But Shakspeare knew well how to make one character subordinate to another, without sacrificing the slightest portion of its effect; and Hero, added to her grace and softness, and all the interest which attaches to her as the sentimental heroine of the play, possesses an intellectual beauty of her own. When she has Beatrice at an advantage, she repays her with interest, in the severe, but most animated and elegant picture she draws of her cousin's imperious character and unbridled levity of tongue. The portrait is a little overcharged, because administered as a corrective, and intended to be overheard.
But nature never fram'd a woman's heart
Of prouder stuff than that of Beatrice:
Disdain and scorn ride sparkling in her eyes,
Misprising what they look on; and her wit
Values itself so highly, that to her
All matter else seems weak; she cannot love,
Nor take no shape nor project of affection,
She is so self-endeared.
URSULA.
Sure, sure, such carping is not commendable.
HERO.
No: not to be so odd, and from all fashions,
As Beatrice is cannot be commendable:
But who dare tell her so? If I should speak,
She'd mock me into air: O she would laugh me
Out of myself, press me to death with wit.
Therefore let Benedick, like cover'd fire,
Consume away in sighs, waste inwardly:
It were a better death than die with mocks,
Which is as bad as die with tickling.
Beatrice never appears to greater advantage than in her soliloquy after leaving her concealment "in the pleached bower where honeysuckles, ripened by the sun, forbid the sun to enter;" she exclaims, after listening to this tirade against herself,—
What fire is in mine ears? Can this be true?
Stand I condemned for pride and scorn so much?
The sense of wounded vanity is lost in bitter feelings, and she is infinitely more struck by what is said in praise of Benedick, and the history of his supposed love for her than by the dispraise of herself. The immediate success of the trick is a most natural consequence of the self-assurance and magnanimity of her character; she is so accustomed to assert dominion over the spirits of others, that she cannot suspect the possibility of a plot laid against herself.
A haughty, excitable, and violent temper is another of the characteristics of Beatrice; but there is more of impulse than of passion in her vehemence. In the marriage scene where she has beheld her gentle-spirited cousin,—whom she loves the more for those very qualities which are most unlike her own,—slandered, deserted, and devoted to public shame, her indignation, and the eagerness with which she hungers and thirsts after revenge, are, like the rest of her character, open, ardent, impetuous, but not deep or implacable. When she bursts into that outrageous speech—