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if the Poet felt the persons, with all their grotesque oddities, to be his own veritable flesh-and-blood kindred. There is no contempt, no mockery here; nothing that ministers an atom of food to any unbenevolent emotion : the subjects are made delicious as well as laughable; and delicious withal through the best and kindliest feelings of our nature. The Poet's sporting with them is the free, loving, wholehearted play of a truly great, generous, simple, child-like soul. Compared to these genuine offspring of undeflowered genius, the ill-natured and cynical caricatures in which Dickens, for example, so often and so tediously indulges, seem the workmanship of quite another species of being. The part of Dogberry was often attempted to be imitated by other dramatists of Shakespeare's time; which shows it to have been a decided hit on the stage. And indeed there is no resisting the delectable humour of it: but then the thing is utterly inimitable; Shakespeare being no less unapproachable in this vein than in such delineations as Shylock and Lear and Cleopatra.

Benedick and Beatrice are much the most telling feature of the play. They have been justly ranked among the stronger and deeper of Shakespeare's minor characters. They are just about the right staple for the higher order of comic delineation; whereas several of the leading persons in what are called the Poet's comedies draw decidedly into the region of the Tragic. The delineation, however, of Benedick and Beatrice stays at all points within the proper sphere of Comedy. Both are gifted with a very piercing, pungent, and voluble wit; and pride of wit is with both a specially-prominent trait; in fact, it appears to be on all ordinary occasions their main actuating principle. The rare entertainment which others hav from their displays in this kind has naturally made them quite conse of their gift; and this consciousness has not less naturally led them to make it a matter of some pride. They study it and rely on it a good deal as their title or passport to


approval and favour. Hence a habit of flouting and raillery has somewhat usurped the outside of their characters, inso-_much as to keep their better qualities rather in the background, and even to obstruct seriously the outcome of what is best in them.

Whether for force of understanding or for solid worth of character, Benedick is vastly superior both to Claudio and to the Prince. He is really a very wise and noble fellow; of a healthy and penetrating intelligence, and with a sound underpinning of earnest and true feeling; as appears when the course of the action surprises or inspires him out of his pride of brilliancy. When a grave occasion comes, his superficial habit of jesting is at once postponed, and the choicer parts of manhood promptly assert themselves in clear and handsome action. We are thus given to know that, however the witty and waggish companion or makesport may have got the ascendency in him, still he is of an inward composition to forget it as soon as the cause of wronged and suffering virtue or innocence gives him a manly and generous part to perform. And when the blameless and gentle Hero is smitten down with cruel falsehood, and even her father is convinced of her guilt, he is the first to suspect that “the practice of it lies in John the bastard.” With his just faith in the honour of the Prince and of Claudio, his quick judgment and native sagacity forthwith hit upon the right clew to the mystery. Much the same, all through, is to be said of Beatrice; who approves herself a thoroughly brave and generous character. The swiftness and brilliancy of wit upon which she so much prides herself are at once forgotten in resentment and vindication of her injured kinswoman. She becomes somewhat furious indeed, but it is a noble and righteous fury, — the fury of kindled strength too, and not of mere irritability, or of a passionate temper.

As pride of wit bears a main part in shaping the ordinary conduct of these persons; so the Poet aptly represents them as being specially piqued at what pinches or touches

them in that point. Thus, in their wit-skirmish at the masquerade, what sticks most in Benedick is the being described as "the Prince's jester," and the hearing it said that, if his jests are "not marked, or not laughed at," it “strikes him into melancholy"; while, on the other side, Beatrice is equally stung at being told that "she had her good wit out of The Hundred Merry Tales." Their keen sensitiveness to whatever implies any depreciation or contempt of their faculty in this kind is exceedingly well conceived. Withal it shows, I think, that jesting, after all, is more a matter of art with them than of character. #ey are proud of


