The critics in the century that succeeded that of Shakspeare's death speak of it slightingly. Horace Walpole, not knowing the date of its composition or first performance, makes a long argument to prove that it was a sequel, or second-part, to "Henry VIII.," and that it was written in the reign of Queen Elizabeth, being the history of her mother, Anne Boleyn, in a sort of allegory. This criticism is very queer and ingenious, proving how interpretations the most plausible can go astray.

It has been considered a particularly good acting-play, though there are no star-parts in it. A few years ago it was revived in New York as a kind of spectacular drama, everything being subordinated to the mise en scène. I heard one gentleman who was present regretting that Shakspeare could not have seen all the surroundings of his drama realized; but I heard another remark that it was painful to him to have Shakspeare's poetry and Shakspeare's characters crowded out, as it were, to give place to materialism. I suppose the effect produced depended on the personal temperament of the beholder. In Greene's novel the conclusion of the story is painful and disgusting. There is no return of Hermione, and the Leontes of the play commits suicide. Antigones, Paulina, and Autolycus are character's entirely added by Shakspeare.

The scene of the play is first in Sicily, then in Bohemia. As the eldest daughter of King James, the beautiful Elizabeth, was aspiring to the crown of Bohemia at the time. Shakspeare was writing "The Winter's Tale," he must have been perfectly familiar with its surroundings and geography; nevertheless, no end of fun has been made out of the fact that Bohemia in the play is a maritime kingdom. In the

first place, no author is responsible for the geography of fairyland. Secondly, Shakspeare took Bohemia for the locality of his story because Greene did so before him. Thirdly, it may have been a joke; for in a burlesque book of travels of that day, a London alderman is represented as asking if the British fleet had arrived in Bohemia! Fourthly, Shakspeare and Greene may have been in the right; for the Goths who settled in Bohemia were part of a tribe the Boli half of which established itself on the northwestern coast of Italy. Out of all these explanations we are at liberty to choose. I prefer the first one; but the case is much like the defence of the Irishman who stole the gridiron : 1. That he had never seen it. 2. That it was good for nothing. when he got it. 3. That he had carried it home again.

Coleridge says of this Play that "its idea is a genuine jealousy of disposition, and that it should be immediately followed by the perusal of Othello, which is the direct contrast to it in every particular. For jealousy," he continues, "is a vice of the mind, a culpable tendency of temper, having certain well-known and well-defined defects and concomitants, all of which are visible in Leontes, and not one, I boldly say, in Othello; such as, first, an excitability for the most inadequate causes, and an eagerness to snatch at proofs; secondly, a grossness of conception, and a disposition to degrade the subject of the passion; thirdly, a sense of shame in the jealous man for his own feelings, betrayed in moodiness and solitariness; which nevertheless is forced to utter itself, and therefore catches at hints and ambiguities, and goes on talking to those who cannot understand, in short, in a soliloquy in the form of dialogue, confused, broken, fragmentary; fourthly, a dread of vulgar

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ridicule, distinct from a high sense of honor; and fifthly, selfish vindictiveness. Shakspeare has displayed jealousy as acting on four different minds. In Ford, in 'The Merry Wives of Windsor' it is ridiculous; in Leontes it is, as it were, pur et simple, acting on a wayward and inferior character; in Othello, a noble but impulsive nature is goaded by the basest arts into a jealous rage, — the more easily that Othello is always conscious of not being to the manner born,' in the society and position he is placed in; he fancies therefore that others must know better than himself. In Posthumus jealousy is an error of judgment; his understanding has been cheated by the most damning evidence, and it is due to his own honor to punish Imogen's supposed infidelity; but in Leontes jealousy is part of his disposition; he suspects without cause, condemns without proof, is mean, insulting, and cruel. Hermione, his wife, is a matron, queen, and mother. Her character is one of Shakspeare's noblest. Her distinguishing characteristics are self-restraint and dignity. She is shown less perhaps in what she says herself than in the impression she never fails to produce on others."

"Her composure of temper never forsakes her," says Mrs. Jameson, "and yet it is so delineated that the impression is that of grandeur, and never borders upon pride or coldness. It is the fortitude of a clear but strong mind conscious of its innocence." Mrs. Jameson thinks also that the character of Hermione is conceived upon the principles of ancient art, where grace is combined with strength. "In Hermione," she says, "we have the same largeness of conception and delicacy of execution, the same effect of suffering without passion, and grandeur without effort, as in the highest works

of Grecian art." Shakspeare seems to have felt in himself, and by intuition, what art-students study all their lives; and "the classic beauty of Hermione is heightened by the pastoral sweetness of Perdita, and a certain Gothic savagery in her surroundings."

ACT I. Scene 1.

The play opens in an ante-room in Leontes' palace in Sicily. Polixenes, the former schoolmate of Leontes, and King of Bohemia, has been paying his old friend a long visit. The speakers are two noblemen, one of Bohemia, the other of Sicily, who out-do each other in polite compliments. The Sicilian, Camillo, is an old and trusty counsellor of King Leontes, a good man but a weak one, wholly unfitted to cope with the difficulties into which he is drawn by the wayward temper of the King his master. Coleridge bids us remark how easy is the style of the chit-chat between these noblemen, as contrasted with the elevated diction of the Kings and Hermione in the second scene. They end by both breaking into praises of the only child of Leontes, the heir of Sicily, - poor little Prince Mamillius.

Scene 2.

This scene is in a room of state, into which enter Leontes, Polixenes, Hermione, Mamillius, attendants, and Camillo. Polixenes is talking of the length of time he has been absent from Bohemia and the necessity of his return. Tomorrow, he says, he must take his farewell of his friends. He has presentiments that he is needed in his kingdom. Leontes, from pure wilfulness apparently, and a desire to get his own way even in trifles, presses his guest to stay, with a

persistence that is far beyond the rules of hospitality.

Polixenes behaves with great politeness, but he is firm. No tongue, he says, could move him sooner than his friend's, but he must go. Then Leontes turns to Hermione and asks her why she does not second his request? Willing to please her husband even in his whim, she joins in the discussion. She does not, however, address Polixenes himself, but her husband. "Tell him you are sure all in Bohemia 's well." Her husband being pleased with this remark, she goes further. She recognizes the reasonableness of Polixenes' wish to be gone, but begs for one week more, adding: When my lord returns your visit next year, in Bohemia, I'll give him leave to stay a month" beyond the time fixed for his departure; "and yet," she adds at once, knowing her husband's disposition, and seeing a frown gathering upon his forehead, "yet in good deed, Leontes, I love thee not one atom [one tick of the clock] less than the most loving lady loves her lord." Most charmingly she prays Polixenes to consent; and he, not proof against the persuasions of a queen and lady, gives in. "Then come," replies Hermione in triumph, "I'll question you of my lord's tricks and yours when you were boys."

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She then goes on (while Leontes turns aside) with pretty badinage, such as a charming woman might well use to her husband's friend. Leontes interrupts them with, "Is he won yet?" Hermione replies, "He'll stay, my lord." Instantly a jealous thought flashes into Leontes' mind. He has not yet any fancy, I think, concerning guilt between his friend and wife, but has a jealous dislike to having any one succeed where he has failed. Those who have had to soothe minds liable to jealousy know how true is all this scene,