ABSTRACT
I PASS to the Romantic Comedies, whose patterns will help us to understand tempests or whose tempests will simplify our understanding of their patterns. We have, in my last section, seen an abundance of pure tempests. I shall therefore vary the monotony by noticing first plays where no actual tempests occur powerfully, observing in them, however, the kindred effects of sun, nature, spring and winter, and, wherever it occurs, music. Clearly in our Romances music and other optimistic impressions will preponderate over tempests; just as in our Histories tempests preponderate over music. Merchandise will be, also, very important. I shall notice these plays, therefore, in order of convenience rather than composition. From All’s Well That Ends Well I have already quoted and shall quote again. My first group, where actual and vigorous tempests are not exceedingly powerful, will include Love’s Labour’s Lost, and As You Like It, plays notable for a summer-winter opposition; and Much Ado, where we find especially, ‘birds’ and ‘dances’. Thereafter we have plays where the sea, in calm or tempest, is important in imagery or action: The Two Gentlemen of Verona, The Merry Wives of Windsor, The Taming of the Shrew, The Comedy of Errors, Twelfth Night, and The Merchant of Venice. Finally, I offer a more comprehensive analysis of A Midsummer Night’s Dream.
