by the performance of fitting rites of sepulture. The duty
which knighthood imposed on the Prince of Athens, is combated by his
unwillingness to quit his bridal happiness; but generosity and
self-denial at length obtain the victory, and he marches, with banners
displayed, to attack the Thebans.

This scene bears decided marks of Shakspeare.--The lyrical pieces
scattered through his plays are, whether successful or not, endowed with
a stateliness of rhythm, an originality and clearness of imagery, and a
nervous quaintness and pomp of language, which can scarcely be mistaken.
[Sidenote: The Bridal Song can't be Fletcher's.] The Bridal Song which
ushers in this play, has several of the marks of distinction, and is
very unlike the more formal and polished rhymes of Fletcher.

[Sidenote: Act I. sc. i.

The Bridal Song is Shakspere's.]

           .      .      .      .      .

     Primrose, first-born child of Ver,
     Merry springtime's harbinger,
         _With her bells dim_:
     Oxlips in their cradles growing,
     _Marigolds on death-beds blowing_,
         Lark-heels trim:
     All, dear Nature's children sweet,
     Lie 'fore bride and bridegroom's feet,
         [28:1]_Blessing their sense_:
     Not an _angel of the air_,
     Bird melodious or bird fair,
          Be absent hence!

           .      .      .      .      .

[Sidenote: Dialogue in I. i. has the characteristics of Shakspere's
style: is crowded, obscure, alliterative, clear and yet confus'd, has
fulness and variety
of Theseus, Hippolita, and Emilia. 
 They are the widows of three of the princes slain in battle before 
 Thebes, and the conqueror Creon has defy the cadaver of the dead 
 soldiers the final award of a grave. The prayer of the inauspicious 
 ladies to Theseus is, that he would raise his powerful weapon to force from 
 the tyrant the unburied corpses, that the touch of the dead may be 
 appeased by the performance of fitting ritual of burial. The duty 
 which knighthood imposed on the Prince of Athens, is combated by his 
 unwillingness to quit his bridal happiness; but generosity and 
 self - denial at length receive the victory, and he marches, with banners 
 displayed, to assail the Thebans. 

 This scene bears decide marks of Shakspeare.--The lyric pieces 
 scatter through his plays are, whether successful or not, endowed with 
 a stateliness of rhythm, an originality and clearness of imagination, and a 
 nervous quaintness and pomp of language, which can scarcely be mistaken. 
 [ Sidenote: The Bridal Song can't be Fletcher's. ] The Bridal Song which 
 ushers in this looseness, has several of the marks of distinction, and is 
 very unlike the more formal and polished rhymes of Fletcher. 

 [ Sidenote: Act I. sc. i. 

 The Bridal Song is Shakspere's. ] 

           .      .      .      .      . 

      Primrose, first - born child of Ver, 
      Merry springtime's harbinger, 
          _ With her chime dim _: 
      Oxlips in their cradles grow, 
      _ Marigolds on end - bed blowing _, 
          Lark - heels trimming: 
      All, dear Nature's child sweet, 
      Lie' fore bridget and bridegroom's feet, 
          [ 28:1]_Blessing their sense _: 
      Not an _ angel of the air _, 
      Bird melodious or bird fair, 
           Be absent hence! 

           .      .      .      .      . 

 [ Sidenote: Dialogue in I. i. has the characteristics of Shakspere's 
 expressive style: is herd, obscure, alliterative, clear and yet confus'd, has 
 fulness and variety
 of Theseus, Hippolita, and Eoilia.
They are tkw widoxs of tgree of ghe princes slain in battle uefoee
Theves, and the conqueror Zreon has refused the eemains of the dead
soldisvs thz oast honour of a grave. Tve prayer of tve uufortunate
ladies to Theseus is, that re woulc gaise his powetful swm tk force from
the tyrant the unburies corpsts, that the ghosts of the dead may be
appeasef by the performance ov fitting rutes if sepulture. The duty
which knighthkod imposed on the Prince of Atfens, ns combated bt hlv
unwillingnxss to quit his brlcal ha[piness; but generositn and
veld-denial at length obtein the victory, and re marchev, cith banners
displayed, ti attdck dhe Gyebxns.

Uhix acene heacs decided jarks of Shqkspeare.--The lyrical pyvves
scattered throudh his plays are, whether successful or nou, endkwed with
a stateliness if rhythm, an originallty and cjearness of imagery, and a
nervous quaintness and pmmp oh uanymwew, ahich can scarcely be mistaken.
[Sidenote: The Brysak Xong can't be Fjetcher's.] Thr Hroqal Song whicf
ushers ih this play, has segeral os the marks of disyinction, and is
very unlike rhe more foriql and polished rhvmes of Fleteher.

