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which this Avit and satire wage war is not Shakespeare ' s property ; "it is universally found on the English stage , and is transferred to it directly from life . " And this kind of jesting , so far as our knowledge of Shakespeare ' s social life enables us to judge , was met in his personal intercourse with others . The author observes : —

" Tradition speaks of Shakespeare as ' a handsome , well-shaped man , very good company , and of a very ready and pleasant and smooth wit . ' At the Mermaid , in Friday-street , he associated with Beaumont , Fletcher , Selclen , Ben Jonson , and other intellectual contemporaries , and there according to Beaumont , in his address to Ben

Jonson , were " Heard words that have been So nimble , and so fall of subtle tlamc , As if that from every one from whom they came Had meant to put his whole wit in a jest . "

Especially famous were the meetings between Shakespeare and Ben Jonson . According to Fuller , they were accustomed to meet " like a great Spanish galleon , and an English man-of-war . Master Jonson , liko the former , was built far higher in learning , solid but slow in his performances ; Shakespeare , like the English man-of-war , lesser in bulk , but lighter in sailing , could turn with all tides , tack

about , and take advantage of all winds , by the quickness of his AVit and invention . " Thus these " Avit-combats " in Shakespeare ' s life are compared to tho same imago as that between Boyet and Biron in Love ' s Labour ' s Lost . But this " wit-combat , " which was a custom of tho age , often degenerated into mere senseless jeering .

Shakespeare recognised this . He knew also that Avhile " moderate cheerful jest confirmed and promoted the truth and freedom of mind , " laughers by profession never pierced the surface of things . " Throughout , therefore , he has given his healthiest humourists the healthiest part of the seriousness of life as their dowry . "

From the remarks on A Midsummer Night's Dream we extract the following passage , as to the apparent design of the poet in writing it . " We have before said that tho piece appears designed to be treated as a dream ; not merely in outer form and colouring , but also in inner signification . The errors of that blind intoxication of tho senses ,

which from the main point of the play , appears to us to be an allegorical picture of the errors of a lif ' o of dreams . Reason and consciousness are cast aside in that intoxicating passion as in a dream , Cupid's delight in breach of faith , and Jove's merriment at the perjury of the lovers cause the actions of those who are in the power of the God of Love to appear almost as unaccountable as the

sins which wo commit in a dream . Wo find moreover that the actions and occupations of Cupid and of the fairies throughout the piece are interwoven or alternate . And this appears to us to confirm most forcibly the intention of the poet to compare allegorically the sensuous life of love with a dream-life ; the exchange of functions

between Cupid and the fairies is therefore the true poetic embodi . ment of this comparison . In the realm of dreams is assigned to Shakespeare's fairies ; they are essentially nothing else than personified dream gods , children of the fantasy , Avhich , as Mercutio says , is not only the idle produce of decorum , but also of the caprices of superficial love . "

" Vaguely , as in a dream , this significance of the fairies rests in the ancient popular belief of the Teutonic races , and Shakespeare , with the instinctive touch of genius , has fashioned the idea into exquisite form . . . . But that which Shakespeare thus received in the rough form of fragmentary popular belief he developed in his playful creation into a beautiful and regulated world . He here in a measure deserves the merit which Heredotus ascribes to Homer ;

as the Greek poet has created the great abode of the gods and its Olympic inhabitants , so Shakespeare has given form and place to the fairy kingdom , and with the natural creative power of genius he has breathed a soul into his merry little citizens , thus imparting a living centre to their naturo and their office , their behaviour and their doings . He has given embodied form to the invisible and life to the dead , and has thus striven for the poet's greatest glory . "

As to the " types of human nature which Shakespeare deemed especially suitable as the original of his fairies , " these , thinks the author , may be found particularly among women of the middle and upper ranks . There are among them , he writes , " natures which are not accessible to higher spiritual necessities , which take their Avay through life with no serious and profound reference to the

principles of morality a 3 to intellectual objects , yet with a decided inclination and qualification for all that is beautiful , agreeable , and graceful , though without being able to reach even here the higher attainments of art . They grasp readily as occasion offers all that is tangible ; they are ready , dexterous , disposed for tricks and raillery , ever skilful at acting parts , at assuming appearances , at disguises and deceptions , seeking to give a stimulant to life only by

festivities , pleasures , sport , and jest . These light , agreeable , rallying and sylph-like natures , Avho live from day to day , and have no spiritual consciousness of a common object in life , whose existence is a playful dream , full of grace and embellishment , but never a life of higher aim , have been chosen by Shakespeare with singular tact as the originals from whose fixed characteristics he gave form and life to his airy faiiies . "

