e feminine character are
paramount, remain bright and fresh to the fancy as when first created.

Portia, Isabella, Beatrice, and Rosalind, may be classed together, as
characters of intellect, because, when compared with others, they are at
once distinguished by their mental superiority. In Portia, it is
intellect kindled into romance by a poetical imagination; in Isabel, it
is intellect elevated by religious principle; in Beatrice, intellect
animated by spirit; in Rosalind, intellect softened by sensibility. The
wit which is lavished on each is profound, or pointed, or sparkling, or
playful--but always feminine; like spirits distilled from flowers, it
always reminds us of its origin; it is a volatile essence, sweet as
powerful; and to pursue the comparison a step further the wit of Portia
is like ottar of roses, rich and concentrated; that of Rosalind, like
cotton dipped in aromatic vinegar; the wit of Beatrice is like sal
volatile; and that of Isabel, like the incense wafted to heaven. Of
these four exquisite characters, considered as dramatic and poetical
conceptions, it is difficult to pronounce which is most perfect in its
way, most admirably drawn, most highly finished. But if considered in
another point of view, as women and individuals, as breathing realities,
clothed in flesh and blood, I believe we must assign the first rank to
Portia, as uniting in herself in a more eminent degree than the others,
all the noblest and most lovable qualities that ever met together in
woman; and presenting a complete personification of Petrarch's exquisite
epitome of female perfection:--

Il vago spirito ardento,
E'n alto intelletto, un puro core.

It is singular, that hitherto no critical justice has been done to the
character of Portia; it is yet more wonderful, that one of the finest
writers on the eternal subject of Shakspeare and his perfections, should
accuse Portia of pedantry and affectation, and confess she is not a
great favorite of his--a confession quite worthy of him, who avers his
predilection for servant-maids, and his preference of the Fannys and the
Pamelas over the Clementinas and Clarissas.[7] Schlegel, who has given
several pages to a rapturous eulogy on the Merchant of Venice, simply
designates Portia as a "rich, beautiful, clever heiress:"--whether the
fault lie in the writer or translator, I do protest against the word
clever.[8] Portia _clever!_ what an epithet to apply to this heavenly
comp