his difficulties. Beatrice, the untamed colt, learns at the same time how the most masculine woman cannot dispense with assistance in certain cases; she has moreover seen her Benedick in a position in which he responds to her ideal of a man, in whom mirth and seriousness should be justly blended. . . . Benedick goes off the stage with a confession of his giddiness; but it is a giddiness overcome, and we have no reason to be anxious either for the constancy or for the peaceableness of this pair. The poet has bestowed upon them two names of happy augury.

BEATRICE.

[From Mrs. Jameson's "Characteristics of Women."] SHAKSPEARE has exhibited in Beatrice a spirited and faithful portrait of the fine lady of his own time. The deportment, language, manners, and allusions are those of a particular class in a particular age; but the individual and dramatic character which forms the groundwork is strongly discriminated, and, being taken from general nature, belongs to every age. In Beatrice, high intellect and high animal spirits meet, and excite each other like fire and air. In her wit (which is brilliant without being imaginative) there is a touch of insolence, not unfrequent in women when the wit predominates over reflection and imagination. In her temper, too, there is a slight infusion of the termagant; and her satirical humour plays with such an unrespective levity over all subjects alike, that it required a profound knowledge of women to bring such a character within the pale

of our sympathy. But Beatrice, though wilful, is not wayward; she is volatile, not unfeeling. She has not only an exuberance of wit and gaiety, but of heart and soul, and energy of spirit, and is no more like the fine ladies of modern comedy—whose wit consists in a temporary allusion or a play upon words, and whose petulance is displayed in a toss of the head, a flirt of the fan, or a flourish of the pocket handkerchief than one of our modern dandies is like Sir Philip Sydney.

In Beatrice, Shakspeare has contrived that the poetry of the character shall not only soften but heighten its comic effect. We are not only inclined to forgive Beatrice all her scornful airs, all her biting jests, all her assumption of superiority, but they amuse and delight us the more when we find her, with all the headlong simplicity of a child, falling at once into the snare laid for her affections; when we see her, who thought a man of God's making not good enough for her, who disdained to be o'ermastered by "a piece of valiant dust," stooping like the rest of her sex, vailing her proud spirit, and taming her wild heart to the loving hand of him whom she had scorned, flouted, and misused, "past the endurance of a block." And we are yet more completely won by her generous enthusiastic attachment to her cousin. When the father of Hero believes the tale of her guilt; when Claudio, her lover, without remorse or a lingering doubt, consigns her to shame; when the Friar remains silent, and the generous Benedick himself knows not what to say, Beatrice, confident in her affections, and guided only by the impulses of her own feminine heart, sees through the inconsistency, the impossibility of the charge, and exclaims, without a moment's hesitation,

"O, on my soul, my cousin is belied!"

Schlegel, in his remarks on the play of Much Ado About Nothing, has given us an amusing instance of that sense of reality with which we are impressed by Shakspeare's characters. He says of Benedick and Beatrice, as if he had known them personally, that the exclusive direction of their pointed raillery against each other "is a proof of a growing inclination." This is not unlikely; and the same inference would lead us to suppose that this mutual inclination had commenced before the opening of the play. The very first words uttered by Beatrice are an inquiry after Benedick, though expressed with her usual arch impertinence :

"I pray you, is Signior Montanto returned from the wars, or no? ́

"I pray you, how many hath he killed and eaten in these wars? But how many hath he killed? for indeed I promised to eat all of his killing."

And in the unprovoked hostility with which she falls upon him in his absence, in the pertinacity and bitterness of her satire, there is certainly great argument that he occupies much more of her thoughts than she would have been willing to confess, even to herself. In the same manner Benedick betrays a lurking partiality for his fascinating enemy; he shows that he has looked upon her with no careless eye, when he says, –

"There's her cousin [meaning Beatrice], an' she were not possessed with a fury, excels her as much in beauty as the first of May does the last of December."

Infinite skill, as well as humour, is shown in making this pair of airy beings the exact counterpart of each other; but of the two portraits, that of Benedick is by far the most pleasing, because the independence and gay indifference of temper, the laughing defiance of love and

marriage, the satirical freedom of expression, common to both, are more becoming to the masculine than to the feminine character. Any woman might love such a cavalier as Benedick, and be proud of his affection; his valour, his wit, and his gaiety sit so gracefully upon him! and his light scoffs against the power of love are but just sufficient to render more piquant the conquest of this "heretic in despite of beauty." But a man might well be pardoned who should shrink from encountering such a spirit as that of Beatrice, unless, indeed, he had "served an apprenticeship to the taming school." The wit of Beatrice is less good-humoured than that of Benedick, or, from the difference of sex, appears so. It is observable that the power is throughout on her side, and the sympathy and interest on his, — which, by reversing the usual order of things, seems to excite us against the grain, if I may use such an expression. In all their encounters she constantly gets the better of him, and the gentleman's wits go off halting, if he is not himself fairly hors de combat. Beatrice, woman-like, generally has the first word, and will have the last. Thus, when they first meet, she begins by provoking the merry warfare :

"I wonder that you will still be talking, Signior Benedick; nobody marks you.

BENEDICK.

What, my dear Lady Disdain! are you yet living?

BEATRICE.

Is it possible Disdain should die, while she hath such meet food to feed it as Signior Benedick? Courtesy itself must convert to disdain, if you come in her presence."

It is clear that she cannot for a moment endure his neglect, and he can as little tolerate her scorn. Nothing that Benedick addresses to Beatrice personally can equal

:

the malicious force of some of her attacks upon him he is either restrained by a feeling of natural gallantry, little as she deserves the consideration due to her sex (for a female satirist ever places herself beyond the pale of such forbearance), or he is subdued by her superior volubility. He revenges himself, however, in her absence: he abuses her with such a variety of comic invective, and pours forth his pent-up wrath with such a ludicrous extravagance and exaggeration, that he betrays at once how deep is his mortification, and how unreal his enmity.

In the midst of all this tilting and sparring of their nimble and fiery wits, we find them infinitely anxious for the good opinion of each other, and secretly impatient of each other's scorn; but Beatrice is the most truly indifferent of the two, the most assured of herself. The comic effect produced by their mutual attachment, which, however natural and expected, comes upon us with all the force of a surprise, cannot be surpassed; and how exquisitely characteristic the mutual avowal!

I will swear by it that you love me; and I will make him eat it that says I love not you.

BEATRICE.

Will you not eat your word?

BENEDICK.

With no sauce that can be devised to it. I protest I love thee.

BEATRICE.

Why, then, God forgive me!

BENEDICK,

What offence, sweet Beatrice?