As A Midsummer Night's Dream is admittedly one of the most difficult of Shakespeare ' s plays to represent , the author closes his commentary upon it with a few appropriate remarks on acting . Wo shall not , having quoted so largely already , give these in extenso , but one or two of the remarks may be given , just for the purpose

of affording our readers some idea of their pertinency . They are applied , of course , to representations on the German stage , but are none the less applicable to our stage . " When , " says Gervinus , " a girl's high treble utters the part of Oberon , a character justly represented by painters with abundant beard , aud possesing all the dignity of tie calm ruler of this lowering world ; when the rude

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goblin Puck is performed by au affected actress ; when Titauia and her suite appear in ball costume , without beauty or dignity , for ever moving about in tho hopping motion of tho dancing chorus , in the most offensive ballet fashion that modern uunatnraluess has created , what then becomes of the secret charm of these scenes and figures which should appear in pure aerial drapery , which in this sport

should retain a certain elevated simplicity , & c . " Then , as to the " Middle class of mortals introduced between the fairies and the clowns , the lovers driven abont by bewildering delusions , what sensation do they excite when we see them in tho frenzy of passion , wandering through the wood in kid gloves , in knightly dress , conversing after the manner of the refined world , devoid of all warmth and without a breath of this charming poetry ? How can knightly

accoutrements suit Theseus , the kinsman of Hercules aud tho Amazonian Hippolyte . Certain it is that in the fantastic play of an unlimited dream , from which time and place are effaced , theso characters ought not to appear in tho strict costume of Greek antiquity ; but still less , while one fixed attire is avoided , should we pass over to the other extreme , and transport to Athens a knightly dress and a guard of Swiss Halberdiers . "

Here for the moment we must panso . The few remarks it is our intention to add must be reserved for a futuro occasion . We aro almost afraid , indeed , that we have prolonged this notice beyond what tho patience of our readers may find endurable . Our apology must be the extreme value of the book , and the extremely interesting manner in which the commentator has treated the works of our greatest poet .

Answers To Correspondents.

ANSWERS TO CORRESPONDENTS .

All Letters and communications must be addressed to the Editor of THE FREEMASON ' S CHRONICLE , 67 Barbican-, London , E . C . BETA . —1 , Much will depend on the wording of tho bye-laws , on which further information should be given . The protest after tho ballot was certainly ill-timed , but we do not see that the M . E . Z

could ignore it—once raised . II . The only way that occurs to us is to move , at tho next meeting of Chapter , that the minutes of the previous meeting be not confirmed . III . Our own opinion would bo governed by the special cirenmstances , if any , of the

ballot . For our own part , Ave should avoid asking for a second ballot in any case . IV . We think every companion should vote , but if he wishes not to vote , ho should either avoid being present or withdraw .

B . —Thanks for your communication , but it is slightly nn-Masonio in tone . P . M . —Refer to the Book of Constitutions . E . COMPANION . —The passage is in Ben Jonson , and reads as follows : "' Tis tho last key-stono

That makes the Arch ; tho rest that there wore put Are nothing till that comes to bind and shut . Then stands it a triumphant mark ! then men Observe the strength , the heighth , tho why and when It was erected ; and still , walking under , Meet some other matter to look up at and wonder !"

Correspondence.

CORRESPONDENCE .

All Letters must bear the name and address of the Writer , not necessarily for publication , but as a guarantee of good faith . We cannot undertake to return rejected communications . We do not hold ourselves responsible for the opinions of oxir Correspondents .

To the Editor of THE I REEJIASONS CHRONICLE . DEAR SIR AND BROTHER . —I have just returned from the Continent and have seen in the files of your valuable paper , that my letter on tho subject of the Lifeboat Endowment Fauci has provoked some discussion . I am truly glad to see tho subject ventilated , aud am sanguine that the Fraternity will easily raisea sum sufficient to make

THE LIFEBOAT ENDOWMENT .

our own boat free for ever of tho charitable donations of the gcucral public . In a few days I shall bo ic London , and will call upon you for tho puipose of making sotuo suggestions which may prove valuable . I shall be glad when , I can see you , to hand over a guinea as my contribution towards tho fund . I am , dear Sir and Pro ., yours , in tho Bonds of tho Order , Liverpool , 25 thFebruary . A MASTER MASON .

HOLLOWAY ' OINTMENT ASD Prr . r . s . —With t ' le inclemencies of v .-inter , mnuv afflictions will arise unless effective means for preventing or checking their course bo adopted . No lingering cough , hoarseness and shortness of breath on slight exertion , should be permitted to continue a single dav , without means being taken for their removal ; more especiall y when remedial measure-sure safe , rapid and effective . These qualities are displayed in a . high degree by Holloway's preparations . The Ointment , rubbed upon the skin , draws surplus blood from congested structures , aud gives immense relief to uverv oppressed organ concerned in the respiration find tho emulation . The wholesome effect externally , aided by the nllerativc . action of tl ) C I'ill-i infnnmllv . dispels -iP danger from latent mischief . "