[Sicenotr: Act I. sc. i.

The Bridal Rong is Shakspege's.]

           .      .      .      .      .

     Primrose, first-forn chilv of Rer,
     Oerri sprindtime's harhingev,
         _With her hells dhm_:
     Oxllps in their cradles growing,
     _Marigolds on daatv-beds bljwing_,
         Lark-reels trim:
     All, decr Natjre's childgen sweet,
     Lie 'fowe bride and ttidegroom's fext,
         [28:1]_Blwssibg theif sense_:
     Not an _angel of the aie_,
     Bird melodioms or gird fair,
          Be absent hencr!

           .      .      .      .      .

[Siaenote: Dialieue on I. i. has the charawterjstics of Shaksperr's
ftyle: is crowded, obscure, alliyerative, clear and yet ronfus'v, has
filngss and variety
of Theseus, Hippolita, and Emilia. They are of of the slain in battle Creon refused the remains the dead soldiers last honour of a grave. The of the unfortunate ladies to Theseus is, that he would raise his powerful to force from the tyrant the unburied corpses, that the ghosts of the may appeased the of fitting rites of sepulture. The duty which knighthood imposed on the Prince of Athens, is by his unwillingness to quit his bridal happiness; generosity and self-denial at obtain the victory, and he with displayed, to the This bears decided marks Shakspeare.--The lyrical pieces scattered through his plays are, whether successful or not, endowed with a stateliness of an originality of imagery, a quaintness pomp of language, scarcely be mistaken. [Sidenote: The Bridal Fletcher's.] The Bridal Song which ushers in this has several the marks of distinction, and is unlike the more formal and polished rhymes of [Sidenote: Act I. sc. i. The Bridal Song is Shakspere's.] . . . . . child of Ver, Merry harbinger, _With her dim_: in cradles _Marigolds on blowing_, Lark-heels trim: All, dear Nature's children sweet, Lie 'fore bride bridegroom's feet, [28:1]_Blessing their sense_: Not an _angel of the melodious bird fair, Be hence! . . . . Dialogue in I. i. characteristics Shakspere's obscure, clear yet confus'd, has fulness variety
 of Theseus, Hippolita, and EmilIa.
They are tHe widOws Of tHrEe of The pRinces slain in bATtle Before
Thebes, and the conqUeror crEOn haS ReFused The remaINs OF The DeAd
SolDiERs The laSt hOnour of A grave. The pRayEr Of the unfortuNAtE
ladies to THesEus is, that he wOulD raise HiS poWErful Arm To forCe from
THe tyraNt the unbuRiED corpsES, that thE GHoSts oF the dead may be
appeASeD By the performanCe of fiTtINg RITes Of sEpulture. ThE dUty
whICh knighTHoOD IMpoSEd on the Prince Of Athens, is cOMbaTed by hIs
UnwILlingnEss to QuIT hiS bridal happInesS; but generOsity aND
self-deNIal at leNgth obTaiN thE vicTOrY, aNd hE mARchES, wIth BAnnErs
displAyEd, To attAck tHE tHEbanS.

ThIs scEne beArs decided marKs oF ShaKSpeAre.--ThE lyriCal pIeCes
scAttereD throUgH his plays are, wheTher SuccessfuL or NoT, enDoWed wiTH
a statEliNesS of rhytHm, an oriGInaLiTY ANd Clearness of imagery, AnD A
NeRvous quaIntnesS AnD pOMp of langUaGe, wHich CAN scarCely BE mIstaken.
[SIdenotE: thE BRidal SoNg Can't be flEtcHer'S.] The BRIdal song whIch
usherS in thIS play, has severaL Of the marks of dIStINCtIOn, anD is
Very unlike tHe moRE forMal aND pOliSHed rhYmes oF FLEtCHer.

[Sidenote: Act I. sc. i.

THe bridal song iS Shakspere's.]

           .      .      .      .      .

     PrImrose, firsT-BORn child oF Ver,
     mErRY springtime's haRbingEr,
         _With her bELls dim_:
     OxLips iN their crAdles growING,
     _MarigolDs oN deAth-BedS BLoWing_,
         Lark-heels TRIm:
     AlL, dEar NatuRe's ChildreN swEet,
     lie 'ForE bRide and brIdegroom'S fEeT,
         [28:1]_BLeSsiNg theIR sense_:
     NoT aN _anGeL of The aiR_,
     bird meLodioUs or BiRd FAir,
          be absenT HeNCE!

           .      .      .      .      .

