that one so talkative and rattle-tongued should therewithal carry so much weight of meaning; and he sometimes appears less sensible than he is, because of his galloping volubility.  But he has no wish to be “reputed wise for saying nothing”; and he makes a merit of talking nonsense when, as is sometimes the case, nonsense is the best sort of sense:  for, like a prime good fellow, as he is, he would rather incur the charge of folly than not, provided he can thereby add to the health and entertainment of his friends.

* * * * *

Lorenzo and Jessica, the runaway lovers, are in such a lyrical state of mind as rather hinders a clear view of their characters.  Both are indeed overflowing with sweetness and beauty, but more, perhaps, as the result of nuptial inspiration than of inherent qualities.  For I suppose the worst tempers are apt to run sweet while the honeymoon is upon them.  However, as regards the present couple, it may be justly said that the instrument should be well-tuned and delicately strung to give forth such tones, be it touched ever so finely.  Even Love, potent little god as he is, can move none but choice spirits to such delectable issues.  Jessica’s elopement, in itself and its circumstances, puts us to the alternative that either she is a bad child, or Shylock a bad father.  And there is enough to persuade us of the latter; though not in such sort but that some share of the reproach falls to her.  For if a young woman have so bad a home as to justify her in thus deserting and robbing it, the atmosphere of the place can hardly fail to leave some traces in her temper and character.

Lorenzo stands fair in our regard, negatively, because he does nothing unhandsome, positively, because he has such good men for his friends.  And it is rather curious that what is thus done for him, should be done for Jessica by such a person as Launcelot Gobbo.  For she and the clown are made to reflect each other’s choicer parts:  we think the better of her for having kindled something of poetry in such a clod, and of him for being raised above himself by such an object.  And her conduct is further justified to our feelings by the odd testimony he furnishes of her father’s badness; which testimony, though not of much weight in itself, goes far to confirm that of others.  We see that the Jew is much the same at home as in the Rialto; that, let him be where he will, it is his nature to snarl and bite.

Such, in one view of the matter, is the dramatic propriety of this Launcelot.  His part, though often faulted by those who can see but one thing at a time, materially aids the completeness of the work, in giving us a fuller view both of Jessica and of her father.  But he has also a value in himself irrespective of that use:  his own personal rights enter into the purpose of his introduction; and he carries in himself a part of the reason why he is so, and not otherwise:  for Shakespeare seldom if ever brings