Act III. sc. 2; Portia's famous eulogy of mercy, Act IV. sc. 1; Lorenzo's speech on harmony and music, Act V. sc. I ; &c.

"There is reason to conclude that the felicitous union of the two principal actions of this drama, that concatenation of cause and effect which has formed them into a whole, is to be ascribed almost exclusively to the judgment and the art of Shakespeare. There is also another unity of equal moment, seldom found wanting, indeed, in any of the genuine plays of our poet, but which is particularly observable in this, that unity of feeling which, in the present instance, has given a uniform but an extraordinary tone to every part of the fable. Thus the unparalleled nature of the trial between the Jew and his debtor required, in order to produce that species of dramatic consistency so essential to the illusion of the reader or spectator, that the other important incident of the piece should assume an equal cast of singularity; the enigma, therefore, of the caskets is a most suitable counterpart to the savage eccentricity of the bond, and their skilful combination effects the probability arising from similitude of nature and intimacy of connection.'-DRAKE.

'The Merchant of Venice is generally esteemed the best of Shakespeare's comedies. This excellent play is referred to the year 1597. In the management of the plot, which is sufficiently complex without the slightest confusion or incoherence, I do not conceive that it has been surpassed in the annals of any theatre. Yet there are those who still affect to speak of Shakespeare as a barbarian; and others who, giving, what they think, due credit to his genius, deny him all judgment and dramatic taste. A comparison of his works with those of his contemporaries—and it is surely to them that we should look-will prove that his judgment is by no means the least of his rare qualities. This is not so remarkable in the mere construction of his fable, though the present comedy is absolutely perfect in that point of view, and several others are excellently managed, as in the general keeping of the characters and the choice of incidents. If Shakespeare is

sometimes extravagant, the Marstons and Middletons are seldom otherwise. The variety of characters in The Merchant of Venice, and the powerful delineation of those upon whom the interest chiefly depends, the effectiveness of many scenes in representation, the copiousness of the wit, and the beauty of the language, it would be superfluous to extol; nor is it our office to repeat a tale so often told as the praise of Shakespeare. In the language there is the commencement of a metaphysical obscurity which soon became characteristic: but it is perhaps less observable than in any later play.'-Hallam.

LORENZO, in love with Jessica.

SHYLOCK, a Jew.

TUBAL, a Jew, friend to Shylock.

LAUNCELOT GOBBO, a clown, servant to Shylock.

Old GOBBO, father to Launcelot.

LEONARDO, servant to Bassanio.

Magnificoes of Venice, Officers of the Court of Justice, Gaoler, Servants, and other Attendants.

SCENE.-PARTLY AT VENICE; AND PARTLY AT BELMONT, THE SEAT OF PORTIA, ON THE CONTINENT.

Enter ANTONIO, SALARINO, and SOLANIO.

ANTONIO. In sooth, I know not why I am so sad:
It wearies me; you say it wearies you;

But how I caught it, found it, or came by it,
What stuff 'tis made of, whereof it is born,
I am to learn;

And such a want-wit sadness makes of me,
That I have much ado to know myself.

Salar. Your mind is tossing on the ocean;