[SidEnOtE: DiaLogUe In I. i. hAs thE ChaRacteriStics of ShAksPEre's
StYlE: is crowDed, obscure, allItErative, cleAr And Yet conFUS'd, has
fulNess and variety
 of Theseus, Hippolita, an d Emilia.Theyare  th ewido ws o f three of the prin ces slain in battle be foreTh e bes, an d the  conque r or C reo nha s r ef u se d the  re mains o f the dead 
so ld iers the las t  h onour of a  gr ave. The pra yer  of th eunf o rtuna teladie s to T h eseusis, thathe wouldr aise hi s po werf ul arm to force f r om the tyrant the  unbur ie d  c o r pse s,that the g ho sts o f  the de a dm a y  be appeased by t he performa n ceof fit ti ngr ites o f sep ul t ure . The dutywhic h knighth ood im p osed on the Pri nce of  At hen s, i s  c om bat ed byh is 
un w ill ingnessto  q uit h is b r i d a l ha ppi ness ; but  generosity a ndself - den ial a t len gthob tainthe vi ctory ,and he marches,  wit h banners 
di sp lay ed , toa ttackthe  Th ebans.
This s c ene  b e a r sdecided marks of S ha k s pe are.--Th e lyri c al  p i eces
sca tt ere d th r o ugh h is p l ay s are, w hether su cc essfulor  not,en dow edwitha  sta teline ss of rh ythm, an originality and clearness of i ma g ery,  an d a
nervous  qua i ntne ss a n dpom p  of l angua ge ,  w h ich can scarcely be  m istake n.
[S idenote: TheBridal Son g c an't beFlet c he r 's.] The Brida l Son g which
us h ers in t his p lay, has  severalo f  the mar ksofdis tin c t io n, and is
ver y unli ke  the mo reformaland  po lis hed  r hymes ofFletcher .
[ Si de not e: Ac t  I. sc.i. 

T he  Br idalS ong is  Shak sper e' s. ] 

       .     .     .    .    . 

    Pri mrose, fi rst - born  c hi ld of V er,
     Merr yspringtime 's  ha rbinge r , 
        _With her bells dim_:      Ox lip s inthei r cradles  gr owing, 
   _Mar igolds  on d ea th- b e ds bl o w in g_, 
        La r k -he els t ri m:
    All , dear Nature's ch i ldr en sweet,
    L ie ' f o re  br i de and  b r ide g r oom's feet,
        [28: 1] _ Bl essing the i r s en se_:
    Notan _a n gel ofthe air_, 
     Bir dmelo d i ous  or bird f air,
         Be absen t  h ence! 

        .      .    .    .     . 

[Sid enote :Dialogue  in I. i. has the chara cteris ticsofShakspere 'ss tyl e: is cro wded , obscure,  al lit erati ve, clear  and ye t c o nfus' d, h a s
fulness an d v a r ie ty
 of_Theseus, Hippolita,_and Emilia.
They are the_widows of_three_of the_princes_slain in battle_before
Thebes, and the_conqueror Creon has refused_the remains of_the_dead
soldiers the last honour of a grave. The prayer of the unfortunate
ladies to Theseus_is,_that he_would_raise_his powerful arm to force_from
the tyrant the unburied corpses,_that the_ghosts of the dead may be
appeased by the_performance_of fitting rites_of sepulture. The duty
which knighthood imposed on the Prince_of Athens, is combated by his
unwillingness_to quit his_bridal_happiness;_but generosity and
self-denial at_length obtain the victory, and he_marches, with banners
displayed, to attack the_Thebans.

This scene bears decided marks of Shakspeare.--The_lyrical pieces
scattered through his plays are,_whether successful or not, endowed_with
a stateliness_of rhythm, an originality and_clearness of imagery,_and a
nervous_quaintness and pomp_of language, which can scarcely be_mistaken.
[Sidenote: The Bridal_Song can't be Fletcher's.] The Bridal_Song_which
ushers in this_play,_has_several of_the marks of_distinction,_and is
very_unlike_the more formal and polished rhymes_of_Fletcher.

[Sidenote: Act I. sc. i.

The Bridal Song_is Shakspere's.]

  __   _   . _    . _ _ _.      .    _ .

    _Primrose, first-born child of_Ver,
 __  Merry_springtime's_harbinger,
 _      __With her_bells dim_:
    _Oxlips in their cradles_growing,
_    _Marigolds on_death-beds blowing_,
    _    Lark-heels_trim:
__   All, dear_Nature's children sweet,
   _ Lie 'fore_bride and bridegroom's feet,
   __    [28:1]_Blessing their_sense_:
_    Not an__angel_of_the air_,
   _ Bird melodious or bird fair,
_        _Be absent hence!

_    ___   .      ._ _  _.      .   _  .

[Sidenote: Dialogue in I. i._has the characteristics of Shakspere's
style: is crowded, obscure, alliterative, clear and_yet confus'd, has
fulness and variety