INTRODUCTORY REMARKS.

HELENA, the plebeian heroine of this excellent corvedy, is of the

order of Nature's nobility. The character is a charming compound of courage and tenderness; of modesty and passion; misgiving and perseverance. In the subduement of her superior mind to the personal qualities of Bertram, we recognise one of those familiar tricks that Love, the omnipotent urchin, devises in furtherance of Benedick's maxim, "The world must be peopled." Notwithstanding the purity and devotedness of the sensitive dependent's affection, her portrait of the haughty young Count refers solely to bodily perfections; and, indeed, he gives neither her nor any one else much opportunity of praising him for others, courage excepted. "His arched brows, his hawking eye, his curls,-every line and trick of his sweet favour,"-these were the charms which struck that fine-hearted creature whom he contemptuously designates the " poor physician's daughter," and "sanctified his relics" to one whom, in the indignant language of the benevolent Countess, "twenty such rude boys might tend upon, and call her hourly, mistress." He lives, however, to regret her loss; and, on regaining so sweet a treasure, to give a voluntary promise that henceforth he will "love her dearly, ever, ever dearly." Heartily do we sympathise with the strenuous achiever of love's labours, in this summer of her fortunes, her own anticipated time,-"when briars shali have leaves as well as thorns, and be as sweet as sharp."

The Countess is a no less admirable specimen of female humanity: by nature, as by station, she stands erect and graceful,-a genuine "Corinthian capital of polished society." Her overflowing benignity enriches every scene in which she figures: it is not the spurious result of indolence or apathy, but an ever-active principle, leading her to seek and love the just and true in every word and every action. The skilful, sharp, and yet affectionate manner in which she probes the secret feelings of the love-lorn maiden, demanding urgently and frequently the simple rigid truth, is highly characteristic of a warm and sincere nature, ready to make all needful sacrifices, but impatient of deceit or trifling. Had Helena, instead of breaking into an impassioned avowal of her love for Bertram, in preference even to her friend and benefactress, attempted denial or persisted in evasion, she had never gone to Paris with "leave, and love,-means, and attendants," and prayers for blessing on her bold attempt.-These two inestimable women form the gems of the play, and finer ornaments no dramatist of the affections need wish to place in his poetic tiara.

The comic portion of the drama is principally sustained by Parolles. This amusing braggart is delineated with great skill; and, despite his cowardice and practical absurdity, he possesses an eye for the ridiculous, and considerable power of sarcasm. His libellous sketches of the French gallants in the Florentine camp, are rich and abundant. The mode, too, in which the baffled boaster works upon the self-love of his hearty old enemy, Lafeu, shews him a keen observer of the shady side of human nature:-"O my good lord, you were the first that found me." The old pike bites at this delicious gudgeon:-"Was I, in sooth?"... Sirrah, inquire further after me; I had talk of you last night: though you are a fool and a knave, you shall eat; go to, follow."-The Clown displays the usual characteristics of his class, as drawn by Shakspere. The occasional coarseness of "good Monsieur Lavatch" is expressive of an imperfectly-refined, though picturesque, state of manners: his wit and humour are not unworthy of the hand that has furnished so ample a supply of these enlivening materials, and of wisdom, passion, and imagination, still more valuable.-Throughout the play, there is interspersed much spirited dialogue: its whole strong texture is embroidered with fancy and observation. One of the finest remarks to be found in all the poet ("The web of our life is of a mingled yarn," &c.), is given, with his usual liberality, to a mere subordinate (the First Lord), who has not even a proper name in the dramatis persona.

"ALL'S WELL THAT ENDS WELL" is supposed to have been originally entitled "LOVE'S LABOUR WON;" a production of that name being mentioned by Francis Meres, in his "WIT'S TREASURY" (1598), among the proofs of Shakspere's excellence in comedy. The plot of the play was originally derived from Boccaccio's "DECAMERON;" but is immediately founded on the tale of "Giletta of Narbonne," in l'ainter's "PALACE OF PLEASURE."