As might be expected, the good repute of Benedick and Beatrice has been not a little perilled, not to say damaged, by their redundancy of wit. But it is the ordinary lot of persons so witty as they to suffer under the misconstructions of prejudice or partial acquaintance. Their very sparkling seems to augment the difficulty of coming to a true knowledge of them. How dangerous it is to be so gifted that way, may be seen by the impression these persons have had the ill luck to make on one whose good opinion is so desirable as Campbell's. "During one half of the play," says he, "we have a disagreeable female character in Beatrice. Her portrait, I may be told, is deeply drawn and minutely finished. It is; and so is that of Benedick, who is entirely her counterpart, except that he is less disagreeable." And again he speaks of Beatrice as an "odious woman." I am right sorry that so tasteful and genial a critic should have such hard thoughts of the lady. In support of his opinion he quotes Hero's speech, "Disdain and scorn ride sparkling in her eyes," &c.; but he seems to forget that these words are spoken with the intent that Beatrice shall hear them, and at the same time think she overhears them; that is, not as being true, but as being suited to a certain end, and as having just enough of truth to be effective for that end. And the effect which the speech has on Beatrice proves that it is not true as regards her character, however good it may be for the speaker's purpose. To since she


the same end, the Prince, Claudio, and Leonato speak as much the other way, when they know Benedick is overhearing them; and what is there said in her favour is just a fair offset to what was before said against her. But indeed it is plain enough that any thing thus spoken really for the ear of the subject, yet seemingly in confidence to another person, ought not to be received in evidence against her.

But the critic's disparaging thoughts in this case are well accounted for in what himself had unhappily witnessed. “I once knew such a pair,” says he; “the lady was a perfect Beatrice: she railed hypocritically at wedlock before her marriage, and with bitter sincerity after it. She and her Benedick now live apart, but with entire reciprocity of sentiments; each devoutly wishing that the other may soon

8。 pass into a better world.” So that the writer's strong dislike of Beatrice is a most pregnant testimony to the Poet's truth of delineation; inasmuch as it shows how our views of his characters, as of those in real life, depend less perhaps on what they are in themselves than on our own peculiar associations. Nature's and Shakespeare's men and women seem very differently to different persons, and even to the same persons at different times. Regarded, therefore, in this light, the censure of the lady infers such a tribute to the Poet, that I half suspect the author meant it as such. In reference to the subject, however, my judgment goes much rather with that of other critics: That in the unamiable passages of their deportment Benedick and Beatrice are playing a part; that their playing is rather to conceal than to disclose their real feelings; that it is the very strength of their feelings which puts them upon this mode of disguise; and that the pointing of their raillery so much against each other is itself proof of a deep and growing mutual interest: though it must be confessed that the ability to play so well, and in that kind, is a great temptation to carry it to excess, or to use it where it may cause something else than mirth. This it is that justifies the repetition of the stratagem for drawing on a match be

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tween them; the same process being needed in both cases in order “to get rid of their reciprocal disguises, and make them straightforward and in earnest." And so the effect of the stratagem is to begin the unmasking which is so thoroughly completed by the wrongs and sufferings of Hero: they are thus disciplined out of their playing, and made to show themselves as they are: before we såw their art; now we see their virtue, — the real backbone of their characters; and it becomes manifest enough that, with all their superficial levity and caustic sportiveness, they yet have hearts rightly framed for the serious duties and interests of life.

It is very considerable, also, how their peculiar cast of self-love and their pride of wit are adroitly worked upon in the execution of the scheme for bringing them together. Both are deeply mortified at overhearing how they are blamed for their addiction to flouting, and at the same time both are highly flattered in being made each to believe that the other is secretly dying of love, and that the other is kept from showing the truth by dread of mocks and gibes. As they are both professed heretics on the score of love and marriage, so both are tamed out of their heresy in the glad persuasion that they have each proved too much for the other's pride of wit, and have each converted the other to the true faith. But indeed that heresy was all along feigned as a refuge from merry persecutions; and the virtue of the thing is, that in the belief that they have each conquered the other's assumed fastidiousness, they each lay aside their own. The case involves a highly curious interplay of various motives on either side; and it is not easy to say whether vanity or generosity, the self-regarding or the self-forgetting emotions, are uppermost in the process.

The wit of these two persons, though seeming at first view much the same, is very nicely discriminated. Beatrice, intelligent as she is, has little of reflection in her wit; but throws it off in rapid flashes whenever any object ministers a spark to her fancy. Though of the most piercing


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