ce or partial acquaintance. Their
very sparkling seems to augment the difficulty of coming to a true
knowledge of them. How dangerous it is to be so gifted that way, may
be seen by the impression these persons have had the ill luck to make
on one whose good opinion is so desirable as Campbell's. "During one
half of the play," says he, "we have a disagreeable female character
in Beatrice. Her portrait, I may be told, is deeply drawn and minutely
finished. It is; and so is that of Benedick, who is entirely her
counterpart, except that he is less disagreeable." And again he speaks
of Beatrice as an "odious woman." I am right sorry that so tasteful
and genial a critic should have such hard thoughts of the lady. In
support of his opinion he quotes Hero's speech, "Disdain and scorn
ride sparkling in her eyes," &c.; but he seems to forget that these
words are spoken with the intent that Beatrice shall hear them, and at
the same time think she overhears them; that is, not as being true,
but as being suited to a certain end, and as having just enough of
truth to be effective for that end. And the effect which the speech
has on Beatrice proves that it is not true as regards her character,
however good it may be for the speaker's purpose. To the same end,
the Prince, Claudio, and Leonato speak as much the other way, when
they know Benedick is overhearing them; and what is there said in her
favour is just a fair offset to what was before said against her. But
indeed it is plain enough that any thing thus spoken really for the
ear of the subject, yet seemingly in confidence to another person,
ought not to be received in evidence against her.

But the critic's disparaging thoughts in this case are well accounted
for in what himself had unhappily witnessed. "I once knew such a
pair," says he; "the lady was a perfect Beatrice: she railed
hypocritically at wedlock before her marriage, and with bitter
sincerity after it. She and her Benedick now live apart, but with
entire reciprocity of sentiments; each devoutly wishing that the other
may soon pass into a better world." So that the writer's strong
dislike of Beatrice is a most pregnant testimony to the Poet's truth
of delineation; inasmuch as it shows how our views of his characters,
as of those in real life, depend less perhaps on what they are in
themselves than on our own peculiar associations. Nature's and
Shakespeare's men and women seem very differently to different
persons, and