Note return to page 1 *We rather incline to Tate's beginning with the Bastard's soliloquy, than to this original scene of Shakespeare, which, somewhat altered, and rendered more decent, he places second.

Note return to page 2 †Kent and Gloster require the externals of nobility. An unaffected, blunt mode of utterance is the leading requisite for Kent; Gloster should be more venerable in look, more feelingly mellow in expression.

Note return to page 3 ‡From the Bastard's situation, transactions, and expression, we are led to expect a bold, martial figure, a genteel, but confident deportment, with a full, middle-toned, spirited voice.

Note return to page 4 †Edgar should be represented by a performer of pleasing symmetry in person; his features without effeminacy; of an amorous cast; his voice silver-ton'd; his madness being affected, demands action, movement, and looks, of great extravagance, as feigned madness always caricatures real. His voice must be capable of many and quick transitions, to which should be added strong variations of countenance. Cordelia is most amiable, in principles, and should be so in features and figure: there is no great occasion for strength of countenance, nor brilliancy of eyes; she appears designed rather for a soft, than sprightly beauty; yet considerable sensibility, both of look and expression, is essential.

Note return to page 5 †The contrast between professing, forward hypocrisy, and modest sincerity, is admirably depicted in the three daughters.

Note return to page 6 *Lear calls for very capital requisites: his stature, if not any way in extremes, is immaterial; but his countenance, which art may antiquate, should be a faithful index, a just interpreter, to a strong working mind. His voice should be sweet, able to attain variety of pitches, and strong enough to bear, unbroken, several straining transitions. His deportment must describe enfeebled dignity.

Note return to page 7 *The old monarch's irrational techiness of temper is well unfolded in this precipitate determination.

Note return to page 8 †This generous spirited interposition, mingled with so many bold truths, even in the dangerous presence of an enraged king, renders Kent an object of regard to spectators and readers, while Lear's frantic banishment of so faithful a subject and adviser, claims part pity and part contempt.

Note return to page 9 *Edgar's disinterested love is finely contrasted to the sordid views of Burgundy, and sufficiently justifies her prejudice in his favour.

Note return to page 10 †This soliloquy discloses Edmund's character well, and speaks the man's idea of life, thoroughly. It is a very favourable speech, for the actor; but rather bordering on the licentious.

Note return to page 11 *He plays the hypocrite deeply and plausibly, in this scene, while his bait is greedily swallowed by the credulous duke.

Note return to page 12 †This soliloquy has great merit, and is a very proper comment on the ridiculous notion Gloster has just before broached, of planetary influence.

Note return to page 13 *This sentence contains a just and keen stroke of satire on astrology.

Note return to page 14 *From this speech, and his situation, Kent should change his expression, nearly as much as his appearance: a point not sufficiently attended to by performers.

Note return to page 15 *For so proud a king as Lear is drawn, or indeed any king, to strike a servant, is a strange trespass on dignity; the consequence of this blow might have been brought about in a much more consistent manner: and Kent's tripping up the gentleman usher, is pantomime; nay the lowest part of it.

Note return to page 16 &verbar2;Goneril and Regan should exhibit an austere dignity of deportment, with proud, acrimonious, sarcastic expression; they should be the full reverse of Cordelia. Shakespeare, previous to Goneril's entrance, has introduced a Fool. Sure fools must have been much in fashion, in his day, he has so often introduced them.

Note return to page 17 *Tate has it, “degenerate viper,” which we think better.

Note return to page 18 *This execration is conceived and expressed in such a nervous climax of resentment, that it requires great abilities to give it due force. There are two justifiable modes of delivering it: one is, beginning low, as if speech was for a moment benummed; and rising to the conclusion; the other is, commencing with a burst of passion, and repressing a swell of grief, till the two last lines; then melting into a modulated shiver of utterance, watered with tears. We prefer the latter.

Note return to page 19 †This Act is well supplied with incidents, and terminates most strikingly. Tate has softened the verification of the concluding speech, but at the same time rendered it less nervous.

Note return to page 20 *Queasy question—Of a disagreeable, doubtful nature.

Note return to page 21 *Or whether gasted—frighted.

Note return to page 22 *We are in no shape fond of this scene; the ludicrous is bandied about in it, like a shuttlecock; however, it tells well in action; at least for Gallery Critics.

Note return to page 23 *Bewray, to discover.

Note return to page 24 †The first part of this speech is very keen, and characteristic; the latter contains an idea quite fulsome.

Note return to page 25 &verbar2;Kent here paints, in a very fanciful manner, the spaniel-like crouching of sycophantism, a serpent in society the great are much too fond of.

Note return to page 26 *Cornwall's reply to this unbecoming speech is a just remark upon, and a proper reproof to, Kent's shameful behaviour, which seems designed for quarrel. Such conduct in presence of a sovereign prince is intolerable; but sure some better mode of punishment might have been devised, than the farcical confinement of his legs.

