Yes, like the word romantic, it is a convenient "exploding word," and in its general application signifies nothing more than "see how much finer I am than other people!"[1] but in literature and character I shall adhere to the definition of Madame de Stael, who uses the word _vulgar_ as the reverse of _poetical_. Vulgarity (as I wish to apply the word) is the _negative_ in all things. In literature, it is the total absence of elevation and depth in the ideas, and of elegance and delicacy in the expression of them. In character, it is the absence of truth, sensibility, and reflection. The vulgar in manner, is the result of vulgarity of character; it is grossness, hardness, or affectation.--If you would see how Shakspeare has discriminated, not only different degrees, but different kinds of plebeian vulgarity in women, you have only to compare the nurse in Romeo and Juliet with Mrs. Quickly. On the whole, if there are people who, taking the strong and essential distinction of sex into consideration, still maintain that Shakspeare's female characters are not, in truth, in variety, in power, equal to his men, I think I shall prove the contrary. MEDON. I observe that you have divided your illustrations into classes; but shades of character so melt into each other, and the various faculties and powers are so blended and balanced, that all classification must be arbitrary. I am at a loss to conceive where you have drawn the line; here, at the head of your first chapter, I find "Characters of Intellect"--do you call Portia intellectual, and Hermione and Constance not so? ALDA. I know that Schlegel has said that it is impossible to arrange Shakspeare's characters in classes: yet some classification was necessary for my purpose. I have therefore divided them into characters in which intellect and wit predominate; characters in which fancy and passion predominate; and characters in which the moral sentiments and affections predominate. The historical characters I have considered apart, as requiring a different mode of illustration. Portia I regard as a perfect model of an intellectual woman, in whom wit is tempered by sensibility, and fancy regulated by strong reflection. It is objected to her, to Beatrice, and others of Shakspeare's women, that the display of intellect is tinged with a coarseness of manner belonging to the age in which he wrote. To remark that the conversation and letters of high-bred and virtuous women of that time were more bold and frank in expression than any part of the dialogue appropriated to Beatrice and Rosalind, may excuse it to our judgment, but does not reconcile it to our taste. Much has been said, and more might be said on this subject--but I would rather not discuss it. It is a mere difference of manner which is to be regretted, but has nothing to do with the essence of the character. MEDON.