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No, though the whole structure of the piece should manifestly hang on them, though the whole flow of the dialogue should make one tissue of them, though every interstice of the play should be filled with them, though the fool's jest, and the Bedlamite's gibberish, should point and flash with them at every turn; though the wildest incoherence of madness, real or assumed, to its most dubious hummings, its snatches of old ballads, and inarticulate mockings of the blast, should be strung and woven with them; though the storm itself, with its wild accompaniment, and demoniacal frenzies, should articulate its response to them; keeping open tune without, to that human uproar; and howling symphonies, to the unconquered demoniacal forces of human life, for it is the Poet who writes in 'the storm continues, 'the storm continues, 'the storm continues; though even Edmund's diabolical 'fa, sol, lah, mi, should dissolve into harmony with them, while Tom's five fiends echo it from afar, and 'mop and mow' their responses, down to the one that 'since possesses chambermaids; nobody that takes the play theory, and makes a matter of faith of it merely; nobody that is willing to shut his eyes and open his mouth, and swallow the whole upon trust, as a miracle simply, is going to see anything in all this, or take any exceptions at it.
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