Note return to page 27 *Gloster's remark on the pitiful provocative resentment against the king's messenger, is very just, and respectful to all parties. Persons who want to pick quarrels, easily find means; but the flocks are a strange incident for tragedy.

Note return to page 28 *More worse is uncouth—suppose, still much worse.

Note return to page 29 †A strange piece of buffoonery is sometimes admitted on the stage, which is the steward's making two or three passes at Kent, so draw a wretched laugh from the upper Gallery.

Note return to page 30 *This soliloquy prepares us, with much fancy, for Edgar's future destination, and what we are to expect from him. It speaks well, therefore seldom fails to gain the performer applause.

Note return to page 31 ‡Edgar's design of turning himself into the shape of a Bedlamite, is very politic, as to his situation, and gives fine scope for variation and extension of acting powers.

Note return to page 32 &verbar2;Meiny signifies their suite, their attendants.

Note return to page 33 *Kent, though relating what we are before acquainted with, does it with such blunt, unaffected perspicuity, that we must be pleased both with the matter and manner of his narration.

Note return to page 34 †Here falls in a fine turn of recollection, for the actor who performs Lear. It is one of the noblest breaks we recollect: indeed, the whole speech is inimitable. This is a melting address; the numerous transitions are most masterly. Lear's struggles against his powerful injuries, and his own strong feelings, are exquisite; the daughters working him severally up to madness, and his at length falling into, it are an irresistible combination that none but Shakespeare could frame or express.

Note return to page 35 *The idea of filial ingratitude placing in his breast a vulture, to prey upon that liberal heart which gave all, is nervously figurative.

Note return to page 36 *This sudden start of passion, from the extreme tenderness of his preceeding speech, is a fine mark of character.

Note return to page 37 *There cannot be any thing more beautiful than this speech; the old monarch's pitiable situation grows almost too much to bear, and represented with suitable powers of voice and countenance must touch every fibre of sensibility.

Note return to page 38 &verbar2;The Second Act rises so much, and is so highly finished, that we are afraid it is but truth to call it the best; it is certainly too early in a piece to have the passions so strongly wound up.

Note return to page 39 *The Third Act begins with awful solemnity: a violent elementary conflict prepares our alarmed senses for the poor, discarded old man's approach, unguarded from all the inclemencies of night, and tumultuous skies. What Lear utters in the scene is emphatically characteristic, and teems with instructive precepts, most poetically connected.

Note return to page 40 †Germins, seeds.

Note return to page 41 †Gallow, to terrify.

Note return to page 42 *This speech is a fine panegyric upon conscious innocence, and a most stinging reproach to guilt of every kind.

Note return to page 43 †These are expressions of warm regard, even amidst frenzy, for an assisting friend, and shew melting, generous gratefulness; the tribute of a good heart.

Note return to page 44 *The lines hereafter, taken from Shakespeare's original, are such an enrichment to the part, that we wish every lady who represents Cordelia, would speak them. Cor. Oh, speak not thus! He did not, could not wrong me. Besides, I have heard this poor, unhappy king, Contending with the fretful elements, Bids the wind blow the earth into the sea, Or swell the curled waters 'bove the main; That things might change, or cease; tears his white hair, Which the impetuous blasts with eyeless rage, Catch in their fury, and make nothing of; Strives, in his little world of man, to out-scorn The to-and-fro conflicting winds and rain. This night, wherein the cub-drawn bear would couch, The lion, and the belly-pinched wolf, Keep their fur dry; unbonetted he runs, And bids what will take all.

Note return to page 45 *This speech contains a prodigious fine flow of filial piety and affection; a good actress is happy to have the speaking of it, which cannot fail to stood eyes and move hands.

Note return to page 46 *We could wish this speech read to certain great folks, every day!

Note return to page 47 †Through the whole of this scene there is a most masterly and affecting contrast, between real and feigned madness; the latter posts helter-skelter through a laboured variety of incoherent images; the former chiefly adverts to the great cause of his frenzy.

Note return to page 48 *Pelican daughters. This is an emphatic expression, derived from the young pelican's being nourished by the blood of their parent.

Note return to page 49 †Light of ear, easy of belief.

Note return to page 50 *The web and the pin—disorders of the eye.

Note return to page 51 *However severer criticks than we wish to be, may censure this incident, and the following scene of Tate's, we deem them too pleasing and proper, to be slightly regarded.

Note return to page 52 *Edgar in this speech most happily describes his pitiable situation; and apologizes for his aspiring passion, with becoming modesty.

Note return to page 53 †This sudden warm declaration in her lover's favour, is by no means a breach of delicacy, but displays generous feelings that are most willing to reward merit when in adversity.

Note return to page 54 *This very insignificant scene, and the savage incident of Gloster's eyes, when alterations were to take place, should have been consigned to oblivion.

