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we are like you in the rest, we will resemble you in that. If a Jew wrong a Christian, what is his humility ? revenge. If a Christian wrong a Jew, what should his sufferance be by Christian example ? why revenge. The villainy you teach me I will execute, and it shall go hard but I will better the instruction."
The whole of the trial-scene, both before and after the entrance of Portia, is a master-piece of dramatic skill. The legal acuteness, the passionate declamations, the sound maxims of jurisprudence, the wit and irony interspersed in it, the fluctuations of hope and fear in the different persons, and the completeness and suddenness of the catastrophe, cannot be surpassed. Shylock, who is his own counsel, defends himself well, and is triumphant on all the general topics that are urged against him, and only fails through a legal flaw. Take the following as an instance:
SHYLOCK. What judgment shall I dread, doing no wrong?
The keenness of his revenge awakes all his faculties; and he beats back all opposition to his purpose, whether grave or gay, whether of wit or argument, with an equal degree of earnestness and self.possession. His character is displayed as distinctly in other less prominent parts of the play, and we may collect from a few sentences the history of his life his descent and origin, his thrift and domestic economy, his affection for his daughter, whom he loves next to his wealth, his courtship and his first present to Leah, his wife! “I would not have parted with it" (the ring which he first gave her) “ for a wilderness of monkies !” What a fine Hebraism is implied in this expression !
Portia is not a very great favorite with us; neither are we in love with her maid, Nerissa. Portia has a certain degree of affectation and pedantry about her, which is very unusual in Shakspeare's women, but which perhaps was a proper qualification for the office of a “civil doctor," which she undertakes and executes so successfully. The speech about Mercy is very well; but there are a thousand finer ones in Shakspeare. We do not ad. mire the scene of the caskets; and object entirely to the Black Prince Morocchius. We should like Jessica better if she had not deceived and robbed her father, and Lorenzo, if he had not married a Jewess, though he thinks he has a right to wrong a Jew. The dialogue between this newly-married couple by moonlight, beginning “On such a night,” &c., is a collection of classical elegancies. Launcelot, the Jew's man, is an honest fellow. The dilemma in which he describes himself placed between his “conscience and the fiend,” the one of which advises him to run away from his master's service and the other to stay in it, is exquisitely humorous.
Gratiano is a very admirable subordinate character. He is the jester of the piece : yet one speech of his, in his own defence, contains a whole volume of wisdom.
“ ANTHONIO. I hold the world but as the world, Gratiano,
GRATIANO. Let me play the fool :
And do a wilful stillness entertain,
Of wisdom, gravity, profound conceit;
As who should say, I am Sir Oracle,
Gratiano's speech on the philosophy of love, and the effect of habit in taking off the force of passion, is as full of spirit and good sense. The graceful winding up of this play in the fifth act, after the tragic business is despatched, is one of the happiest instances of Shakspeare's knowledge of the principles of the drama. We do not mean the pretended quarrel between Portia and Nerissa and their husbands about the rings, which is amusing enough, but the conversation just before and after the return of Portia to her own house, beginning, “ How sweet the moonlight sleeps upon this bank," and ending " Peace! how the moon sleeps with Endy. mion and would not be awaked." There is a number of beautiful thoughts crowded into that short space, and linked together by the most natural transitions.
When we first went to see Mr. Kean in Shylock, we expected to see, what we had been used to see, a decrepid old man, bent with age and ugly with mental deformity, grinning with deadly malice, with the venom of his heart congealed in the expression of his countenance, sullen, morose, gloomy, inflexible, brooding over one idea, that of his hatred, and fixed on one unalterable purpose, that of his revenge. We were disappointed, because we had taken our idea from other actors, not from the play. There is no proof there that Shylock is old, but a single line, * Bassanio and old Shylock, both stand forth," which does not imply that he is infirm with age and the circumstance that he has a daughter marriageable, which does not imply that he is old at all. It would be too much to say that his body should be made crooked and deformed to answer to his mind, which is bowed down and warped with prejudices and passion. That he has but one idea, is not true; he has more ideas than any other per. son in the piece; and if he is intense and inveterate in the pur. suit of his purpose, he shows the utmost elasticity, vigor, and presence of mind, in the means of attaining it. But so rooted was our habitual impression of the part from seeing it caricatur. ed in the representation, that it was only from a careful perusal of the play itself that we saw our error. The stage is not in general the best place to study our author's characters in. It is too often filled with traditional common-place conceptions of the part, handed down from sire to son, and suited to the taste of the great vulgar and the small.—“ 'Tis an unweeded garden : things rank and gross do merely gender in it! If a man of genius comes once in an age to clear away the rubbish, to make it fruitful and wholesome, they cry, " 'Tis a bad school : it may be like nature, it may be like Shakspeare, but it is not like us.” Admirable critics ! ! od
THE WINTER'S TALE.
We wonder that Mr. Pope should have entertained doubts of the genuineness of this play. He was, we suppose, shocked (as a certain critic suggests) at the Chorus, Time, leaping over sixteen years with his crutch between the third and fourth act, and at Antigonus's landing with the infant Perdita on the sea-coast of Bohemia. These slips or blemishes, however, do not prove it not to be Shakspeare's; for he was as likely to fall into them as anybody; but we do not know any body but himself who could produce the beauties. The stuff of which the tragic passion is composed, the romantic sweetness, the comic humor, are evident. ly his. Even the crabbed and tortuous style of the speeches of Leontes, reasoning on his own jealousy, beset with doubts and fears, and entangled more and more in the thorny labyrinth, bears every mark of Shakspeare's peculiar manner of conveying the painful struggle of different thoughts and feelings, laboring for utterance, and almost strangled in the birth. For instance
* Ha not you seen, Camillo ?
Here Leontes is confounded with his passion, and does nous know which way to turn himself, to give words to the anguish, rage, and apprehension, which tug at his breast. It is only as