MERCHANT OF VENICE.

It has been lately discovered, that this fable is taken from a story in the Pecorone[6] of Ser Giovanni Fiorentino, a novelist, who wrote in 1378.  The story has been published in English, and I have epitomized the translation.  The translator is of opinion that the choice of the caskets is borrowed from a tale of Boccace, which I have, likewise, abridged, though I believe that Shakespeare must have had some other novel in view.

Of The Merchant of Venice the style is even and easy, with few peculiarities of diction, or anomalies of construction.  The comick part raises laughter, and the serious fixes expectation.  The probability of either one or the other story cannot be maintained.  The union of two actions in one event is, in this drama, eminently happy.  Dryden was much pleased with his own address in connecting the two plots of his Spanish Friar, which yet, I believe, the critick will find excelled by this play.

AS YOU LIKE IT.

Of this play the fable is wild and pleasing.  I know not how the ladies will approve the facility with which both Rosalind and Celia give away their hearts.  To Celia much may be forgiven for the heroism of her friendship.  The character of Jaques is natural and well preserved.  The comick dialogue is very sprightly, with less mixture of low buffoonery than in some other plays; and the graver part is elegant and harmonious.  By hastening to the end of his work, Shakespeare suppressed the dialogue between the usurper and the hermit, and lost an opportunity of exhibiting a moral lesson, in which he might have found matter worthy of his highest powers.

TAMING OF THE SHREW.

Of this play the two plots are so well united, that they can hardly be called two, without injury to the art with which they are interwoven.  The attention is entertained with all the variety of a double plot, yet is not distracted by unconnected incidents.

The part between Catharine and Petruchio is eminently sprightly and diverting.  At the marriage of Bianca, the arrival of the real father, perhaps, produces more perplexity than pleasure.  The whole play is very popular and diverting.

ALL’S WELL THAT ENDS WELL.

This play has many delightful scenes, though not sufficiently probable, and some happy characters, though not new, nor produced by any deep knowledge of human nature.  Parolles is a boaster and a coward, such as has always been the sport of the stage, but, perhaps, never raised more laughter or contempt than in the hands of Shakespeare.

I cannot reconcile my heart to Bertram; a man noble without generosity, and young without truth; who marries Helen as a coward, and leaves her as a profligate:  when she is dead by his unkindness, sneaks home to a second marriage, is accused by a woman whom he has wronged, defends himself by falsehood, and is dismissed to happiness[7].