The San Francisco call., 1899-12-07

the quality Of the humor does not
seem 10 matter so much as the ability
10 keep the war merrily going. Tho
clowns are sometimes put, as IL were. on
their professional honor 70 maintain a
rapid cross-fire of nonsense and folly.
even though the jokes be not worth very
But making due allowance for all ot
this. there is,the other danger, 20 which
modern readers Of Shakespeare are peCu-
harly liable, OF regarding all OF the clown
utterances as OF little Importance and OF
undertaking their part in the advance
ment of the main business OF the plays
II Is significant that Shakespeare gives
most OF them some dramatic work 10 do,
and sometimes II Is important work
Costard, the clown In Loves Labor'a
Lost" is a silly country BOBBY; he is al
most "a natural; he belongs 10 the low
est order OF Shakespeare's foOl-fOlk: he
is unconscious OF the droll figure he cuts
and incapable OF Intentional wit. little
Importance can be attached TO any OF his
sayings, yet Costards part In the de-
velOpment of the theme could not easily
be dispensed with. His prompt violation
OF the kings decree makes that solemn
instrument laughable as once. COstard
succumbs 10 higher or lower but at any
rate more natural law than the kings,
as his betters also do, I'm the end includ-
ing the king himself. Shakespeare keeps
scious, complicity with the main plot az
every point. The Costard element In tho
play affords a humorous comment on the
kings folly and affectation In Disregard
ing natural human instincts.
Launce and Speed. the clowns In ths
Two Gentlemen OF Verona" and Laun-
celot of the Merchant OF Venice" belong
TO the same low order as Costard. They
are unwilling or natural fools. Launce is.
however, capable of a vulgar kind OF cum
ming. He manages 20 get Speed a whip-
and prying into his love affair. The stage
work laid out for Launce seems unimpOrt-
ant until IL is noted that he Is employed
at least three times TO hold up in "a clear
light the innate vulgarity OF his master,
Proteus. When Launce enters with his
known to the audience in HIS true char
acter Of iirt. has Just parted from Julia
and left her in tears, though Proteus HIM
self, In spite Of his fine sentiments. has
not shed drop. Proteus Is soon TO prOye
untrue TO Julia. In preparation for this,
Launce vulgarizes the scene by describing
his own parting from his family. all Of
whom have this very fault OF tears. ex-
cept the satirical Crab. II think Crab.
my dog. be the sourest-natured dog that
wailing. my sister crying. our maid howl
ing. our cat wringing her hands and all
our house I'm great perpleNity, yet did not
this cruel-hearted cur shed one tear: he
Is a stone. very pebble-stone. and has
no more pity in him than a dog" We
remember this last against Proteus when
he forgets Julia. Launce's instructive OBJ
scenity (act IV) In recOunting Crabs mis-
demeanors also reflects upon Proteus,
whose moral offenses against love ara
parodied by Crabs conduct. Iaunce's
love affair (act III, scene ID Is about as
serious and sincere in reality as the love
atairs OF yov[sTs; veE;c L1gIeeGt In the
matte function similar to that OF Launce.
Shakespeare has made him serviceable
10 the theme of the play. Launcelot runs
away (befOre Jessica dOes) from the rich
Shylock to enter the service OF the poor
but generous Bassanio. because Bassaufo
has "the grace OF God. sir" while Shv-
lock only has enough" His reflections
on the right and wrong OF running away
(act II, scene p. leading him through n
struggle between conscience and the fiend
and resulting In his decision 10 follow the
advice OF the fiend as being more nearly
right, furnish comment on Jessica'g
flight the right and wrong OF which h
equally hard to determine The scene
with his father, which brings out their
fondness for each other. reminds US bv
contrast OF the feeling existing between
Jessica and her father.
Note-This study by Professor Deuney
OF Ohio State University will be concluded
on Monday next.