but doth not the appetite alter? A man loves the meat in his youth that he cannot endure in his age.-Shall quips, and sentences, and these paper bullets of the brain, awe a man from the career of his humor? No: the world must be peopled. When I said I would die a bachelor, I did not think I should live till I were married.-Here comes Beatrice: by this day, she's a fair lady: I do spy some marks of love in her."

The beauty of all this arises from the characters of the persons so entrapped. Benedick is a professed and staunch enemy to marriage, and gives very plausible reasons for the faith that is in him. And as to Beatrice, she persecutes him all day with her jests (so that he could hardly think of being troubled with them at night), she turns him and all other things into ridicule, and is proof against everything serious :

"HERO. Disdain and scorn ride sparkling in her eyes,
Misprising what they look on; and her wit
Values itself so highly, that to her

All matter else seems weak: she cannot love,
Nor take no shape nor project of affection,
She is so self-endeared.

URSULA. Sure, I think so;

And therefore, certainly, it were not good
She knew his love, lest she make sport at it.

HERO. Why, you speak truth: I never yet saw man,
How wise, how noble, young, how rarely featur'd,
But she would spell him backward: if fair-fac'd,
She'd swear the gentleman should be her sister;
If black, why, nature, drawing of an antick,
Made a foul blot: if tall, a lance ill-headed;
If low, an agate very vilely cut:

If speaking, why, a vane blown with all winds;
If silent, why, a block moved with none.

So turns she every man the wrong side out;
And never gives to truth and virtue that

Which simpleness and merit purchaseth."

These were happy materials for Shakspeare to work on, and he has made a happy use of them. Perhaps that middle point of comedy was never more nicely hit in which the ludicrous blends with the tender, and our follies, turning round against themselves in support of our affections, retain nothing but their humanity.

Dogberry and Verges in this play are inimitable specimens of quaint blundering and misprisions of meaning; and are a standing record of that formal gravity of pretension and total want of common understanding, which Shakspeare no doubt copied from real life, and which in the course of two hundred years appear to have ascended from the lowest to the highest offices in the state.

AS YOU LIKE IT.

SHAKSPEARE has here converted the forest of Arden into another Arcadia, where they "fleet the time carelessly, as they did in the golden world." It is the most ideal of any of this author's plays. It is a pastoral drama, in which the interest arises more out of the sentiments and characters than out of the actions or situations. It is not what is done, but what is said, that claims our attention. Nursed in solitude, "under the shade of melancholy boughs," the imagination grows soft and delicate, and the wit runs riot in idleness, like a spoiled child, that is never sent to school. Caprice and fancy reign and revel here, and stern necessity is banished to the court. The mild sentiments of humanity are strengthened with thought and leisure; the echo of the cares and noise of the world strikes upon the ear of those "who have felt them knowingly," softened by time and distance. "They hear the tumult, and are still." The very air of the place seems to breathe a spirit of philosophical poetry; to stir the thoughts, to touch the heart with pity, as the drowsy forest rustles to the sighing gale. Never was there such beautiful moralising, equally free from pedantry or petulance.

"And this their life, exempt from public haunts, Finds tongues in trees, books in the running brooks, Sermons in stones, and good in everything."

Jaques is the only purely contemplative character in Shakspeare. He thinks and does, nothing. His whole occupation is to amuse his mind, and he is totally regardless of his body and his fortunes. He is the prince of philosophical idlers; his

only passion is thought; he sets no value upon anything, but as it serves as food for reflection. He can "suck melancholy out of a song, as a weasel sucks eggs;" the motley fool, "who morals on the time," is the greatest prize he meets with in the forest. He resents Orlando's passion for Rosalind as some disparagement of his own passion for abstract truth; and leaves the Duke as soon as he is restored to his sovereignty, to seek his brother out who has quitted it, and turned hermit.

-"Out of these convertites

There is much matter to be heard and learnt."

Within the sequestered and romantic glades of the forest of Arden, they find leisure to be good and wise, or to play the fool and fall in love. Rosalind's character is made up of sportive gaiety and natural tenderness: her tongue runs the faster to conceal the pressure at her heart. She talks herself out of breath, only to get deeper in love. The coquetry with which she plays with her lover in the double character which she has to support is managed with the nicest address. How full of voluble, laughing grace is all her conversation with Orlando

"In heedless mazes running

With wanton haste and giddy cunning."

How full of real, fondness and pretended cruelty is her answer to him when he promises to love her "For ever and a day!"

"Say a day without the ever: no, no, Orlando, men are April when they woo, December when they wed; maids are May when they are maids, but the sky changes when they are wives: I will be more jealous of thee than a Barbary cock-pigeon over his hen; more clamorous than a parrot against rain; more new-fangled than an ape; more giddy in my desires than a monkey; I will weep for nothing, like Diana in the fountain, and I will do that when you are disposed to be merry; I will laugh like a hyen, and that when you are inclined to sleep.

ORLANDO. But will my Rosalind do so?
ROSALIND. By my life she will do as I do."

The silent and retired character of Celia is a necessary relief to the provoking loquacity of Rosalind, nor can anything be better conceived or more beautifully described than the mutual affection between the two cousins.

-"We still have slept together,

Rose at an instant, learn'd, play'd, eat together,
And wheresoe'er we went, like Juno's swans,
Still we went coupled and inseparable.”

The unrequited love of Silvius for Phebe shows the perversity of this passion in the commonest scenes of life, and the rubs and stops which nature throws in its way, where fortune has placed none. Touchstone is not in love, but he will have a mistress as a subject for the exercise of his grotesque humor, and to show his contempt for the passion, by his indifference about the person. He is a rare fellow. He is a mixture of the ancient cynic philosopher with the modern buffoon, and turns folly into wit, and wit into folly, just as the fit takes him. His courtship of Aubrey not only throws a degree of ridicule on the state of wedlock itself, but he is equally an enemy to the prejudices of opinion in other respects. The lofty tone of enthusiasm which the Duke and his companion in exile spread over the stillness and solitude of a country life, receives a pleasant shock from Touchstone's skeptical determination of the question.

"CORIN. And how like you this shepherd's life, Mr. Touchstone? CLOWN. Truly, shepherd, in respect of itself, it is a good life; but in respect that it is a shepherd's life, it is naught. In respect that it is solitary, I like it very well; but in respect that it is private, it is a very vile life. In respect it is in the fields, it pleaseth me well; but in respect it is not in the court, it is tedious. As it is a spare life, look you it fits my humor; but as there is no more plenty in it, it goes much against my stomach."

Zimmerman's celebrated work on Solitude discovers only one half the sense of this passage.

There is hardly any of Shakspeare's plays that contains a greater number of passages that have been quoted in books of extracts, or a greater number of phrases that have become in a manner proverbial. If we were to give all the striking