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The first lines in the above felection, will be a fine fituation to paint the animation of Portia-and they will admit of the paffions of Shylock being advantageoufly introduced-as well as the fpirited retaliation of Gratiano. The other characters who compofe the court, will be in the fame fituations as at the last selected lines.

If she is drawn in saying:-Why doth the few pause ?—(which will be a truly fine fituation to draw him from) his countenance should then, I think, be rather altered.

:

In this fame page another situation is offered :—

Shy. Shall I not barely have my principal?

Por. Thou shalt have nothing but the forfeiture,
To be fo taken at thy peril, Jew.

Shy. Why then the devil give him good of it!
I'll stay no longer question.

I select these lines for the purpose of introducing Shylock; who may either be drawn as speaking the first of them; or the last line but one.

H 2

Each

Each fituation will be fpirited. All the other characters will appear as at the former lines. I will not prefume to fay from which of these felected paffages an artist might choose the best point to draw the whole of the characters who compofe the trial scene from-as that must be left to the fancy and judgment of each artist, aided by his familiarity with the Stage and dramatic effect.

Tail-Piece.

THE print of Shylock which is in Bell's first edition, poffeffes a good deal of merit ; and I cannot but recommend it for the Tail-piece; and though it is drawn from the fame lines that the print which I have recommended for p. 225 is taken from-yet it cannot be difpleafing to preserve two designs of Shylock, which are so well executed. An ornament might be thrown round this print, fomewhat fimilar to that very happy one which graces M. de Loutherbourg's Vignette fcene-print. It certainly must not be the fame, but yet it may be allufive to the play. A fmall, but by no means an imperfect hint towards it, may be feen in the cut to Lowndes's edition to this play.*

*A list of such Prints as have been published from this play. I have feen all the Prints, except that in Pope's edition.

1. Bell's two editions.

2. Hanmer.

3. Theobald.

4. Rowe.

5. Lowndes.

6. A cut in an edition in 8 vol. 8vo. printed for Tonfon, 1735+

7. Mortimer's head of Shylock, from his etchings of characters from Shakespeare.

8. Taylor's publication.

9. Night

9. Night, a Landscape, engraved by C. Taylor, from after Smirke. It is taken from the lines

of: How faveet the moonlight, &c.

10. A print of Shylock, mentioned for page 225.

11. Mr. Macklin in Shylock, from after Kitchinman, an oval, 1784.

12. Mr. Macklin in Shylock, from Smith's 24 Characters of the stage, in 12m0.

13. Mr. Clark, in the character of Anthonio, from the same.

14. Mr. Macklin in Shylock, from the Westminster Mag. for October 1775. This is copied from a print by Lodge, of the fame fize.

15. Pope.

LOVE'S LABOUR LOST.

In the wild extravagant notes of Shakespeare, you every now and then encounter ftrains that recognize the divine composer.

In his moft negligent hours he could never fo totally diveft himself of his genius, but that it would frequently break out with astonishing force and splendour.

Vignette.

THEOBALD.

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