difficulties, and is acknowledged as the wife of Bertram. Inasmuch as the incident of the king's ring forms a strong corroborative proof that Bertram was the father of Helena's children, its introduction is judicious; but the appearance of Diana only serves to perplex what was before perfectly simple, and renders that puerile and ineffective which might have been a striking dramatic conclusion. Shakspeare considerately spared Helena the production of twins within the period allotted for the performance of his drama, contenting himself with introducing her to her husband, in a condition promising the desired circumstance. For the comic scenes, which are so prominent in the play, Shakspeare had no authority from the novel. They boast no great ingenuity in their contrivance, and the skill of their execution is principally confined to the display of Parolles, a character entirely unconnected with the fable, and useful only as the creator of mirth and variety. He is an infinitely entertaining personage:"A notorious liar," a "great way fool," " solely a coward.” "These fixed evils sit so fit in him, That they take place, when virtue's steely bones The Countess is also an introduction of Shakspeare's, and the part, though short, is distinguished by the display of an admirable understanding. Her speech of blessing on, and advice to, her son, is less known than many passages of Shakspeare, but is scarcely less deserving of admiration than some of the most celebrated. * Collectively, the characters of this drama cannot be described as forcible. The king is simply distinguished by a good heart and sound sense. Lafeu, Diana, and the Widow, are mere necessary auxiliaries in the progress of the story. Bertram has little or no character; he is the agent of the various circumstances allotted in the novel to the Count, and might have been the agent of almost any other events without much violation of propriety. Helena offers considerably higher pretensions to distinction. In giving the sanction of Bertram's mother to her attachment, and in sending her to Paris with " leave and love," and "means and attendants," Shakspeare has removed much of the levity which characterises Giletta. But her pursuit of a man who hated her is an inherent indelicacy in her conduct, and not all the estimable qualities she possesses can wash her pure of that stain. It is not very *Act I. sc. 1. "Be thou blest, Bertram," &c. easy to tolerate the union of wisdom and goodness with boldness and indiscretion, in "a maid too virtuous for the contempt of empire." Many of the remarks assigned by Shakspeare to Helena are of a very high mental character; of which the reflections introductory to the project of her journey to Paris, and her argument to induce the king to make trial of the efficacy of her prescription are instances. * The comic scenes, and the general graceful ease and fluency of its diction, give an air of lightness and variety to the play that are wanting in the novel. The mere story is not productive of more effect in one than in the other, and the drama makes no pretensions to rank in the first order of excellence. But a value is conferred upon Shakspeare's performance beyond its dramatic merit, by its being the repository of much sententious wisdom, and numerous passages of remarkable elegance. A single speech of the king may be referred to as an instance of both †, and Helena's description of her hopeless passion be selected as exquisitely beautiful. ‡ may * ተ Act I. sc. 1. " Our remedies oft in ourselves do lie," &c. Act II. sc. 1." He that of greatest works is finisher," &c. "It much repairs me To talk of your good father," &c. Act I. sc. 2. "I know I love in vain," &c. Act I. sc. 3. 148 MACBETH. 1606. THE history of Macbeth is recorded in Holinshed's Chronicle of Scotland, whence Shakspeare derived his knowledge of the striking incidents embodied in his immortal tragedy. Malcolm, King of Scotland, dying without a male heir, was succeeded, in 1040, by Duncan, the son of his eldest daughter Beatrice, the wife of Crinen, Thane of the isles and western parts of Scotland. Malcolm's second daughter, Doada, married Sinel, Thane of Glamis, and was the mother of Macbeth. The disposition of Duncan was too beneficent and mild for the lawless age in which he lived, and rebellion sprang from the culpable leniency of his sway. The magnitude of his danger at length compelled the king to a vigorous assertion of his authority, and Macbeth, his cousin, and Banquo, thane of Lochquhaber, were de spatched against the chief rebel, Macdowald, who was supported by a powerful body of Kerns and Galloglasses. Defeated, and despairing of mercy, Macdowald slew himself. Scarcely was this insurrection suppressed when Sueno, King of Norway, invaded Scotland. With an unaccustomed activity, Duncan marched in person against the enemy, himself commanding the main battle, and consigning the inferior charges to Banquo and Macbeth. The Scots were defeated with great slaughter, and the king took refuge in the castle of Bertha, while the activity of his generals, undismayed by defeat, was exerted to collect new powers. Duncan, by feigned negotiations, lulled his enemies into security, when suddenly Macbeth and Banquo appeared again in the field; the Danes were slaughtered without resistance, only Sueno, and ten other persons effecting their escape. The celebration of this triumph was succeeded by a new alarm, the arrival of a second fleet of Danes, sent by Canute, King of England, in revenge of his brother Sueno's overthrow. Macbeth and Banquo encountered and defeated the enemy: those who escaped the sword were fain to purchase the privilege of burial for their slaughtered friends in Saint Colmes Inch, by a large payment of gold: a |