Should further proof be needed that Florio, Holofernes, and Armado form a dramatic trinity in unity, we can find it in the personal appearance of the Italian. There was something amiss with the _face_ of the Resolute, which could not escape the observation of his friends, much less his enemies. A friend and former pupil of his own,--Sir Wm. Cornwallis, speaking in high praise of Florio's translation of Montaigne, observes,--"It is done by a fellow less beholding to Nature for his fortune than to wit; yet lesser for his _face_ than his fortune. The truth is, he looks more like a good fellow than a wise man; and yet he is wise beyond either his fortune or education." [9] It is certain, then, that, behaving like a fool in some things, he looked very like a fool in others. Is it not a remarkable coincidence, that both his supposed dramatic counterparts have the same peculiarity? When Armado tells the 'country lass' he is wooing, that he will 'tell her wonders,' she exclaims,--'skittish female' that she is,--'What, with that _face_?' And when Holofernes, nettled with the ridicule showered on his abortive impersonation of Judas Maccabaeus, says, 'I will not be put out of countenance,'--Byron replies, 'Because thou hast no face.' The indignant pedant justifies, and, pointing to his physiognomy, inquires, 'What is this?' Whereupon the waggish courtiers proceed to define it: it is 'a cittern-head,' 'the head of a bodkin,' 'a death's-face in a ring,' 'the face of an old Roman coin, scarce seen,' and so forth. The satire here embodied is of a nature too personal to be considered the mere work of a riotous fancy. It is a trait individualizing and particularising the person at whom the more general satire is aimed; and, coupled with the infirmities of the victim's moral nature, it fastens upon poor Florio identity with "the brace of coxcombs." Such satire may be censured as ungenerous; we cannot help that,--_litera scripta manet_,--and we cannot rail the seal from the bond. Such attacks were the general, if not universal, practice of the age in which Shakspeare flourished; and we have no right to blame him for not being as far in advance of his age, morally, as he was intellectually. A notorious instance of a personal attack under various characters in one play is to be found in Ben Jonson's "Bartholomew Fair," wherein he boasts of having, under the characters of Lanthorn, Leatherhead, the Puppet-showman, and Adam Overdo, satirized the celebrated Inigo Jones,-- "By all his titles and whole style at once Of tireman, montebank, and Justice Jones."