Note return to page 55 *These lines should have been preserved: The sea with such a storm as his bare head In bell black night endured, would have buoy'd up, And quench'd the stelled&verbar2; [Subnote: &verbar2;Stelled implies starry fires.] fires: Yet, poor old heart, be help'd the heav'ns to rain. If wolves had at thy gate bowl'd that stern Time, Thou shouldst have said, “Go, porter, turn the key.”

Note return to page 56 *If the mangled, shocking object, who speaks this, was bearable to view, the soliloquy has considerable merit. The mad scenes of the Third Act, are a fine variation of circumstances and action, in the representation; they require a great deal of stage finesse. Cordelia's scene has considerable merit, but all the rest is unworthy of regard: merely food for the plot.

Note return to page 57 *Esperance, hope.

Note return to page 58 †This is a fine moral reflection, rather obscurely expressed: to us it means, that man, amidst the various disappointments and vicissitudes of this world, could not, but for hope, wait the approach of old age.

Note return to page 59 *Edgar, in his soliloquy that begins the act, says he is blown to the worst; but here very morally retracts that precipitate assertion, seeing his mangled father. Scarce any state of life is so bad, but it might be worse—hence misery often collects patience from calamity.

Note return to page 60 *These lines, we think, should be retained: Heav'ns deal so still: Let the superfluous and lust-dieted man, That slaves your ordinance, that will not see, Because he does not feel, feel your pow'r quickly: So distribution should undo success, And each man have enough.

Note return to page 61 †There is in Shakespeare, a scene between Kent and a Gentleman, wherein Cordelia's concern for her father is so delightfully depicted, that we must present our readers with the striking part of it. Kent. Then it moved her? Gent. Not to a rage. Patience and sorrow strove Which should express her goodliest. You have seen Sunshine and rain at once; her smiles and tears Were like a wetter May: those happy smiles That play'd on her ripe lips, seem'd not to know What guests were in her eyes; which parted thence Like pearls from diamonds drop'd—In brief, Sorrow would be a rarity most beloved, If all could so come by it. Kent. Made she no verbal question? Gent. Yes, once or twice she heav'd the name of Father! Pantingly forth, as if it prest her heart. Cried, Sisters—sisters—what! i'th' storm! i'th night! Let pity ne'er believe—There she shook The holy water from her heav'nly eyes, And clamour moisten'd her—Then away she started, To deal with grief alone. Though the above description is given of Cordelia as queen of France, it might well and ought to have been brought into the alteration.

Note return to page 62 *This is a truly picturesque and beautiful description; it brings the objects pleasingly and fearfully to view. The ideas are poetically rich, and the verse naturally easy.

Note return to page 63 †Choughs, a kind of sea bird.

Note return to page 64 *Tho' this incident has been objected to, we think as imagination works with peculiar strength, on a despairing mind, it is very defensible.

Note return to page 65 *Welked, for twisted.

Note return to page 66 *Lear's rhapsodical remarks in this scene, are strongly tinctured with just, but rather indelicate, satire; though he is mad, decency should not run mad also.

Note return to page 67 *Costard implies head.

Note return to page 68 *The Steward's fall is certainly ludicrous; it never fails to create laughter.

Note return to page 69 *The Fourth Act has some scenes of merit, and several fine passages in it; but is, in the whole, rather languid, compared to the Third.

Note return to page 70 ‡The Fifth Act begins with much greater propriety here, than in the original: and in this short scene, where Lear appears so much enfeebled, both in mind and body, that mind and limbs scarce appear of any use, there are some as fine strokes for a good actor to lay hold of a feeling audience by, as any in the play; particularly, where he awakes, as it were from a trance, and discovers Cordelia.

Note return to page 71 *Bringing the two brothers in opposition, is, regarding what has preceded, strict and poetical justice; save that Edmund by no means deserves so fair, so honourable a chance.

Note return to page 72 *Ending the scene thus, prevents the laughable situation of Goneril and Regan, after their galant is defeated.

Note return to page 73 *The tender feelings of apprehension, are here tremulated :. the timely rescue, is most agreeably thrown in.

Note return to page 74 *This speech affords a transition, which often furnishes, as audiences have experienced, an admirable stroke for acting merit.

Note return to page 75 *Though the king's restauration is a pleasing circumstance, and Tate piqued himself upon it, the true tragic feelings, and poetical justice, would, in our view, have been better maintained, by making him fall a sacrifice to his obstinate pride and frantic rashness.

Note return to page 76 *This is a very delicate stroke of parental forgiveness, by making the tender father bury those gross injuries the suffering man endured.

Note return to page 77 †This last Act rises far above the fourth; equals the third; falls below the second; but comes near the first. This play, in its present state, will, we doubt not, while any taste for the drama remains, continue to gain advantage and applause in public, while in private it must give very considerable pleasure.

Note return to page 78 *There have been many alterations of this play, but we make no scruple to pronounce Mr. Garrick's, which we here present the public, to be the best.

Note return to page 79 †This quarrel between the servants of two powerful families at variance, is natural, though ludicrous; in Shakespeare the scene is carried to an intolerable length, but as now performed, it becomes bearable enough.

Note return to page 80 *Bringing Lady Montague on, as in the original, was ridiculous.

Note return to page 81 †This and the following speech are delicately poetical, and discover a pleasing, natural ease of fancy.

Note return to page 82 *Transposing and curtailing this scene is commendable.

Note return to page 83 †Benvolio requires but moderate requisites in exhibition; a distinct, easy, natural delivery, with gentility of person and deportment, will suffice. As to Mercutio, we are rather at a loss to determine; by critics and actors of late, he has been depicted a vacant, swaggering blade; Otway, in Caius Marius, has metamorphos'd him into a snarling cynic. Now if we may judge by the outlines and dialogue, it seems no hard matter to decide that there is more pleasantry in the former stile of acting; but that Otway's conception of him is more consistent with nature and Shakespeare.

Note return to page 84 *We don't see why unnecessary rhimes are here and there continued.

Note return to page 85 *There is greater richness of description and variation of fancy in this speech, than we ever met before, with a fine mixture of satire. The actor who speaks it without applause, and the reader who peruses it without pleasure, must want execution or apprehension.

Note return to page 86 *We see no reason against retaining these lines, which are poetical and applicable. Who wooes, Even now, the frozen bosom of the North; And, being angered, puffs away from thence, Turning his face to the dew-dropping South.

Note return to page 87 †Making no mention of Rosaline, but rendering Romeo's love more uniform, is certainly improving upon the original, notwithstanding the caprices of love. The requisites for this young lover, are a person of an engaging appearance, a cast of features pregnant with amorous feelings, and melodious tones of voice, to express those feelings; to which must be added, strength of utterance, for violent passion and deep pathos. This character requires more help from the actor, than most of Shakespeare's principals. It is showy through the whole, striking in the Second, Third, and Fifth Acts; but rather flat in the First, and insignificant in the Fourth. There is a scene of the original properly omitted here.

Note return to page 88 *Any sensible speaker, with a motherly appearance, may represent Lady Capulet. As to the Nurse, she is a character whose mode is sufficiently set forth, in her own words; the more impertinent, talkative forwardness she is furnished with, the better.

Note return to page 89 †Juliet should either be, or nearly look, as young as she is described; of middling stature, rather than either of the extremities; with soft, melting, but expressive features, and a musical, yet powerful voice.

Note return to page 90 ‡This speech displays much natural humour, the circumlocution made use of, and trifling circumstances adverted to, are strong marks of character.

Note return to page 91 *Stinted, here seems to mean, sobbed—Natural enough in a child, after crying.

Note return to page 92 *Doth enrich the band: is a beautiful idea, and a most delicate compliment to Juliet's beauty.

Note return to page 93 *This hospitable protection, afforded to Romeo as a guest, notwithstanding family disputes, shows commendable spirit.

Note return to page 94 †This masquerade scene, is well designed, to give Romeo an opportunity of unfolding himself: but we rather think the lady's catching fire, so very suddenly, shows her to be composed of tinder-like materials. There is a scene in the original, previous to the masquerade, between Romeo, Benvolio, and Mercutio; the essential parts of which, especially the account of dreams, are judiciously transposed to the place where they now stand.

Note return to page 95 †The author originally introduces a chorus here, which, in the first state of this play, appears trifling, but in the alteration, would be totally superfluous.

Note return to page 96 *The First Act has as much spirit as a First Act should have; the scenes succeed each other well; and Mercutio's whimsical dissertation upon dreams, enriches it vastly.

Note return to page 97 *A very indecent line of ludicrous conjuration this: indeed most of what Mercutio says, in this scene, is rather in the same stile.

Note return to page 98 *There is, in this scene, a most admirable delineation of amorous delicacy: and the performers who do it justice, must have very nice feelings, joined with musical expression.

Note return to page 99 †A most refined idea this, of amorous sensibility.

Note return to page 100 †This method of making Romeo acquainted with Juliet's regard for him, is pretty, delicate, and natural.

Note return to page 101 *This is one of the most delightful love scenes ever written, Romeo, in features, and expression, should confess the warmest, tenderest feelings; as should Juliet, also.

Note return to page 102 *Why lose the following beautiful line. Juliet's reply would come in equally well. That tips with silver all these fruit-tree tops—

Note return to page 103 *The interruptions, calling back, &c. are a very natural mode of enlivening the scene, towards its conclusion.

Note return to page 104 Tassel, a kind of hawk.

Note return to page 105 *There is much fancy, and very useful moral reflexion in, this soliloquy; but we must repeat a wish, expressed in the Dramatic Censor, that it was rendered into Blank Verse: and this opinion we persevere in, the more readily, as several able Critics have approved it. Friar Lawrence should be represented by a sound, disengaged, feeling orator.

Note return to page 106 *Throughout this whole scene, Mercutio is peculiarly and most entertainingly whimsical; but we could have much better dispensed with him, the nurse and her man, as attendants of the Comic, than the Tragic Muse. In the original, there is a great deal of unintelligible quibble, justly omitted in the alteration.

Note return to page 107 *Shrift, confession.

Note return to page 108 *This speech is a charming effusion of a love-sick mind, the painting is of amorous tints, faithfully and cordially blended.

Note return to page 109 *We wish this line omitted: it has no merit or meaning to recommend it.

Note return to page 110 *This speech is very instructive and well applied, as young minds don't foresee that out of present sweets arise future bitters, and that all violent affections are short lived.

Note return to page 111 ‡How everlasting flint could be worn out, we are at a loss to discover.

Note return to page 112 †Thit Act rises above the preceding one in a just degree, the characters properly enlarge themselves, and attention is set on a stricter watch by it.

Note return to page 113 *If one kills another, still one remains: should it not stand, they would kill each other?

Note return to page 114 *Tibalt should certainly have a companion, as he says, Be near at hand.

Note return to page 115 *This naration, though concerning what has been seen, is so well penned, it must rather please, than pall.

Note return to page 116 †Charioteer we should think better than waggoner.

Note return to page 117 *This is an extravagant, but not an unnatural idea for a young mind, so enamoured; besides, the author has here made her even with Romeo, who in the Second Act, makes her eyes stars; in return for which, she would make him all stars.

Note return to page 118 *A fine idea of love's childish impatience is here produced.

Note return to page 119 †Juliet, in this scene, begins to want considerable power of look, and expression.

Note return to page 120 *Juliet's agitated mind, might naturally break out in a strain of reproach, but her not suffering the nurse to do so, is exquisitely natural.

Note return to page 121 *This scene, on the part of Romeo, requires much power and rapidity of expression, with strong agitation of features: the friar should preserve a cool, philosophical, yet tender firmness, till the knocking; then an anxiety of apprehension takes place.

Note return to page 122 †This speech is well curtailed for stage utterance; but these two lines, which come in after lips, well deserve notice; Which ev'n in pure and vestal modesty, Still blush, as thinking their own kisses sin,

Note return to page 123 *Great frenzy of features, with very piercing notes of voice, are requisite for Romeo, in this scene, which may gain a moderate Actor applause; but great abilities only can excel in it.

Note return to page 124 *There are no less than twenty-seven lines lopped from this speech, which is long and circumstantial enough, as it now stands.

Note return to page 125 *We have heard the following lines from Caius Marius spkoen, and think they ought to be retained. Jul. What will become of me, when thou art gone? Rom. The gods who heard my vows, and know our loves, Seeing my faith and thy unspotted truth, Will sure take care, and let no wrongs annoy thee, Upon my knees I'll ask, 'em every day, How my dear Juliet does; and every night, In the severe distresses of my fate, When I, perhaps, shall wander thro' the desert, And want a place to rest my weary head on, I'll count the stars, and bless them as they shine; And court them all, for my dear Juliet's safety.

Note return to page 126 *Hilding, a worthless creature.

Note return to page 127 †Mammet, a kind of puppet.

Note return to page 128 *The Third Act is remarkably spirited and interesting; the passions are well varied, and strongly agitated.

Note return to page 129 *This speech gives a very poetical, as well as a very striking instance of female resolution, where affection is deeply rooted.

Note return to page 130 †Behests, commands.

Note return to page 131 ‡Orisons, prayers.

Note return to page 132 *This soliloquy, which is admirably descriptive of Juliet's situation, cannot fail of striking deep, if well delivered; nay, even read feelingly.

Note return to page 133 *These three lines are added on the stage, but, in our idea, are not wanted.

Note return to page 134 †How came the curfew bell, which is peculiar to England, to Verona, and to be rung in the morning, when evening is the appointed time?

Note return to page 135 *The fourth Act, rests too much upon Juliet, and is therefore heavy, unless she happens to be supported with great, and we may add, very great, ability.

Note return to page 136 †The funeral procession and dirge, introduced upon the revival, are a stage mode of striking eyes and ears; in which light, we believe, they have brought a great deal of money; but are by no means agreeable to us. As to the poetry of this bit of sing-song, it is as well as could be expected.

Note return to page 137 *This speech contains a just rebuke to those credulous people, who rest belief or hope on those effluvias of the brain, dreams; and also prepares us for a pathetic transition.

Note return to page 138 *The description of this apothecary is luxuriantly picturesque, but rather too fanciful, for a mind so agitated as Romeo's; the mind distress'd like his, with most pungent sensations, would not, indeed could not, sport in the field of description; feelings arrested as his are, must stick to the main object of concern; he moves towards his fate too deliberately.

Note return to page 139 We see no reason for bringing on Paris, nor killing him; there is death enough, without this incident.

Note return to page 140 *The waking of Juliet before Romeo's death, is exceedingly judicious; it gives an opportunity of working the pathos to its tenderest pitch, and shows a very fine picture, if the performers strike out just and graceful attitudes. What Mr. Garrick has wrote of this scene, does him and the stage great credit, as it affords a fine and extensive scope for capital powers.

Note return to page 141 *The breaks, throughout this scene, are exceeding fine. An actor requires such uncommon powers in this scene, that unless be naturally possesses them, laborious attempts must fall short, and be very disagreeable.

Note return to page 142 *Shakespeare has given the friar, here, a tedious circumstantial narrative of forty lines: cutting it off to five, is perfectly right, as the catastrophe is sufficiently wrought up.

Note return to page 143 †Criticism could not wish, nor ever met more melting incidents or expression, than the catastrophe of this piece furnishes. We deem it rather too great a strain for tender sympathy.

Note return to page 144 *The Merchant's beginning of the piece, as if previously in conversation, carries natural ease with it.

Note return to page 145 †Argosia, a name given to any rich merchant ship; taken from Argo, the ship in which Jason sailed for the golden fleece.

Note return to page 146 *This speech, is fancifully descriptive of those apprehensions which might probably affect a man in Anthonio's situation, and at the same time, leads to an idea, by his reply, of the magnitude of his concerns in trade.

Note return to page 147 *This is a very pleasant significant satirical rhapsody, rather difficult to speak with propriety, the ideas conveyed in it being obscure, and the stile of expression peculiar. We are of opinion, that in this, as well as many other passages of Shakespeare, several actors have spoken what they did not understand.

Note return to page 148 *Bassanio's remark of the grains of wheat and chaff, is compactly pregnant with just satire, upon all those who prate much to very little purpose; Gratiano should be equipped, in representation, with requisites of the coxcomical cast. Anthonio and Bassanio demand no more than respectable figures, with a sensible smooth utterance: the former, should have a weighter appearance, the latter, an amorous flow of expression.

Note return to page 149 †Bassanio's method of opening his case to Anthonio, is modestly, sensible, well conceived, and prettily worded.

Note return to page 150 ‡This ready and generous stretch of credit, to serve a friend, gives us a most amiable idea of Anthonio's character, and leads on to the plot, agreeably.

Note return to page 151 *The idea of shooting one arrow at random, to find another that has been lost, though boyish, is introduced here with much care and propriety of application; indeed, the whole scene has very great delicacy of sentiment and expression.

Note return to page 152 *Portia should exhibit an easy elegance, with not only the requisites for spirited, but also, for sententious solemn expression. Nerissa may be well supported by a smart sprightly figure, and arch features.

Note return to page 153 †There is much matter expressed, with pointedness and spirit, in this speech.

Note return to page 154 *For a father to dispose of his child by way of lottery, seems an odd and oppressive whim, but produces an instructive inference.

Note return to page 155 *In this review of her suitors, Portia sensibly and agreeably satirizes the glaring foibles of different nations. This whole scene is pleasing, both in action and perusal, therefore should not be curtailed; though the theatres judge otherwise, by leaving out the Neapolitan, the English baron, and the Scottish lord. We, however, subjoin what is omitted on the stage, here. Por. In truth, I know it is a sin to be a mocker; but, he! why, he hath a horse better than the Neapolitan's: a better bad habit of frowning than the count Palatine; he is every man in no man; if a throstle sing, he falls straight a capering; he will fence with his own shadow: if I should marry him, I should marry twenty husbands. If he would despise me, I would forgive him; for if he loves me to madness, I shall never requite him. Ner. What say you to Faulconbridge, the young baron of England? Por. You know, I say nothing to him, for he understands not me, nor I him; he hath neither Latin, French, nor Italian; and you may come into the court and swear, that I have a poor pennyworth in the English. He is a proper man's picture, but, alas! who can converse with a dumb show? How oddly he is suited! I think he bought his doublet in Italy, his round hose in France, his bonnet in Germany, and his behaviour every where. Ner. What think you of the Scottish lord, his neighbour? Por. That he hath a neighbourly charity in him; for he borrowed a box of the ear of the Englishman, and swore he would pay him again, when he was able. I think the Frenchman became his surety, and sealed under for another.

Note return to page 156 *To do the author justice, in this masterly character, there should be strong conceptions of deep malevolence, hypocritical plausibility, and violent rage; the powers of delivery full and extensive; from the dress, any figure, not corpulent, will do, and if there are speaking eyes, art may reconcile any features.

Note return to page 157 †The dry interrogative brevity with which Shylock sets out, is admirably characteristic of a selfish, close, deep dealer.

Note return to page 158 ‡The cautious usurer is finely delineated, in this speech.

Note return to page 159 *The grand motive of Shylock's resentment against Anthonio, lets us into the remotest cell of his sordid heart, which, like all of its kind, cannot bear the idea of a good-natur'd generous action.

Note return to page 160 *This speech is artfully and powerfully sophistical.

Note return to page 161 †A most excellent remark this; for daily experience proves that some of the worst characters breathing seek shelter under scriptural texts, by the misapplication or misconstruction of which, also, opposite sects uncharitably consign each other to eternal punishment.

Note return to page 162 *Shylock, with great subtlety and address, enumerates the injuries he hath sustained, to make a greater merit of lending the money. His speech is written in so masterly a manner, and with such fine variation, that when well spoken, the actor must get applause.

Note return to page 163 *This Act is very satisfactory; smooth, regular, and opens several of the characters in a pleasing proper manner; expectation is sufficiently raised, without any anticipation of what is to come.

Note return to page 164 †The Second Act is, in representation, usually begun here; yet we think the following scene of Prince Morochius, preceding it, and the whole of his character, as well as that of the Prince of Arragon, should be retained, not only for the sake of uniformity, but because they are worthy of Shakespeare's pen. Scene Belmont. Enter Morochius, a tawny moor, all in white, and three or four followers accordingly; with Portia, Nerissa, and her train. Flourish coronets. Mor. Mislike me not for my complexion, The shadowy livery of the burnish'd sun, To whom I am a neighbour, and near bred. Bring me the fairest creature northward born, Where Phœbus' fire scarce thaws the isicles, And let us make incision for your love, To prove whose blood is reddest, his or mine. I tell thee, lady, this aspect of mine, Hath fear'd the valiant; by my love, I swear, The best regarded virgins of our clime, Have lov'd it, too. I would not change this hue, Except to steal your thoughts, my gentle queen. Por. In terms of choice I am not solely led By nice direction of a maiden's eyes: Besides, the lottery of my destiny, Bars me the night of voluntary chusing. But if my father had not scanted me, And hedg'd me by his wit, to yield myself His wife, who wins me by that means I told you, Yourself, renowned prince, then stood as fair, As any comer I have look'd on yet, For my affection. Mor. Ev'n for that I thank you: Therefore, I pray you, lead me to the caskets, To try my fortune. By this scimitar, That slew the Sophy and a Persian prince, That won three fields of Sultan Solyman, I would out-stare the sternest eyes that look, Out-brave the heart most daring on the earth, Pluck the young sucking cubs from the she-bear, Yea mock the lion when he roars for prey, To win thee, lady. But, alas the while! If Hercules and Lichas play at dice, Which is the better man, the greater throw May turn my fortune from the weaker hand; So is Alcides beaten by his page; And so may I, blind fortune leading me, Miss that, which one unworthier may attain; And die with grieving. Por. You must take your chance, And either not attempt to chuse, at all, Or swear, before you chuse, if you chuse wrong, Never to speak to lady afterward, In way of marriage: therefore, be advis'd. Mor. Nor will not: therefore bring me to my chance. Por. First, forward to the temple; after dinner, Your hazard shall be made. Mor. Good fortune, then, [Cornets. To make me blest, or cursed'st among men! [Exeunt.

Note return to page 165 ‡The character of Launcelot should be personated by a slim figure, with a whimsical peculiarity of features, and a snip-snap utterance: this soliloquy of his, and the whole scene with his father, appear to us as a kind of sporting both with an audience and readers.

Note return to page 166 *The suspicion which constantly hangs round Shylock's narrow mind, keeps his character finely in view, and, his hatred even to the sports of christianity, is happily mentioned.

