BY THE REV. JOHN HUNTER, M.A

One of the National Society's Examiners of Middle-Class Schools;
merly Vice-Principal of the Society's Training College, Battersea

Malone 3.156.

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IN the Palladis Tamia of Francis Meres, published in 1598, is a list of twelve of Shakspeare's plays; and as Much Ado about Nothing is not there referred to, this comedy was probably written between 1598 and 1600, in the latter of which years was published the only edition of it that is known to have preceded the folio collection of 1623.

It has been supposed that Shakspeare was indebted for some incidents in this play to the story of Ariodante and Genevra in Ariosto's Orlando Furioso, a variation of which story is given in Spenser's Faery Queen, II. iv. But it is most probable that the principal source of the plot was some English translation of one of Bandello's novels, though no such early translation has come down to us. The following is Skottowe's analysis of the novel:

Fenicia, the daughter of Lionato, a gentleman of Messina, is betrothed to Timbreo de Cardona. Girondo, a disappointed lover of the young lady, resolves, if possible, to prevent the marriage. He insinuates to Timbreo that his mistress is disoyal, and offers to show him a stranger scaling her chamberwindow. Timbreo accepts the invitation, and witnesses the aired servant of Girondo, in the dress of a gentleman, ascending ladder and entering the house of Lionato. Stung with rage nd jealousy, Timbreo the next morning accuses his innocent istress to her father, and rejects the alliance. Fenicia sinks to a swoon; a dangerous illness succeeds; and to stifle 1 reports injurious to her fame, Lionato proclaims that she

is dead. Her funeral rites are performed in Messina, while in truth she lies concealed in the obscurity of a country residence.

The thought of having occasioned the death of an innocent and lovely female strikes Girondo with horror; in the agony of remorse he confesses his villainy to Timbreo, and they both throw themselves on the mercy, and ask forgiveness, of the insulted family of Fenicia. On Timbreo is imposed only the penance of espousing a lady whose face he should not see previous to his marriage: instead of a new bride, whom he expected, he is presented, at the nuptial altar, with his injured and beloved Fenicia.

'Ariosto,' says Knight, 'made this story a tale of chivalry; Spenser a lesson of high and solemn morality; Bandello an interesting love-romance. It was for Shakspeare to surround the main incident with those accessories which he could nowhere borrow, and to make of it such a comedy as no other man has made-a comedy not of manners or of sentiment, but of life viewed under its profoundest aspects, whether of the grave or the ludicrous.'

REMARKS OF VARIOUS AUTHORS

ON

SHAKSPEARE'S 'MUCH ADO ABOUT NOTHING.'

THE Much Ado about Nothing was acted under the name of
Benedick and Beatrice, even during the life of its author.
'hese two characters absorb very much of the acting interest
f the play. They are star-characters, suited for the Garricks
ud Jordans to display themselves in. But they cannot be
parated from the play without being liable to misconstruction.
be character of Beatrice cannot be understood, except in
-nnection with the injuries done to Hero; and except, once
ain, we view it, as well as the characters of all the other
ents in the scene, with reference to the one leading idea, that
ere is a real aspect of things which is to be seen by the
dience and not seen by the agents. The character of Don

of

hn, for example, and the characters of his loose confederates,
understood by the spectators; and their villainy is purposely
nsparent. Without Don John the plot could not move.
is not a rival in Claudio's love, as the "wicked duke
osto; he is simply a moody, ill-conditioned, spiteful rascal;
uch a one as ordinarily takes to backbiting and hinting
y character. Shakspeare gets rid of him as soon as he
: he fires the train and disappears. He would be out of
nony with the happiness which he has suspended, but not
royed; and so he passes from the stage, with "Think not
im till to-morrow." But his instrumentality has been of
utmost importance. It has given us that beautiful altar-

a

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