nerally accompanying a low degree of civilization; and in the first scene of the second act Shakspeare has, as in many other places, shown the tendency in bad men to indulge in scorn and contemptuous expressions, as a mode of getting rid of their own uneasy feelings of inferiority to the good, and also, by making the good ridiculous, of rendering the transition of others to wickedness easy. Shakspeare never puts habitual scorn into the mouths of other than bad men, as here in the instances of Antonio and Sebastian. The scene of the intended assassination of Alonzo and Gonzalo is an exact counterpart of the scene between Macbeth and his lady, only pitched in a lower key throughout, as designed to be frustrated and concealed, and exhibiting the same profound management in the manner of familiarizing a mind, not immediately recipient, to the suggestion of guilt, by associating the proposed crime with something ludicrous or out of place,something not habitually matter of reverence. By this kind of sophistry the imagination and fancy are first bribed to contemplate the, suggested act, and at length to become acquainted with it. Observe how the effect of this scene is heightened by contrast with another counterpart of it in low life,that between the conspirators Stephano, Caliban, and Trinculo in the second scene of the third act, in which there are the same essential characteristics. In this play and in this scene of it are also shown the springs of the vulgar in politics, of that kind - of politics which is inwoven with human nature. In his treatment of this subject, wherever it occurs, Shakspeare is quite peculiar. In other writers we find the particular opinions of the individual; in Massinger it is rank republicanism; in Beaumont and Fletcher even jure divino principles are carried to excess;-but Shakspeare never promulgates any party tenets. He is always the philosopher and the moralist, but at the same time with a profound veneration for all the established institutions of society, and for those classes which form the permanent elements of the state-especially never introducing a professional character, as such, otherwise than as respectable. If he must have any name, he should be styled a philosophical aristocrat, delighting in those hereditary institutions which have a tendency to bind one age to another, and in that distinction of ranks, of which, although few may be in possession, all enjoy the advantages. Hence, again, you will observe the good nature with which he seems always to make sport with the passions and follies of a mob, as with an irrational animal. He is never angry with it, but hugely content with holding up its absurdities to its face; and sometimes you may trace a tone of almost affectionate superiority, something like that in which a father speaks of the rogueries of a child. See the good-humoured way in which he describes Stephano passing from the most licentious freedom to absolute despotism over Trinculo and Caliban. The truth is, Shaks peare's characters are all genera intensely individualized; the results of meditation, of which observation supplied the drapery and the colours necessary to combine them with each other. He had virtually surveyed all the great component powers and impulses of human nature,—had seen that their different combinations and subordinations were in fact the individualizers of men, and showed how their harmony was produced by reciprocal disproportions of excess or deficiency. The language in which these truths are expressed was not drawn from any set fashion, but from the profoundest depths of his moral being, and is therefore for all ages. THE LOVE'S LABOUR'S LOST. HE characters in this play are either impersonated out of Shakspeare's own multiformity by imaginative self-position, or out of such as a country town and schoolboy's observation might supply, the curate, the schoolmaster, the Armado, (who even in my time was not extinct in the cheaper inns of North Wales) and so on. The satire is chiefly on follies of words. Biron and Rosaline are evidently the pre-existent state of Benedict and Beatrice, and so, perhaps, is Boyet of Lafeu, and Costard of the Tapster in Measure for Measure; and the frequency of the rhymes, the sweetness as well as the smoothness of the metre, and the number of acute and fancifully illustrated aphorisms, are all as they ought to be in a poet's youth. True genius begins by generalizing and condensing; it ends in realizing and expanding. It first collects the seeds. Yet if this juvenile drama had been the only one extant of our Shakspeare, and we possessed the tradition only of his riper works, or accounts of them in writers who had not even mentioned this play, how many of Shakspeare's characteristic features might we not still have discovered in Love's Labour's Lost, though as in a portrait taken of him in his boyhood. I can never sufficiently admire the wonderful activity of thought throughout the whole of the first scene of the play, rendered natural, as it is, by the choice of the characters, and the whimsical determination on which the drama is founded. A whimsical determination certainly;-yet not altogether so very improbable to those who are conversant in the history of the middle ages, with their Courts of Love, and all that lighter drapery of chivalry, which engaged even mighty kings with a sort of serio-comic interest, and may well be supposed to have occupied more completely the smaller princes, at a time when the noble's or prince's court contained the only theatre of the domain or principality. This sort of story, too, was admirably suited to Shakspeare's times, when the English court was still the foster-mother of the state and the muses; and when, in consequence, the courtiers, and men of rank and fashion, affected a display of wit, point, and sententious observation, that would be deemed intolerable at present,-but in which a hundred years of controversy, involving every great political, and every dear domestic, interest, had trained all but the lowest classes to participate. Add to this the very style of the sermons of the time, and the eagerness of the Protestants to distinguish themselves by long and frequent preaching, and it will be found that, from the reign of Henry VIII. to the abdication of James II. no country ever received such a national education as England. Hence the comic matter chosen in the first instance is a ridiculous imitation or apery of this constant striving after logical precision, and subtle opposition of thoughts, together with a making the most of every conception or image, by expressing it under the least expected property belonging to it, and this, again, rendered specially absurd by being applied to the most current subjects and occurrences. The phrases and modes of combination in argument were caught by the most ignorant from the custom of the age, and their ridiculous misapplication of them is most amusingly exhibited in Costard; whilst examples suited only to the gravest propositions and impersonations, or apostrophes to abstract thoughts impersonated, which are in fact the natural language only of the most |