just before and after the return of Portia to her own house, beginning "How sweet the moonlight sleeps upon this bank," and ending "Peace! how the moon sleeps with Endymion, and would not be awaked." There is a number of beautiful thoughts crowded into that short space, and linked together by the most natural transitions.
When we first went to see Mr. Kean in Shylock, we expected to see, what we had been used to see, a decrepid old man, bent with age and ugly with mental deformity, grinning with deadly malice, with the venom of his heart congealed in the expression of his countenance, sullen, morose, gloomy, inflexible, brooding over one idea, that of his hatred, and fixed on one unalterable purpose, that of his revenge. We were disappointed, because we had taken our idea from other actors, not from the play. There is no proof there that Shylock is old, but a single line, "Bassanio and old Shylock, both stand forth,"—which does not imply that he is infirm with age—and the circumstance that he has a daughter marriageable, which does not imply that he is old at all. It would be too much to say that his body should be made crooked and deformed to answer to his mind, which is bowed down and warped with prejudices and passion. That he has but one idea, is not true; he has more ideas than any other person in the piece:
