Note return to page 1 Unlike other eighteenth-century complete editions of Shakespeare, which offer a ‘definitive’ text deduced from earlier printed editions, the bestselling nine-volume set published by John Bell in the 1770s supplies the altered versions of Shakespeare's plays then in use at London's two principal theatres, Drury Lane and Covent Garden. Its annotations are provided not by a scholar but by a theatre critic, Francis Gentleman (“the Author of the Dramatic Censor”), and are concerned primarily with the effectiveness of the plays as stage vehicles. According to Gentleman's prefatory ‘Advertisement’, Bell's edition is of value for two principal reasons: firstly, the acting texts it offers have been largely purged of Shakespeare's regrettable obscene jokes and other lapses of taste, and secondly, “those who take books to the THEATRE, will not be so puzzled themselves to accompany the speaker; nor so apt to condemn the performers for being imperfect, when they pass over what is designedly omitted.” The texts provided by Bell's edition are as follows: Volume 1: ALL'S WELL THAT ENDS WELL Although John Philip Kemble would make further cuts in the interests of propriety in the 1790s, this conservatively abridged version of the play is essentially the one seen by London theatregoers from 1741 (when the play was first revived) until its fall from favour in the early nineteenth century. AS YOU LIKE IT The minor cuts made to Shakespeare's play in this text date from the play's first unadapted revival in 1740; its addition of the Cuckoo song from the then unperformed LOVE'S LABOUR'S LOST (here given to Rosalind, but in some productions given to Celia instead) is probably only slightly more recent. In this form the play was immensely popular, and this abridgement would remain the basis for most productions of the play well into the nineteenth century. MACBETH This is the version of the play prepared by David Garrick when he first played Macbeth at Drury Lane in 1744; it supplanted William Davenant's adaptation (which had been in use since the 1660s), and with only minor further alterations would remain the standard stage version of the play long into the next century. Garrick's 1744 playbills proudly advertised that he would be playing MACBETH “As written by Shakespeare”, and he had indeed consulted the latest scholarly edition of the play (by Lewis Theobald) in preparing his text; however, his version retains many of Davenant's musical elaborations of the witches' scenes, and provides Macbeth with a completely new dying speech. OTHELLO OTHELLO was one of the only Shakespeare plays never subjected to significant adaptation in the Restoration and eighteenth-century theatre. The conservatively abridged acting text supplied by Bell's edition had been in use since 1755 at the latest, and probably dates from considerably earlier. Volume 2: KING LEAR This is the version of the play prepared by David Garrick in 1756, and used at Drury Lane until Kemble reverted to a virtually unaltered text of Nahum Tate's adaptation in 1792. Garrick's version is a hybrid of Tate's (from which it retains the love affair between Edgar and Cordelia and the happy ending) and Shakespeare's original, from which it makes significant restorations, especially in the first three acts (not including, however, the role of the Fool). ROMEO AND JULIET This is David Garrick's adaptation of the play, which, like Theophilus Cibber's before it, supplies a last scene between the two lovers in the tomb (although Garrick's much-admired version of their dialogue is less heavily reliant on Otway's CAIUS MARIUS). When first performed in 1748, this adaptation, unlike Cibber's, had restored Romeo's love for Rosaline: it was only when Garrick himself took over the role in 1750 that he altered his earlier revision to produce the text reproduced here, deleting all reference to Romeo's first love (thereby clearing him of accusations of fickleness) and adding a grand funeral procession and dirge for Juliet in act 5. Parts of this text— particularly the funeral procession— were still in use in some theatres as late as the 1870s. THE MERCHANT OF VENICE Shakespeare's original play replaced Granville's adaptation THE JEW OF VENICE on the boards of the Theatres-Royal from 1741 onwards. Most of the minor abbreviations made in the acting text supplied by Bell's edition, and perhaps the added songs for Jessica and Lorenzo, probably date from the 1740s, but the roles of Morocco and Arragon, here omitted entirely, did not disappear from stage productions of the play until 1758. CYMBELINE Durfey's adaptation THE INJURED PRINCESS was last acted in 1738, and Shakespeare's original play was performed on three occasions in the late 1740s, but CYMBELINE did not establish itself in the theatrical repertory until David Garrick prepared the abridged acting version supplied here in 1761. In this form the play remained popular for the remainder of the eighteenth century. MUCH ADO ABOUT NOTHING Shakespeare's unadapted play was first revived, unsuccessfully, in 1721, and then briefly supplanted by James Miller's adaptation THE UNIVERSAL PASSION in 1737; the conservatively abridged acting version of the play supplied by Bell's edition also dates from 1737, but came more signally into its own from 1748 onwards, when David Garrick took over the role of Benedick. Its most noticeable alteration to the play is the invention of a new character, the Town Clerk, who takes over some of Dogberry's lines in the fourth act. Volume 3: RICHARD III This is Colley Cibber's immensely successful adaptation of the play, with some very minor restorations from Shakespeare's original script (first made at some point before 1751). THE MERRY WIVES OF WINDSOR Although very briefly supplanted by John Dennis's unsuccessful adaptation THE COMICAL GALLANT in 1702, the original MERRY WIVES OF WINDSOR was continuously popular from the Restoration until the nineteenth century. The abridged acting text supplied by Bell's edition remained the basis for most stage productions of the play for another century, and the cuts it records may date from as early as the 1660s. HAMLET Although Garrick's adaptation of the play was being used at Drury Lane when Bell's edition was published, and although Bell's edition supplies a contemporary Drury Lane cast list, this is in fact the more conservatively abridged version of the play which was still being performed at Covent Garden, and which with only minor variations remained the standard stage version of the play throughout the eighteenth century and beyond. Many of its cuts correspond with those indicated in the Davenant/Betterton text from the 1660s, and very few date from later than 1751. THE TEMPEST This is the conservatively abridged version of Shakespeare's original play prepared by David Garrick after the failure of his three-act operatic adaptation in 1756, and used at Drury Lane from 1757 (with some minor, unpublished alterations by Richard Brinsley Sheridan and Thomas Linley from 1777 onwards) until replaced by Kemble's adaptation in 1789. Apart from its cuts, its only rewriting of Shakespeare's text is some new recitative in Prospero's masque of Ceres and Juno. MEASURE FOR MEASURE Shakespeare's original play had been restored to the stage, replacing Charles Gildon's adaptation, in 1720, in a slightly abbreviated version from which this one seems to have evolved over the intervening decades. Aside from its abridgements, its principal alteration to the play is a new ending to the Duke's final speech, which attempts to make his proposal to Isabella a little more eloquent. Although Kemble made some further cuts and some minor transpositions in the 1790s, this remained the basis for most stage productions of the play until it fell from favour in the early nineteenth century. Volume 4: KING JOHN Shakespeare's play was first revived at Covent Garden in 1737, and proved lastingly popular. The conservatively abridged acting text supplied here is unlikely to differ significantly from that used in the 1730s, although the Drury Lane cast list it supplies suggests that the most recent alterations it incorporates (such as, perhaps, the insertion of some lines from the 1591 TROUBLESOME RAIGNE OF KING JOHN in Act 3) probably date from no earlier than 1745, when the play first appeared at that theatre. HENRY IV PART 1 This abridged version of the play had been in use since before 1763, and had probably evolved gradually from Thomas Betterton's abbreviation (published in 1700) over the preceding decades. HENRY IV PART 2 Some such conservative abbreviation of Shakespeare's original play had permanently replaced Betterton's alteration at Covent Garden as early as 1738, but at Drury Lane Betterton's version was still in intermittent use until 1744, and there were no performances of the original until 1758. Since the text provided by Bell is supplied with a Drury Lane cast list, its most recent abridgements and restorations probably date from the late 1750s. HENRY V Shakespeare's original play had replaced Aaron Hill's adaptation in 1738, and most of the abridgements made by this acting text probably date from that time. One significant exception, however, is its omission of the Chorus, whose role continued to appear on playbills until 1760. HENRY VIII HENRY VIII had been popular in the theatres since the 1660s, and although performed with ever more opulent pageantry during the eighteenth century was never significantly rewritten; the comparatively minor cuts recorded in Bell's text (which are attributed to David Garrick) date from before 1762. Volume 5: CORIOLANUS Shakespeare's original play was first revived at the Lincoln's Inn Fields theatre in 1719 (competing with the John Dennis adaptation then in use at Drury Lane), and reappeared at Drury Lane in the 1750s (competing with the Thomas Sheridan adaptation then in use at Covent Garden). Both this abridged acting text of the original (based on the Drury Lane promptbook first used in 1755) and Sheridan's version would be replaced by Kemble's adaptation in 1789. JULIUS CAESAR JULIUS CAESAR had first been revived in the late 1660s, and became especially popular from the 1690s onwards. The most significant aspect of the characteristic eighteenth-century acting text of the play supplied by Bell's edition is its addition of some new material for Brutus in the closing act of the play; a defiant dialogue with Caesar's ghost on the battlefield at Philippi, and a similarly defiant suicide speech. These passages were first added to the play in Dublin in the 1680s, and became standard features of all London productions from around 1688 onwards. The most recent minor adjustments and abridgements recorded by Bell's text probably date from the 1750s. TIMON OF ATHENS While adaptations by Shadwell, Cumberland and Lamb all enjoyed brief runs at various times, Shakespeare's original play was only revived once before the 1850s, at the Smock Alley theatre in Dublin in 1761. It is possible that Bell's text— which incorporates various comparatively minor cuts— derives from that production, or that it is all that remains of the preparations for an unadapted London revival which never, in the event, took place. THE WINTER'S TALE Shakespeare's original play was revived at both the Goodman's Fields theatre and at Covent Garden in 1741 and 1742, but proved more popular later in the century in heavily abbreviated adaptations by Morgan, Garrick and Colman. The conservatively abridged text of the original supplied by Bell's edition was prepared by Thomas Hull for a production at Covent Garden in 1771, but it was only performed once in that season, and after a single further performance the following year the theatre management resumed their use of Garrick's adaptation. Volume 6: ANTONY AND CLEOPATRA THE TAMING OF THE SHREW TROILUS AND CRESSIDA THE TWO GENTLEMEN OF VERONA Volume 7: HENRY VI PART 1 HENRY VI PART 2 HENRY VI PART 3 RICHARD II Volume 8: TITUS ANDRONICUS THE COMEDY OF ERRORS LOVE'S LABOUR'S LOST A MIDSUMMER NIGHT'S DREAM Volume 9 POEMS With the exception of THE TAMING OF THE SHREW (which although never revived in its original form was extremely popular in the form of Garrick's drastic abbreviation CATHARINE AND PETRUCHIO), none of the plays printed in Bell's volumes 6-8 were in the repertory of the Theatres Royal at the time the edition was published. Bell's edition accordingly prints Shakespeare's original scripts (in texts drawn from recent scholarly editions), with, however, new introductions and commentaries by Francis Gentleman giving his (generally low) opinions of their fitness for the stage, and his suggestions as to what cuts ought to be made should they ever be revived.

Note return to page 2 *False eloquence, like the prismatic glass, Its gaudy colours spreads on every place, The face of nature we no more survey, All glares alike, without distinction gay; But true expression, like the unchanging sun, Clears and improves whate'er it shines upon, It gilds all objects, but it alters none. Expression is the dress of thought; and still, Appears more decent, as more suitable. Pope on Criticism.

Note return to page 3 *All words printed in Italic (except proper names) are those on which the emphasis is to be laid; but words in Capitals require a more powerful emphasis.

Note return to page 4 *This important point is very judiciously enforced by Mr. Hull, in a note on one of Mr. Preston's Genuine Letters—“He objected to the absurd custom practised then, as at this day, of suffering children to learn to read from the Bible; whence they too often contract a distaste to the most edifying and important volume, that can, In the process of their lives, be laid before them.” Vol. I. Letter 53. Page 241.

Note return to page 5 *These ideal characters being furnished by the author with great peculiarity of style and sentiment, their expression should be outrè, their appearance, as far as decorum will admit, hagged and squalid. To this day in Scotland an ugly old woman stands a fair chance of being called a witch.

Note return to page 6 †It is a great breach of propriety in action, to make the witches sink, after saying “hover through the fog, &c.”

Note return to page 7 ‡Theatrical managers are highly culpable in not dressing this play in the martial, striking habits, of the time and country.

Note return to page 8 *Kernes and Gallow-glasses were heavy and light armed troops.

Note return to page 9 ‡Welled, for flowed. Thirlby.

Note return to page 10 †Shakespeare has inadvertently made a character mention cannons, which were not invented at that period, nor some centuries after.

Note return to page 11 *The characters of Rosse and Angus have been judiciously blended, at Covent-Garden Theatre, into those of Macduff and Lenox, to make them more worthy the attention of good performers and the audience.

Note return to page 12 *The mischievous motives and actions of witchcraft, are admirably painted in this scene.

Note return to page 13 *Macbeth requires a bold, graceful, soldier-like figure; strong marking features; a firm, deep, extensive voice. Banquo, bring confined to level speaking, demands little more than a good external appearance.

Note return to page 14 *The witches here utter their oracular predictions in a dubious stile, judiciously calculated to mislead a weak mind, which, in point of ambition, Macbeth seems to possess.

Note return to page 15 *The author has been here guilty of a strange lapse, by making a character who heard Rosse, in a former scene, give the king an account of Cawdor's rebellious conduct, here express himself dubious of the reasons which have brought him to condemnation; the passage might easily be brought to consistence thus, for that he was Combin'd with Norway, and did line the rebel With hidden advantageous help: and that with both He labour'd in his country's direful wreck: These treasons, &c. &c.

Note return to page 16 *It was very judicious, by Banquo's drawing the messengers aside, to give Macbeth a better opportunity of ruminating; and this speech of his is a masterly prologue to his future acts.

Note return to page 17 *This king having nothing of consequence to say or act, if he looks like a monarch, on the stage, may do well enough.

Note return to page 18 *We like not sentiments which inculcate principles that favour predestination.

Note return to page 19 †Blanket of the dark! an expression greatly below our author; Curtain is evidently better.

Note return to page 20 *It is hard to meet a passage which conveys the intended ideas with more beautiful brevity than this. A modern author would have made Banquo meander through a labyrinth of description, without saying half so much to the purpose.

Note return to page 21 †Through this Soliloquy, and the following Scene, Macbeth should have a dubious, hesitative cast of countenance, with full, solemn tones of voice; his Lady we expect to have a confirmed countenance, with spirited tones.

Note return to page 22 *The latter part of this speech exhibits strained and unnatural imagery: in representation it would be better to conclude at That tears shall drown the wind; Or rather, The deep damnation of his taking off.

Note return to page 23 †Lady Macbeth is here rather unnecessarily indelicate; the effects of drunkenness alluded to, convey a surfeiting idea: at any rate the intoxication of hope is a most strange fancy.

Note return to page 24 *Never was there a nobler sentiment than this, nor one more adequately expressed.

Note return to page 25 †This is the sentiment of a fiend, not a woman, too horrid for public expression, though we admit real life produces inexpressible marks of cruelty.

Note return to page 26 *This Act is replete with circumstances which materially engage attention, and happily introduce the sequel: it has variety, and a proper degree of spirit, though, save the witches, no personage has any thing striking to say, but Macbeth and his Lady, whose characters open finely to our view.

Note return to page 27 *The beginning of this act, though it has an easy, negligent appearance, is well conceived, as preparative to what follows.

Note return to page 28 *This soliloquy is written all through in a most nervous, masterly stile of expression, and conveys a striking picture of Macbeth's alarmed, though determined mind; the imaginary dagger; the description of night; the mention of witchcraft, murder, &c. all act powerfully, even in the closet, as well as on the stage.

Note return to page 29 *This is a most fanciful panegyric on that essential repose, which repairs and invigorates nature.

Note return to page 30 *The Scene of the murder is most admirably calculated for action, and should be played in a tremulous, under tone of voice, with a strong exertion of horror struck features, on the part of Macbeth; his lady's countenance should express an eager firmness, touch'd with apprehension.

Note return to page 31 †The fearfully exaggerated apprehensions of conscious guilt, are finely expressed in this speech, which requires very emphatic delivery.

Note return to page 32 *The part of the porter is properly omitted; and the Italic lines, by transposition, judiciously introduced to give Macbeth time for change of appearance, of which, even now, he is allowed too little.

Note return to page 33 *In this scene Macbeth should assume as disengaged a deportment, as possible; but to the audience his countenance ought to shew inward confusion.

Note return to page 34 *Unless the princes had something more material to say, and something more to do than the author has furnished in this scene, they would be better kept out of sight; indeed they generally create laughter, and their pusillanimous resolution of departure, at the end of it, deserves no better treatment.

Note return to page 35 *This is a very bold, high finished poetical picture of the murdered king, and by a forceable affectation of sorrow, artfully conceals Macbeth's guilt.

Note return to page 36 *This Act is very interesting, more so than any other in the play; several passages equal, if not exceed, any thing our author ever wrote. The witches are well produced, and by the aid of music, give a very spirited conclusion.

Note return to page 37 *This short scene consists so much of the marvellous, that it is not severity to deem it repugnant to common-sense: however it gives some solemnity to the general subject.

Note return to page 38 *Macbeth should here put on a most fair-faced affability; for a designing villain most particularly seems what he is not.

Note return to page 39 *Though this tragedy must be in general allowed a very noble composition, it is highly reprehensible for exhibiting the chimæras of witchcraft, and still more so for advancing, in several places, the principles of Fatalism. We would not wish young, unsettled minds to peruse or hear this piece, without proper companions, to prevent absurd prejudices.

Note return to page 40 *We have seen these murderers dressed in the most raggamuffin stile; such appearances could never come before a monarch; even suborned witnesses are decently rigged out by attorneys, to gain some credit, from externals.

Note return to page 41 *This speech contains most emphatic natural reflections, beautifully expressed: the distinction of innocent death and guilty life, is remarkably fine.

Note return to page 42 &verbar2;This invocation to night, and the whole speech, are not only poetically beautiful, but happily adapted to the character and his gloomy circumstances. The tender eye of day is one of the finest ideas we recollect; and the imagery, which introduces night, is finely picturesque; but we doubt the propriety of crows winging to the rooky wood: crows and rooks are essentially different.

Note return to page 43 *Not having before mentioned the requisites for supporting Lady Macbeth on the stage, the opinion may properly fall in here: she should be of a commanding stature, graceful in deportment, possessed of a full-toned voice, with an elegant strength and haughtiness of features, to mark strong passions.

Note return to page 44 *The lines distinguished by Italics, though fanciful, would be better omitted in representation, as not consistent with Macbeth's agitated situation; however, they may please in perusal.

Note return to page 45 *The lines distinguished by Italics, though fanciful, would be better omitted in representation, as not consistent with Macbeth's agitated situation; however, they may please in perusal.

Note return to page 46 †Lady Macbeth's imputing her husband's behaviour to a disorder of mind that he is liable to, and her reproaches to him, are admirable strokes of resolute, deep policy.

Note return to page 47 *Macbeth, throughout this masterly scene, requires a very peculiar exertion of voice and features, to support and illustrate the author's ideas, which here manifestly flowed from a glowing, bold imagination.

Note return to page 48 &verbar2;It is something odd, that a man, so long and generally known, as Macbeth must have been, should speak thus.

Note return to page 49 *By this line it appears that Macbeth has, since the beginning of the play, formed such an intimacy with the witches, as to know when and where they meet.

Note return to page 50 *Concluding the Third Act with what follows, happily adapted to music, gives the piece much more spirit and propriety, than the form in which Shakespeare left it: and the flat uninteresting scene, between Lenox and another useless lord, is properly omitted.

Note return to page 51 *The Third Act, though rather laboured, and made up of unnatural circumstances, is, when well performed, extremely entertaining; and the witches conclude it, both respecting what they speak and sing, excellently.

Note return to page 52 *Amidst the multiplicity of our author's beauties, there is not, in our view, a stronger instance of original genius, than the ceremony of the cauldron, and its baleful ingredients. The reader who does not even in the perusal of the scene, feel a pleasing horror, must have a very dull conception; in representation we are struck through our eyes and ears, by externals; but without them, the pen of Shakespeare touches every intelligent breast.

Note return to page 53 *This speech is masterly; we know not a finer progression of climax, nor can form an idea of any address so applicable.

Note return to page 54 *In a very bad alteration of this play, by Betterton, he has hit upon what we think an emendation; that is, making the witches deliver all the prophecies; by which the surfeiting quantity of trapwork, ghosts, phantomes, &c. is judiciously lessened.

Note return to page 55 *Macbeth's resolution to prevent even possibility, is well suited to the desperate state of his mind. Every one of the prophecies are characteristically dubious, and Macbeth's favourable explanation of them, natural.

Note return to page 56 *The march of these shades is very picturesque, and Macbeth's disjointed remarks very proper.

Note return to page 57 *Here Shakespeare, as if the vigorous exertion of his faculties, in the preceding scene, required relaxation, has given us a most trifling superfluous dialogue, between Lady Macduff, Rosse, and her son, merely that another murder may be committed, on the stage too. We heartily concur in, and approve of, striking out the greatest part of it.

Note return to page 58 *There are about eighty lines of this scene omitted, which retained, would render it painfully tedious; and indeed we think them as little deserving of the closet, as the stage.

Note return to page 59 †The word yell'd is here very low and inadequate.

Note return to page 60 *Malcolm's self-abuse is well contrived to sound the feelings of Macduff for his country; to which Macduff makes a sensible, spirited reply.

Note return to page 61 *The author has here lugged in, by neck and heels, a doctor, for the strange purpose of paying a gross compliment to that royal line, which ridiculously arrogated a power of curing the evil, by a touch. But that scene is properly left out in, the representation.

Note return to page 62 *Rosse's hesitative manner of bringing out the dismal tidings, with which his sympathizing bosom swells, is sensible, friendly, and tender.

Note return to page 63 †This speech of Malcolm's is finely thrown in, to give Macduff a pause from his violent shock, before he speaks.

Note return to page 64 *As Macduff, before this scene has little to say of any consequence, the actor's essentials have not been mentioned; a good, though not a striking figure, a smooth flow of expression, a medium toned voice, tender feeling, and spirit, are required.

Note return to page 65 †The Fourth Act possesses more vivacity than the Third or First: the principal character warms upon an audience much. His powers expand, his situation begins to grow importantly critical, and the person who performs him should collect great spirit, and exert it.

Note return to page 66 *Never were the anxious horrors of conscious guilt more naturally or nervously painted, than in the character of Lady Macbeth. The introducing her as walking in her sleep, with murder haunting the agonized imagination, shews the author to be a most competent judge of nature and the stage; in no other shape could she have been introduced to so much advantage. It is difficult to perform this scene: she should speak in a low, anxious voice, keep moving slowly about, with fixed, glaring, open eyes, and horror-struck features.

Note return to page 67 *Making blood-stained conscience haunt her sleep so powerfully, is infinitely fine, strictly natural, and a very instructive warning against similar guilt.

Note return to page 68 †This deep sigh is highly in nature. Those who experienced oppressive dreams, have felt such without waking.

Note return to page 69 *A short and immaterial scene of the original, is here properly omitted.

Note return to page 70 *Macbeth's picture of his own deplorable state, as a friendless, detested tyrant, is highly natural and striking.

Note return to page 71 *Nothing can be more morally instructive than this questionary speech; from whence we may infer how much we should prefer a clear, well-regulated conscience, to ill-got sublunary grandeur.

Note return to page 72 †As, in a good cause, the brave man enters upon battle with some confidence, Malcolm's party shew it; while the tyrant, in opposition, should manifest violent rage, rising from despair.

Note return to page 73 *This speech contains a most agreeable mixture of moral instruction and poetic painting; life is admirably assimilated to the transitory state of a stage player.

Note return to page 74 †Shakespeare was too fond of blows, especially from royal hands.

Note return to page 75 †The Witches' treacherous predictions are here all fulfilled; and it is natural that the mind, weak enough to believe them should turn coward, finding the interpretations all against him.

Note return to page 76 *If deaths upon the stage are justifiable, none can be more so than that of Macbeth. Shakespeare's idea of having his head brought on by Macduff, is either ludicrous or horrid, therefore commendably changed to visible punishment—a dying speech, and a very good one, has been furnished by Mr. Garrick, to give the actor more eclat; but as we are not fond of characters writhing and flouncing on carpets; and as from the desperate state of Macbeth's mind we think his immediate death most natural, we could wish it to take place. There are, in the last scene, some lines added, and some judiciously transposed, for perusal as well as representation.

Note return to page 77 †Our author has thrown an unusual share of fire into the Last Act, and, contrary to his common practice, he has wound up the plot, punished the guilty, and established the innocent, in such a regular progression of important events, that nothing was wanting but very slight alterations, to place it in the present state.

Note return to page 78 *There runs, through many parts of this Pastoral Comedy, a dignified simplicity, charming to the ear, and understanding. However, in the original, there are several superfluous, and some disgraceful passages, which the stage has prudently reformed.

Note return to page 79 †This narrative speech introduces Orlando's character; opening his situation also, with pleasing propriety and natural ease.

Note return to page 80 *Orlando here retorts upon the unnatural churlishness of his brother, with becoming spirit: and Shakespeare has, in this dispute, traced nature judiciously, by making the villain a coward; which is nine times out of ten, the case, in such characters.

Note return to page 81 †Orlando, in point of figure, should be a slender, juvenile appearance, an open, honest countenance, and of free speech; Oliver less delicate, in all these points.

Note return to page 82 &verbar2;The sensible humility of Adam's reproach, is excellently. conceived, and rendered more keen by being so briefly expressed— adverting to his former master, is natural and affecting.

Note return to page 83 *To do Rosalind justice, there should be an elegant symmetry of person, free deportment, remarkable vivacity of speech, and features somewhat of the arch cast. A moderate figure, and medium requisites may pass, in Celia, who could not strike, even with capital abilities.

Note return to page 84 †This seene between the young ladies, though little more than chit-chat, has much nature, and spirit of dialogue, in it.

Note return to page 85 *The remaks upon nature and fortune, contain just and pleasant distinction, which are often confused in conversation; sometimes, in literary compositions, fortune is not pictured more blind, than many of our ideas about her influence, really are.

Note return to page 86 †We conceive that Shakespeare had, or might justly have had, the equivocal distinctions of litigation in view, wherein a word, nay a single letter, often overthrows reason and justice.

Note return to page 87 *Touchstone interrogates the whiffling courtier shrewdly, and retorts upon his answer happily.

Note return to page 88 *This wrestling scene is well devised and conducted, to bring about a mutual affection between Rosalind and Orlando.

Note return to page 89 †This dissuasive interposition of the ladies, is delicate, humane and characteristic.

Note return to page 90 ‡This speech is very interesting and recommendatory of Orlando.

Note return to page 91 *We cannot conceive a meaner character than the usurping duke shews himself to be; resentment against an unoffending, person merely on account of a family pique, speaks aloud a narrow, bad, odious heart.

Note return to page 92 †Rosalind's liking Orlando for sake of his father, is as generous as her uncle's hate of him, for the same reason, is mean and unmanly.

Note return to page 93 &verbar2;This line stands much more expressive in the original: Is but a quintaine—a mere lifeless block. A quintaine was a but, used formerly for archer's to shoot at, Orlando's allusion, as being a mark for fortune's shafts, is beautiful.

Note return to page 94 *The following lines should certainly be preserved, and we suppose are only cut out, because Le Beu is generally given to a wretched actor. The other's daughter to the banish'd duke, And here detain'd by her usurping uncle, To keep his daughter company, whose loves Are dearer than the natural bond of sisters. But I can tell you, that of late this duke Has ta'en displeasure 'gainst his gentle niece, Grounded upon no other argument, But that the people praise her for her virtues, And pity her for her good father's sake; And on my life his malice 'gainst the lady, Will suddenly break forth.

Note return to page 95 *There is, in this speech, somewhat very sensible, but rather obscure: we agree with Celia, that it requires caution to escape the burs of passion and folly, of which there is a most plenteous crop in the garden of life.

Note return to page 96 *This is the most rancorous, strange hearted duke, we ever met, to wreak his malice on a defenceless innocent, without the shadow of accusation.

Note return to page 97 *This remonstrance is sensible, friendly, feeling, and poetical.

Note return to page 98 †Those lines should certainly be spoken; Thou art a fool, she robs thee of thy name, And thou wilt show more bright, and seem more virtuous, When she is gone.

Note return to page 99 *This proposition of Cælia's, to become a voluntary exile, through regard for her cousin, is a romantic, but pleasing proof of a warm, disinterested friendship.

Note return to page 100 *The First Act has a sufficiency of business and sentiment, to engage, and inform attention.

Note return to page 101 †We find, in this speech, remarks truly philosophical, cloathed in great richness of fancy, and melody of expression: there is a sweetness and firmness of resignation in it, which we cannot too much admire.

Note return to page 102 *This, and the following speech, describing the state of a sequestered stag, are properly given to Jaques: they afford an affecting useful lesson to human nature, and exhibit fine poetic painting.

Note return to page 103 *Adam, who should possess great warmth, and tenderness of expression, presents us, in this scene, with sentiments of the most liberal nature.

Note return to page 104 *The old man, in this speech, not only shows uncommon goodness of heart, but touches finely on providence, and beautifully describes the happy effects a prudent, temperate youth has upon the circumstances and constitution of old age.

Note return to page 105 †Meed, recompence.

Note return to page 106 *The uncommon, because disinterested, fidelity of Adam, so pathetically expressed, cannot be too much admired; gratitude and affection are finely blended; and the old man's reluctant remark upon quitting a mansion he has so long resided in, is affectingly natural.

Note return to page 107 †Our author must have had an uncommon general idea of love, to paint it so exquisitely both in high and low life, as he hath done. This is a beautiful picture, in the moral stile.

Note return to page 108 *Batlet is the implement with which coarse cloaths are bucked.

Note return to page 109 *This speech is pregnant with very instructive moral reflection, forcibly conveyed.

Note return to page 110 *The following lines, omitted on the stage, we give our readers, as worthy perusal. Duke. What fool is this? Jaq. O worthy fool! one that hath been a courtier; And says, if ladies be but young and fair, They have the gift to know it: and in his brain, Which is as dry as the remainder bisket, After a voyage, he hath strange places, cram'd With observation, the which he vents In mangled forms. O that I were a fool! I am ambitious of a motley coat. Duke. Thou shalt have one. Jaq. It is my only suit, Provided that you weed your better judgments Of all opinion that grows rank in them, That I am wise. I must have liberty Withal, as large a charter as the wind, To blow on whom I please, for so fools have: And they that are most galled with my folly, They most must laugh. And why, sir, must they so? The why is plain, as way to parish church: He whom a fool doth very wisely hit, Doth very foolishly, although be smart, Seem senseless of the bob. If not, The wise man's folly is anatomiz'd, Even by the squand'ring glances of a fool. Invest me in my motley, give me leave To speak my mind, and I will, through and through, Cleanse the foul body of th' infected world, If they will patiently receive my medicine. Duke. Pie on thee, I can tell what thou wouldst do. Jaq. What, for a counter, would I do, but good? Duke. Most mischievous soul sin, in chiding sin: For thou thyself hast been a libertine, As sensual as the bratish sting itself; And all th' embossed sores and headed evils, That thou with license of free foot hast caught, Would'st thou disgorge into the general world. Jaq. Why, who cries out on pride, That can therein tax any private party? Doth it not flow as hugely as the sea, Till that the very very means do ebb? What woman in the city do I name, When that I say, the city woman bears The cost of princes on unworthy shoulders? Who can come in, and say that I mean her, When such a one as she, such is her neighbour? Or what is he of basest function, That says his bravery is not on my cost, Thinking that I mean him; but therein suits His folly to the mettle of my speech? There then, how then, what then? Let me see wherein My tongue hath wrong'd him; if it do him right, Then he hath wrong'd himself: if he be free, Why then my taxing, like a wild goose, flies, Unclaim'd of any man.

Note return to page 111 *If we take the word inaccessible literally, it is a blunder. Let us indulge it with a latitude of construction, and say it means thickness of the woods. Desert is not so reconcileable, for that word peremptorily implies an uncloathed, barren waste. Forest so impervious we should think better.

Note return to page 112 ‡The anxious tenderness of Orlando for Adam, is a most pleasing instance of grateful affection and tender feeling.

Note return to page 113 †The beauty and justice of this assimilation is obvious, and so generally acknowledged, that we shall say no more than pronounce the whole speech a dramatic gem, of great intrinsic value, and brilliant polish. Jaques, to do his part justice, though a short one, should be a judicious, sound declaimer; and Duke senior should be in the same stile.

Note return to page 114 *Saws, maxims.

Note return to page 115 *This very masterly and comprehensive speech, as we have remarked in our dissertation upon oratory, requires great and well-regulated variations of expressions.

Note return to page 116 †This song is aptly introduced here, and contains more meaning, than nine tenths of such compositions.

Note return to page 117 *The Second Act has little incident, but possesses such richness of ideas, mixed with such generous pathos and moral liberality, that it must please in every shape.

Note return to page 118 *Expediently seems to mean here expeditiously, but with less strain of construction may be understood conveniently.

Note return to page 119 †Touchstone may be represented by any figure; a quaint, dry, shrewdness of expression, in some places solemnly sententious, in others volatile, will do the author's meaning justice; an actor's conception should be pretty strong and clear, to understand this part thoroughly, and his mode must be consequentially arch.

Note return to page 120 ‡A very sensible and sarcastic remark.

Note return to page 121 *The account Corin gives of himself is pleasingly simple, and sensibly significant.

Note return to page 122 †We are sorry to pronounce this speech a shameful reverse of the former; it is would-be wit, and real indecency: it should be banished the stage.

Note return to page 123 *Touchstone's namby-pambys it here, pleasantly enough.

Note return to page 124 ‡Some commentators have puzzled this line with different suppositions but it plainly means to compliment Rosalind with agility, which Atalanta was remarkable for.

Note return to page 125 *A stroke is here made, and not a faint one, at the Pythagorean system; an Irish rat is distinguished, because an odd notion prevailed in Ireland, that rats might be charmed to death, by rhimes.

Note return to page 126 *Rosalind's adaption of time's different paces, to different characters, is pleasing and pertinent.

Note return to page 127 *Rosalind, all through this scene, and especially here, plays admirably on Orlando's amorous feelings.

Note return to page 128 †Inland-man, means a person of some education and knowledge of life.

Note return to page 129 *This speech is admirably fanciful, but not clearly obvious to a slight perusal, and rather exaggerates the negligent appearance of a lover.

Note return to page 130 *Rosalind, through this scene, requires nice articulation, great fluency and spirit of expression, with a very significant archness of look.

Note return to page 131 †We think these words would be well for Orlando: The more so, as thou hast strong traces of Rosalind's favour.

Note return to page 132 *A vacant gaukiness of figure, features, and expression, will do Audrey ample justice.

Note return to page 133 †Foul here, has not the common acceptation, but means bashful.

Note return to page 134 *Shakespeare has here introduced a most unessential parson, who is properly kept out of sight.

Note return to page 135 †The sentence with which Touchstone makes his exit, is shameful.

Note return to page 136 ‡These speeches should certainly be retained, as they discover a pretty natural peevishness in love. Ros. His very hair is of a dissembling colour. Cel. Something browner than Judas's: marry, his kisses are Judas's own children. Ros. I'faith, his hair is of a good colour. Cel. An excellent colour. Your chesnut was ever the only colour. Ros. And his kissing is as full of sanctity as the touch of holy beard. Cel. He hath bought a pair of chaste lips of Diana; a nun of winter's sisterhood kisses not more religiously; the very ice of chastity is in them.

Note return to page 137 *This and the following line are exceedingly fanciful and descriptive.

Note return to page 138 *The following lines, though rejected, and properly, by the stage, deserve perusal. Or if thou can'st not, Oh for shame, for shame! Lie not, to say mine eyes are murderers. Now, shew the wound mine eyes have made in thee. Scratch thee but with a pin, and there remains Some scar of it; lean but upon a rush, The cicatrice and capable impressure Thy palm some moment keeps: but now mine eyes, Which I have darted at thee, hurt thee not. Now I am sure, there is no force in eyes That can do hurt.

Note return to page 139 *This speech, is remarkably spirited and rational. Indeed there is a variety and fancy, through the whole scene, truly Shakespearean.

Note return to page 140 *These lines must please, in perusal: 'Tis but a peevish boy, yet he talks well, But what care I for words? Yet words do well, When he that speaks them, pleases those that hear. It is a pretty youth; not very pretty: But sure he's proud, and yet his pride becomes him; He'll make a proper man: the best thing in him Is his complexion. And faster than his tongue Did make offence, his eye did beal it up. He is not very tall, yet for his years he's tall; His leg is but so so, and yet 'tis well. There was a pretty redness in his lip, A little riper, and more lusty red, Than that mix'd in his cheek; 'twas just the difference Betwixt the constant red, and mingled damask.

Note return to page 141 †This Act, is in a livelier strain than the Second, therefore, in performance, generally pleases better.

Note return to page 142 *There is a short scene left out, for the better, in this place.

Note return to page 143 *Shakespeare seems fond of classical allusions, which is a presumptive, though by no means a positive, proof of erudition.

Note return to page 144 †We have heard of a hyena's alluring prey, by a kind of moaning; but how laughing can be applied to that creature, we know not, unless we take the animal as an emblem of deceit, and then it stands that she will plague him with feigned laughter.

Note return to page 145 ‡This passage is uncommonly beautiful; indeed the whole scene seems the offspring of rich fancy.

Note return to page 146 *This song is taken from Love's labour lost, and well introduced here.

Note return to page 147 *This description is uncommonly beautiful and exceeding picturesque.

Note return to page 148 *A natural effect of confusion falls in here, calling Rosalind cousin, and immediately recollecting her assumed name.

Note return to page 149 †The Fourth Act is rather more spirited than the Third, but labours under the inconvenience of being in many places too intricate for general apprehension.

Note return to page 150 *This scene, is totally made of quibble, incoherence, and rhapsody; yet, by a whimsical contrast of the clowns, is laughable.

Note return to page 151 *The following speeches should certainly be retained, for Silvius's beautiful explanation of love. Sil. It is to be made all of faith and service; And so am I for Phebe. Phe. And I for Ganimede. Orla. And I for Rosalind. Ros. And I for no woman. Sil. It is to be all made of fantasy, All made of passion, and all made of wishes, All adoration, duty, and observance, All bumbleness, all patience, and impatience, All purity, all trials, all observance; And so am I for Phebe. Phe. And so am I for Ganimede. Orla. And so am I for Rosalind. Ros. And so am I for no woman. Phe. If this be so, why blame you me to love you? [To Ros. Sil. If this be so, why blame you me to love you? [To Phe. Orla. If this be so, why blame you me to love you? Ros. Who do you speak to, Why blame you me to love you? Orla. To her that is not here, nor doth not hear.

Note return to page 152 *There is a short immaterial scene of the original, omitted here.

Note return to page 153 *Touchstone, throughout this scene, is very shrewdly sarcastical and pleasant; particularly in his ludicrous distinctions of the If, and his whimsical reconciliation of the quarrel.

Note return to page 154 *This prose Epilogue, which is merely designed to put the audience in good humour, is pleasantly conceived for that purpose.

Note return to page 155 ‡The Fifth Act is very much alive, and brings about a pleasing catastrophe, in an agreeable manner: but we agree with Doctor Johnson, that it might have been much enriched by bringing on the converted usurper, from which a fine moral lesson might have been derived.

Note return to page 156 *The characters of Iago and Rodorigo, are not only well contrasted, but drawn in a masterly manner. However, one material objection lies against the latter, as being too light and whimmy an offspring, for the tragic muse. In performance, he requires nothing but smartness of figure, airiness of deportment, and pertness of expression. The addition of a vacant cast of features, must be of advantage. Iago, though great extent of expression may be dispensed with, if well supported, must have solid and variable powers; depth of voice for his soliloquies, and the weightier scenes; familiar freedom for the lighter ones. His countenance should be plausible, but pregnant with design; and capable, not only of marking the villain strongly, but occasionally of assuming the semblance of an honest man. This part, though much curtailed in the acting, is still so long, and has so many soliloquies, that, without capital abilities and strict attention, it must pall an audience; and is, perhaps, the last character of consequence an actor can be parrotted in, to advantage, unless he has judgment of his own, rightly to regulate instructions.

Note return to page 157 *The alarming Brabantio, at such a time, and in such a manner, is well imagined, proving a good introduction to opening the plot.

Note return to page 158 †The lines distinguished by italics, for sake of decency, should be omitted, though usually spoken.

Note return to page 159 *This, and Iago's next speech, merit the same fate, for the same reason.

Note return to page 160 †In representation, Brabantio should be sustained by a venerable appearance, and a medium degree of the pathetic. He is drawn a tender, but a very weak father: his charge, of charms, spells, &c. is ludicrous.

Note return to page 161 *Magnifico, a nobleman of Venice.

Note return to page 162 †There is not, in the whole scope of the drama, a character which demands greater requisites, than Othello; nor is there one which gives more support to, or calls for more from, the actor; his appearance should be amiably elegant, and above the middle stature; his expression full and sententious, for the declamatory part; flowing and harmonious, for the love-scenes; rapid and powerful, for the violent climax's of jealous rage.

Note return to page 163 *A carrack, is a rich ship.

Note return to page 164 *There is somewhat very plausible in Brabantio's reasoning, here, though the daily caprices of love sufficiently overturn it.

Note return to page 165 *This is a spirited and genteel reply. A brave man will always decline violence, when he can do it with honour.

Note return to page 166 †A difference of opinion has arisen about pageants and pagans, we incline to the former, because we cannot suppose that the Venetian state would have made a pagan their general; besides, pageants taken as cyphers bear a good intelligible meaning. The first senator, in the very next page, uses the word nearly to this purpose.

Note return to page 167 *Othello here charges himself with what his oratory, through the whole scene, contradicts; and we see no reason why a good soldier, consistent with that character, may not be a good speaker.

Note return to page 168 *This narration speaks the pen of a great master, and though a speech unusually long, never fails to please much in the recital.

Note return to page 169 †It is rather descending from character, that a nobleman's daughter should be so often obliged to quit conversation, and that she liked too, for the business of a house-keeper.

Note return to page 170 *There is an exceeding beautiful degree of modest confidence, in this delicate speech.

Note return to page 171 †A most poetical idea is couch'd in these lines.

Note return to page 172 ‡Agnize, for acknowledge.

Note return to page 173 *This is a delightful flight of fancy; and natural for a man of sense, who though he bows to the shrine of Love, stedfastly attends the important concerns of life.

Note return to page 174 *This scene is very much, and very properly, reduced, from the original prolixity.

Note return to page 175 *Shakespeare, who had the exposition of that dreadful passion, Jealousy, in view, has shewn its contrast effects upon different minds: the subtle, gloomy temper of Iago, touched with it, determines upon a revenge, base as deliberate, under the smiling, treacherous mask of friendship; Othello's generous, unsuspecting heart, having sucked in the poison, enters upon an open, violent declaration of his resentment. Herein the poet, as in most of his pieces, shews a correct knowledge of human nature.

Note return to page 176 ‡This Actis sufficiently supplied with business. The plot and characters are well opened, and the writing, all through, equals any thing we could wish.

Note return to page 177 †The Second Act commonly begins here; yet we think that the scene which precedes, as originally written, should be retained, as it contains some fine passages, and raises a pleasing, proper anxiety for Othello's safety; wherefore we give it, to perusal. Montano and Gentlemen. Mon. What, from the cape, can you discern at sea? Gen. Nothing at all: it is a high-wrought flood; I cannot, 'twixt the heav'n and main, Descry a sail. Mon. Methinks the wind hath spoke aloud at land; A fuller blast ne'er shook our battlements: If it hath ruffian'd so upon the sea, What ribs of oak, when mountains melt on them, Can hold the mortice? What shall we hear of this? 2d Gen. A segregation of the Turkish fleet; For do but stand upon the foaming shore, The chiding billows seem to check the clouds; The wind-shak'd surge, with high and monst'rous main, Seems to cast water on the burning bear, And quench the guards of th' ever-fired pole. I never did like molestation view On the enchafed flood. Mon. If that the Turkish fleet Be not inshelter'd and embay'd, they're drown'd. It is impossible to bear it out. Enter a third Gentleman. 3d Gen. News, lords: Our wars are done: The desperate tempest hath so bang'd the Turks, That their designment halts. Another ship of Venice Hath seen a grievous wreck and suff'rance On most part of the fleet. Mon. How! is this true? 3d Gen. The ship is here put in. A Veronesso, Michael Cassio, Lieutenant of the warlike Moor, Othello, Is come on shore; the Moor's himself at sea, And is in full commission here for Cyprus. Mon. I'm glad on't; 'tis a worthy governor. 3d Gen. But this same Cassio, though he speaks of comfort, Touching the Turkish loss, yet he looks sadly, And prays the Moor be safe; for they were parted, By foul and violent tempest. Mon. Pray heav'ns he be! For I have serv'd him, and the man commands Like a full soldier. Let's to the sea-side, As well to see the vessel that's come in, As to throw out our eyes for brave Othello, Ev'n till we make the main and th' aerial blue An indistinct regard. Gen. Let us do so, For every minute is expectancy Of more arrivance.

Note return to page 178 *Through the whole of this scene, Iago expresses himself most indecently to his wife, and barefacedly impudent to Desdemona.

Note return to page 179 †In representation, we expect nothing from the two characters of Desdemona and Emilia, but delicacy of appearance and tender expression, in the former, with a smart degree of virago spirit, in the latter.

Note return to page 180 *Thought, in this speech, soars aloft, on very rapid wing.

Note return to page 181 *Iago's method of working, through the whole piece, on this flimsy, credulous tool of his black designs, is full of cunning.

Note return to page 182 *The author has again made Iago very properly advert to his jealous suspicions of the Moor, as a leading motive for his villanous revenge. The whole procedure of this military rascal, shews great caution, much policy, and deep malignance of mind.

Note return to page 183 †Brach, a kind of babbling hound.

Note return to page 184 *Iago's method of working on Cassio's weakness, is also exceedingly artful, as the veil of social jollity covers his base design. But, the sudden, and violent intoxication, rather strains probability.

Note return to page 185 *We think, the following lines of the original should be retained, as beautiful and significant. My blood begins my safer guides to rule, And passion, having my best judgment choler'd, Assays to lead the way—If I once, &c.

Note return to page 186 *This account of the brawl, exhibits an uncommon share of fair-faced, dissimulative policy.

Note return to page 187 †There is a great dignity of censure, of reproach, and punishment, in this short address to Cassio.

Note return to page 188 &verbar2;Though we may admit Othello's rebuke and discharge of Cassio, to be very piercing, yet, reason and nature deny its sufficiency, to restore a person so stupid to such sober sense. And the author himself seems conscious of this, by making an apology, though a very lame one, in answer to Iago's question, “How came you thus recovered?” However, what Cassio says of himself and his intoxications, is so sensible, we may be glad of his recovery.

Note return to page 189 *The Second Act carries on the plot well, and has rather more spirit, but does not rise much above the first.

Note return to page 190 †Shakespeare has furnished, at the beginning of the third act, a very trifling, non-essential scene, of two pages, most justly rejected, the act beginning much better here.

Note return to page 191 *We think wench much more eligible than wretch.

Note return to page 192 *There is great subtlety, and show of honesty, in this speech; claiming independance of thought, gives an air of truth, consequently credit, to what comes after.

Note return to page 193 †The hesitative, dubious mode of working up the Moor, is finely conceived, and his unsuspecting manner of swallowing jealousy's insidious poison, happily display'd.

Note return to page 194 *This speech is held in such general, just esteem, and has been so often, quoted, that any comment upon it is unnecessary.

Note return to page 195 *There is a great share of good sense, very well expressed, in this speech; for certain it is that genteel accomplishments and vivacity are rather an ornament, than taint, to virtue.

Note return to page 196 *Iago's pretended regard for Desdemona, by throwing doubts on his own observations, appears a thick veil of imposition.

Note return to page 197 ‡Haggard, wild, irreclaimable.

Note return to page 198 &verbar2;Jesses, small straps put round the legs of a hawk, to keep it on the hand.

Note return to page 199 †The sudden effect of Desdemona's personal appearance, is pleasing and natural; for the heart which truly loves, unless grossly imposed on, always judges favourably.

Note return to page 200 *The handkerchief, as a corrboorative circumstance, is happily introduced; since nothing can be more true than Iago's nervous remark, that, “trifles light as air, &c.”

Note return to page 201 *This impassioned rhapsody, is extremely striking and beautiful. Shakespeare, in it, as well as though the whole Act, has poured a flood of genius.

Note return to page 202 *Othello, through all the scenes of this Act, requires most expanded powers of expression; they cannot rise too far, unless strained. Iago claims great judgment and sensibility, without much force; he shows the secret workings of a villanous heart: Othello's, are the effusions of a wounded, generous, credulous one.

Note return to page 203 *We wish the greater part of this speech was omitted. Nothing material would be lost, and delicacy would be better sustained, if, after Othello says, Death and damnation! Oh! Iago was to reply, My lord, If imputation and strong, &c.

Note return to page 204 *Iago's kneeling here, is such a master-stroke of hypocrisy, that it seldom fails to cause laughter in one, and to draw execrations from another part of the audience.

Note return to page 205 *Shakespeare, in a strange flight of fancy, crammed a clown into this tragedy, who has been, with strict justice, banished; as also another excrescence, Cassio's mistress, Bianca. We think, the Third Act would end well here.

Note return to page 206 *There is something charmingly awful in the Moor's manner of giving the handkerchief consequence; and Desdemona's evasive supplication for Cassio is finely imagined, as it most evidently tends to strengthen her husband's jealousy.

Note return to page 207 *The Third Act ends better here, without introducing Cassio and his female cypher. As a main engine of his plot, 'tis surprising the author did not make the lieutenant a better acting part: he should be represented by a handsome figure, joined to that, very slender third-rate requisites will do.

Note return to page 208 †It is very little, perhaps no compliment at all, to say, this Act is the best that ever was wrote, for spirit, extent of conception, boldness of painting, depth of design, and probability of effects.

Note return to page 209 &verbar2;It does Shakespeare great service to begin the Fourth Act here, as the six original pages which precede, are tedious, confused, trifling, and often indecent; the Moor, has already been sufficiently wrought on; besides, the character of Othello, as it now stands, is as much as very great spirit and acting powers can go through; more, must sink the ablest performer.

Note return to page 210 *We think beginning the Act at this line would save delicacy a blush or two, and be, in that sense, an improvement.

Note return to page 211 *This speech is a very beautiful pause of passion for tenderness to flow in; most pathetically picturesque.

Note return to page 212 *The meaning of this passage is obviously this—Patience, cast an eye upon that lov'd, faithless object, and even your smiling, rosy countenance must change to fiend-like grimness of resentment.

Note return to page 213 *Callat here, means trull, or scold: to callet, is used, at present, for to scold.

Note return to page 214 *Dost'st—put'st me off.

Note return to page 215 *There are two pages judiciously curtailed from the latter part of this scene.

Note return to page 216 †The Fourth Act, though not quite equal to that which precedes it, yet maintains its place with great dignity, and does its author credit. The plot goes on with fine gradation.

Note return to page 217 ‡This scene, is sometimes made, and we think properly, the last of the Fourth Act. By such disposition, the Fifth Act opens with more solemnity, and is more uniform. The manner of Rodorigo's death, and Cassio's maimed leg, are rather ludicrous incidents.

Note return to page 218 *The style and sentiment, in which Othello ruminates, is awfully solemn and natural. The situation of Desdemona, her innocence, the conversation, and her death, co-operate strongly to touch the strings of pity.

Note return to page 219 *This dialogue, has more nature, and a happier effect, by being mostly composed of lines and half lines, than if the speeches had been longer.

Note return to page 220 *It has been justly remarked, that, stabbing Desdemona, here, reconciles her recovering speech, yet, dying afterwards; which is, otherwise, highly unnatural.

Note return to page 221 †There is a most natural, well-drawn confusion in this speech which concludes with great magnitude of idea.

Note return to page 222 *The opening of Iago's villainy is judicious, and the gradual, yet full exposition of it, very satisfactory.

Note return to page 223 *The situation of Othello is here exceedingly pitiable, and the actor has, in this speech, as in many others of the Fifth Act, a glorious opportunity for impressive expression.

Note return to page 224 †Tho' the marked lines afford a fine transition of expression, yet, as they convey very horrid ideas, we could wish them omitted.

Note return to page 225 ‡Saving Iago for legal punishment, we much approve; and see no reason why Æmilia should have been killed, unless to fix on him a positive charge of murder.

Note return to page 226 *The catastrophe of Othello is nobly supported; and his voluntary death a natural flight of mind, torn with remorse for having sacrificed the idol of his heart, to a false charge and an unhappy resentment.

Note return to page 227 †At the end of the Third Act a reader or spectator is induced to think his feelings cannot be touched more sensibly, but there is such a well conceived succession of events, such variation of circumstances, such preservation of characters, such a noble melifluence of writing, and such a melting climax of catastrophe, that sensation is played upon, with increasing force, to the very last speech.

Note return to page 228 *A dramatic writer should very studiously avoid giving a title, which may announce, or anticipate, the catastrophe; however, as this is a comedy, its name is well enough, and runs smooth upon the tongue, which, though a slight point, should be attended to.

Note return to page 229 †Bertram should be a showy young fellow, of sensible easy utterance; he does not help the actor, nor oppress him. The Countess should have a motherly appearance, grave and significant utterance. Helena requires a fine figure, and soft sensations; Lafeu, a respectable looking level speaker, with some dry humour.

Note return to page 230 ‡Bringing all the characters forward in mourning, at the beginning of a Comedy, gives rather a tragic idea.

Note return to page 231 §Ward here means charge; that is, he considers himself as immediately under the king's direction and patronage.

Note return to page 232 &verbar2;This speech pays the king a singular compliment, as being what every monarch should be, a distinguisher of, and a friend to, merit.

Note return to page 233 *This is highly natural, the generous heart swells as much at praise, though deserved, as at undeserved reproach.

Note return to page 234 †A most sensible and just remark.

Note return to page 235 ‡The Countess here delivers very instructive advice, in a very compact manner; and her mode of prayer speaks warm, maternal feeling, without womanish weakness.

Note return to page 236 §These lines should be retained. I am undone; there is no living, none, If Bertram be away. It were all one, That I should love a bright, partic'lar star. And think to wed it; le is so above me: In his bright radiance and collateral light, Must I be comforted, not in his sphere. Th' ambition in my love thus plagues itself; The bind that would be mated by the lion, Must die for love.

Note return to page 237 &verbar2;When we describe Parolles to be an impudent, conceited, loquacious, lying, parasitical, cowardly coxcomb, the requisites to represent him are easily conceived.

Note return to page 238 *We are by no means fond of the subject started here; and the scene, as it stands originally, is not only indelicate, but trifling: above half of it is omitted, and indeed the whole might very well be spared, it being a mere eke out, with very little pleasantry.

Note return to page 239 *This king, like many other mock and real ones, has very little of any consequence to say for himself; however, he should at least have some dignity of speech and figure. Any scraps of mortality may make attendant lords.

Note return to page 240 *Though this passage might hang on the stage, yet it deserves perusal. In his youth He had the wit, which I can well observe To day in our young lords; but they may jest, 'Till their own scorn return to them unnoted, Ere they can hide their levity in honour. So like a courtier, no contempt or bitterness Were in him; pride, or sharpness, if there were, His equal had awak'd them; and his honour, Clock to itself, knew the true minute, when Exceptions bid him speak; and at that time His tongue obey'd his hand. Who were below him He us'd as creatures of another place, And bow'd his eminent top to their low ranks; Making them proud of his humility, In their poor praise, he humbled.

Note return to page 241 *That a man labouring under the infirmities of age, or any other heavy debilitation, for which he can perceive no remedy, should wish for the friendly arm of death, is sensible, and philosophical.

Note return to page 242 *This clown is like most of Shakespeare's other clowns, and asks for the same requisites; he uses strange freedom with the Countess, and attempts to be very arch, through the whole scene, but we are so dull of comprehension, we can neither laugh with him, nor at him.

Note return to page 243 *Eares, for plows.

Note return to page 244 *The effect Helena feels, upon the Countess's repetition of the word mother, is a pretty and natural reference to her secret passion for Bertram.

Note return to page 245 †Appeach'd, accused.

Note return to page 246 *Helena discloses, or rather confesses her love, in terms of the most modest, pleasing sensibility.

Note return to page 247 †This observation is strictly natural; for pure affection will suggest every thing which may carry it near, or bring it to, the object of regard.

Note return to page 248 *There is about one third of this Act reduced, and yet it lies heavy on attention; we find little in it, but that Helena is in love, and draws great hopes from turning doctress to the French king.

Note return to page 249 †In the Second Act, the first object we meet is this extraordinary Little Scene, where Bertram bounces, in two lines, and marches off, with a third.

Note return to page 250 *This king has nothing of the Englishman about him, or he would be more inclined to catch at quackery; he stands a good deal of persuasion in the original; thirty lines of which are well thrown aside, as they would be tedious.

Note return to page 251 *Shakespeare has introduced strange jingles frequently, in this play: there seems to be but this general apology for him, that when he was tired of one stile, he slided, by way of relaxation, into another.

Note return to page 252 †These lines should be preserved: His powerful sound, within an organ weak: And what impossibility would slay, In common sense, sense saves another way. Thy life is dear; for all that life can rate Worth name of life, in thee both estimate: Youth, beauty, wisdom, courage, virtue, all That happiness and prime can happy call; Thou, this to hazard, needs must intimate Still infinite, or monstrous desperate. Sweet practiser, thy physick I will try; That ministers thine own death, if I die.

Note return to page 253 ‡Helena here acts the physician well; for tho' she does not ask a fee before hand, she demands good security for one.

Note return to page 254 *There is so very little, and that such impertinent quibbling matter, between the Countess and Clown, that we wish Shakespeare had not brought us to meet such insipid company; the whole intent is giving time for the king to get well.

Note return to page 255 *A very fine remark, this, from the mouth of royalty.

Note return to page 256 †Helena here obtains her wish, but on terms very ungracious to tender, generous feelings.

Note return to page 257 *Parolles, through the whole of this interview, is plesantly in character.

Note return to page 258 *This idea we have met with tolerably burlesqued, For what is war abroad, to war at home.

Note return to page 259 †Bertram shows himself mean to have a marriage imposed on him, and meaner to fly from it; if the king could force, he could by the same authority, chastise his contemptuous behaviour.

Note return to page 260 *These lines deserve a place. Whose want, and whose delay, is strew'd with sweets, Which they distil now in the curbed time, To make the coming hour o'erflow with joy, And pleasure drown the brim.

Note return to page 261 *These lines are too essential to be omitted. Marvel, Helen, at my course, Which holds not colour with the time; nor does The ministration and required office, On my particular. Prepar'd I was not, For such a business; therefore am I found So much unsettled: this drives me to intreat you, That presently you take your way from home, And rather muse, than ask, why I intreat you.

Note return to page 262 †This is but a poor, imperfect softening of his behaviour, and Helen's reply is a line and a half of the poorest phraseology, we have met in measure.

Note return to page 263 *Though we must contemn Bertram's behaviour as that of a fool or a madman, yet, Helena resolving to have the man, whether he will or not, takes away all pity for her situation. However, this speech prettily expresses sincerity of disenterested affection.

Note return to page 264 †This Act, save Parolles's part, is full as flat as the former, a continuation of marching on and off the stage, to very little purpose.

Note return to page 265 *This letter is pleasingly versified.

Note return to page 266 *The idea of Helena's mitigating, by chaste prayers, the errors of her husband, is exceedingly beautiful.

Note return to page 267 †Strange it is, that lines should be frequently cut out, merely to shorten a part:—these certainly deserve a place. When, haply, be shall bear that she is gone, He will return, and hope I may, that she, Hearing so much, will speed her foot again, Led hither by pure love. Which of them both Is dearest to me, I've no skill in sense To make distinction: provide this messenger.

Note return to page 268 *And brokes, that is, acts as a broker.

Note return to page 269 *It is a stroke of humour in Parolles, who here has a slight resemblance of Ben Johnson's Bobadil, to make so much about the loss of a drum, though victory has been on their side. Cowards, when danger is over, are fond of seizing the slightest opportunity of magnifying the idea of courage.

Note return to page 270 *Helena's device to impose upon her husband, is similar to one in Measure for measure.

Note return to page 271 ‡This, upon the whole, is one of the most insipid, tasteless Acts Shakespeare ever wrote; it can neither make us laugh, cry, not scarcely think.

Note return to page 272 *There are many nameless lords in this play, we wish names had been found for them; matters would have been rather more obvious.

Note return to page 273 †This is a good and pleasant device for detecting Parolles's cowardice; and the state that Braggart is brought into exceedingly laughable, shewing that fear can make any thing of him, even a traitor to his best friends: a timorous heart can no more be trusted, than a mercenary one.

Note return to page 274 *This is a sensible, pregnant remark, well worthy a place in female recollection.

Note return to page 275 †The following lines should most clearly keep their place; however, we introduce them for the reader's sake, here. That is vow'd true. What is not holy, that we swear, not bides, But take the High'st witness. Them, pray tell me, If I should swear by Jove's great attributes, I lov'd you dearly, would you believe my oaths, When I did love you ill? this has no holding, To swear by him whom I protest to love, That I will work against him.

Note return to page 276 *Diana, to countenance Bertram's application to her, should be a very desirable figure; her expression soft and delicate.

Note return to page 277 *This speech is morally and comprehensively argumentative.

Note return to page 278 *The sonorous jargon uttered in this scene, to rouse the timidity of Parolles, is well introduced, and extremely laughable.

Note return to page 279 ‡Ruttish, wanton.

Note return to page 280 &verbar2;The terrible, but just dilemma, Parolles appears in, through this scene, the progress of his interrogation, his treacherous, slanderous, pusillanimous answer, all combined give great scope for comic merit, and are excellent food for mirth.

Note return to page 281 *Fear operates very whimsically in the different parts of Parolles's confession.—The original speeches, which follow, should certainly be spoken. Int. What say you to his expertness in war? Par. Faith, sir, h'as led the drum before the English tragedians: to belie him I will not; and more of his soldier ship I know not; except that, in that country, he had the honour to be the officer at a place there, called Mile-end, to instruct for the doubling of files. I would do the man what honour I can, but of this I am not certain. 1 Lord. He hath out-villained villany so far, that the rarity redeems him. Ber. A pox on him; he's a cat still.

Note return to page 282 *For once Parolles makes a very sensible, just, and applicable remark.

Note return to page 283 *In the original, the fifth act does not begin, till three pages farther: but we think this division preferable.

Note return to page 284 *A short unnecessary scene which occured after this, is properly cut off.

Note return to page 285 *These two punsters for jests produce indelicate word catching.

Note return to page 286 *These lines should not be expunged. Where the impression of mine eye enfixing, Contempt his scornful perspective did lend me, Which warp'd the line of every other favour; Scorn'd a fair colour, or express'd it stol'n: Extended or contracted all proportions, To a most hideous object:

Note return to page 287 †Nor these, But love, that comes too late, Like a remorseful pardon slowly carried, To the great sender turns a sour offence, Crying, that's good that is gone; our rash faults Make trivial price of serious things we have, Not knowing them, until we know their grave. Oft our displeasure, to ourselves unjust, Destroys our friends, and, after, weeps their dust: Our own love, waking, cries to see what's done, While shameful hate sleeps out the afternoon. Be this sweet Helen's knell; and now forget her.

Note return to page 288 *This circumstance of the ring, by thickening the plot, raises expectation agreeably, and puts the audience into an interesting suspense.

Note return to page 289 *Bertram here appears a thorough scoundrel, and well represents many modern unprincipled galants.

Note return to page 290 ‡Parolles gives answers well adapted to his mind; his whiffling evasions are the natural effects of his fear that he may fall into another premunire, as bad as that of the drum.

Note return to page 291 §There is a great similarity in the puzzle here, to that raised in the last scene of Measure for Measure.

Note return to page 292 &verbar2;There is a very agreeable confusion wrought up in this scene, a kind of pleasant cross purposes.

Note return to page 293 *We see no reason for such very full explanation; among gossips it might do well, and be necessary; to a public audience it can be neither one nor the other.

Note return to page 294 ‡There is great merit, with oddity, in these two lines.

Note return to page 295 †Without these four lines, the conclusion, which we deem abrupt at any rate, is rather more so; therefore the king should speak them. For I can guess, that, by thy honest aid, Thou kept'st a wife her self, thyself a maid. Of that and all the progress more and less, Resolvedly more leisure shall express.

Note return to page 296 *The conclusion of this piece, is very agreeable; yet, upon the whole, we never carefully review'd five acts, considering their great author, with less pleasure. There is a lukewarm sameness in all the characters and scenes, save the sheet anchor, Parolles, and he is rather farcical. We are apt to think Shakespeare fell out of humour with his plan, at the beginning, and therefore paid very little attention to what he wrote.

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