the ill-natured and cynical caricatures in which Dickens, for example, so often and so tediously indulges, seem the workmanship of quite another species of being.  The part of Dogberry was often attempted to be imitated by other dramatists of Shakespeare’s time; which shows it to have been a decided hit on the stage.  And indeed there is no resisting the delectable humour of it:  but then the thing is utterly inimitable; Shakespeare being no less unapproachable in this vein than in such delineations as Shylock and Lear and Cleopatra.

* * * * *

Benedick and Beatrice are much the most telling feature of the play.  They have been justly ranked among the stronger and deeper of Shakespeare’s minor characters.  They are just about the right staple for the higher order of comic delineation; whereas several of the leading persons in what are called the Poet’s comedies draw decidedly into the region of the Tragic.  The delineation, however, of Benedick and Beatrice stays at all points within the proper sphere of Comedy.  Both are gifted with a very piercing, pungent, and voluble wit; and pride of wit is with both a specially-prominent trait; in fact, it appears to be on all ordinary occasions their main actuating principle.  The rare entertainment which others have from their displays in this kind has naturally made them quite conscious of their gift; and this consciousness has not less naturally led them to make it a matter of some pride.  They study it and rely on it a good deal as their title or passport to approval and favour.  Hence a habit of flouting and raillery has somewhat usurped the outside of their characters, insomuch as to keep their better qualities rather in the background, and even to obstruct seriously the outcome of what is best in them.

Whether for force of understanding or for solid worth of character, Benedick is vastly superior both to Claudio and to the Prince.  He is really a very wise and noble fellow; of a healthy and penetrating intelligence, and with a sound underpinning of earnest and true feeling; as appears when the course of the action surprises or inspires him out of his pride of brilliancy.  When a grave occasion comes, his superficial habit of jesting is at once postponed, and the choicer parts of manhood promptly assert themselves in clear and handsome action.  We are thus given to know that, however the witty and waggish companion or make-sport may have got the ascendency in him, still he is of an inward composition to forget it as soon as the cause of wronged and suffering virtue or innocence gives him a manly and generous part to perform.  And when the blameless and gentle Hero is smitten down with cruel falsehood, and even her father is convinced of her guilt, he is the first to suspect that “the practice of it lies in John the bastard.”  With his just faith in the honour of the Prince and of Claudio, his quick judgment and native sagacity forthwith hit upon the