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while yet in his minority. An overweening pride of birth is Bertram's great foible. To cure him of this, Shakspeare sends him to the wars, that he may win fame for himself, and thus exchange a shadow for a reality. There the great dignity that his valour acquired for him places him on an equality with any one of his ancestors, and he is no longer beholden to them alone for the world's observance. Thus in his own person he discovers there is something better than mere hereditary honours; and his heart is prepared to acknowledge that the entire devotion of a Helen's love is of more worth than the court-bred smiles of a prin

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It is not extraordinary that, in the first instance, his spirit should revolt at the idea of marrying his mother's "waiting gentlewoman,” or that he should refuse her; yet when the king, his feudal lord, whose despotic authority was in this case legal and indisputable, threatens him with the extremity of his wrath and vengeance, that he should submit himself to a hard necessity, was too consistent with

*New Monthly Magazine, vol. iv.

the manners of the time to be called cowardice. Such forced marriages were not uncommon even in our own country, when the right of wardship, now vested in the Lord Chancellor, was exercised with uncontrolled and often cruel despotism by the sovereign.

There is an old ballad, in which the king bestows a maid of low degree on a noble of his court, and the undisguised scorn and reluctance of the knight, and the pertinacity of the lady, are in point.

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Bertram's disgust at the tyranny which has made his freedom the payment of another's debt, which has united him to a woman whose merits are not towards him-whose secret love, and longenduring faith, are yet unknown and untriedmight well make his bride distasteful to him. He flies her on the very day of their marriage, most like a wilful, haughty, angry boy, but not like a profligate. On other points he is not so easily defended; and Shakspeare, we see, has not defended, but corrected him. The latter part of the play is more perplexing than pleasing. We do not, indeed, repine with Dr. Johnson, that Bertram, after all his misdemeanours, is dis

*Percy's Reliques.

missed to happiness;" but, notwithstanding the clever defence that has been made for him, he has our pardon rather than our sympathy; and for mine own part, I could find it easier to love Bertram as Helena does, than to excuse him; her love for him is his best excuse.

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IN Viola and Perdita the distinguishing traits are the same-sentiment and elegance; thus we associate them together, though nothing can be more distinct to the fancy than the Doric grace of Perdita, compared to the romantic sweetness of Viola.

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