Note return to page 167 *SCENE changes to Belmont. Enter Portia, with Morochius, and both their Trains. Por. Go, draw aside the curtains, and discover The several caskets to this noble prince. Now make your choice. [Three caskets are discovered. Mor. The first of Gold, which this inscription bears, Who chuseth me, shall gain what many men desire. The second, silver, which this promise carries, Who chuseth me, shall get as much as he deserves. This third, dull lead, with warning all as blunt, Who chuseth me, must give and hazard all he hath. How shall I know if I do chuse aright? Por. The one of them contains my picture, prince; If you chuse that, then I am yours withal. Mor. Some God direct my judgment! Let me see, I will survey th' inscriptions back again; What says this leaden casket? Who chuseth me, must give and hazard all he hath. Must give, for what? for lead! hazard, for lead! This casket threatens. Men that hazard all, Do it in hope of fair advantages: A golden mind stoops not to shows of dross; I'll then not give nor hazard aught, for lead. What says the silver, with her virgin hue? Who chuseth me, shall get as much as he deserves. As much as he deserves! Pause there, Morochius, And weigh thy value with an even hand. If thou be'st rated by thy estimation, Thou dost deserve enough; and yet enough May not extend so far as to the lady: And yet to be afraid of my deserving, Were but a weak disabling of myself. As much as I deserve—why, that's the lady: I do in birth deserve her, and in fortunes, In graces, and in qualities of breeding: But more than these, in love I do deserve, What, if I stray'd no farther, but chose here? Let's see, once more, this saying, grav'd in gold: Who chuseth me, shall gain what many men desire. Why, that's the lady; all the world desires her; From the four corners of the earth they come, To kiss this shrine, this mortal breathing saint. Th' Hyrcanian deserts, and the vasty wilds Of wide Arabia, are as thorough-fares, now, For princes come to view fair Portia. The wat'ry kingdom, whose ambitious head Spits in the face of heav'n, is no bar To stop the foreign spirits; but they come, As o'er a brook, to see fair Portia. One of these three contains her heav'nly picture. Is't like, that lead contains her? 'twere damnation, To think so base a thought: it were too gross To rib her searcloth in the obscure grave. Or shall I think in silver she's immur'd, Being ten times undervalu'd to try'd gold? O sinful thought, never so rich a gem Was set in worse than gold! They have in England, A coin, that bears the figure of an angel, Stamped in gold; but that's insculpt upon: But here, an angel in a golden bed Lies all within. Deliver me the key! Here do I chuse, and thrive I as I may!‡ [Subnote: ‡Tho' this speech is rather too long for stage utterance, yet serious perusal, or good performance, will justify our wish of Morochius being one of the drama.] Por. There, take it, prince, and if my form lie there, Then I am yours. [Unlocking the gold casket. Mor. O hell! what have we here? a carrion death, Within whose empty eye there is a scrowl. I'll read the writing.   All that glisters is not gold,   Often you have heard that told;   Many a man his life hath sold,   But my outside to behold.   Gilded wood may worms infold:   Had you been as wife as bold,   Young in limbs, in judgment old,   Your answer had not been inscroll'd:   Fare you well, your suit is cold. Cold, indeed, and labour lost: Then farewel, heat; and welcome, frost: Portia, adieu! I have too griev'd a heart, To take a tedious leave: thus losers part. [Exit. Por. A gentle riddance: draw the curtains: go— Let all of his complexion chuse me so. [Exeunt.

Note return to page 168 *The Second Act, as played, has more business, besides some humour, than the First, but not so much solid merit; however, the introduction of two songs gives additional life. We wish Arragon retained, for the same reason advanced in favour of Morochius; the choice of the Caskets is a well fancied incident, and ought to be pursued at large, because very useful morals are derived therefrom; too great a sameness in representation may be pleaded, but we cannot submit to that opinion; a little paring we could agree to, but not a total rejection. SCENE changes to Belmont. Enter Nerissa, with a Servant. Ner. Quick, quick, I pray thee, draw the curtain straight; The Prince of Arragon hath ta'en his oath, And comes to his election presently. Enter Arragon, his Train, Portia. Flour. Cornets. The Caskets are discovered. Por. Behold, there stand the caskets, noble prince; If you chuse that wherein I am contain'd, Straight shall our nuptial rites he solemniz'd; But if you fail, without more speech, my lord, You must be gone from hence, immediately. Ar. I am enjoin'd by oath, t'observe three things; First, never to unfold to any one Which casket 'twas I chose; next, if I fail Of the right casket, never in my life To woo a maid in way of marriage: Last, if I fail in fortune of my choice, Immediately to leave you, and be gone. Por. To these injunctions every one doth swear, That comes to hazard for my worthless self. Ar. And so I have addrest me; fortune, now To my heart's hope! gold, silver, and base lead. Who chuseth me, must give and hazard all he hath. You shall look fairer, ere I give or hazard. What says the golden chest? ha! let me see, Who chuseth me, shall gain what many men desire. What many men desire—that may be meant Of the fool multitude, that chuse by show, Not learning more than the fond eye doth teach; Which pry not to th' interior, but like the martlet, Builds in the weather, in the outward wall, Ev'n in the force and road of casualty. I will not chuse what many men desire, Because I will not jump with common spirits, And rank me with the barb'rous multitudes. Why then to thee, thou silver treasure house: Tell me once more, what title thou dost bear. Who chuseth me, shall get as much as he deserves; And well said too, for who shall go about To cozen fortune, and be honourable, Without the stamp of merit? Let none presume To wear an undeserved dignity: O, that estates, degrees and offices, Were not deriv'd corruptly, that clear honour Were purchas'd by the merit of the wearer: How many then should cover, that stand bare! How many be commanded, that command! How much low peasantry would then be gleaned, From the true seed of honour! How much honour Pickt from the chaff and ruin of the times, To be new varnish'd? Well, but to my choice: Who chuseth me, shall get as much as he deserves. I will assume desert; give me a key for this, And instantly unlock my fortunes here. Por. Too long a pause for that which you find there. [Unlocking the silver casket. Ar. What's here! the portrait of a blinking idiot, Presenting me a schedule? I will read it. How much unlike art thou to Portia? How much unlike my hopes and my deservings! Who chuseth me, shall have as much as he deserves. Did I deserve no more than a fool's head? Is that my prize? Are my deserts no better? Por. To offend and judge are distinct offices, And of opposed natures. Ar. What is here?   The fire seven times tried this;   Sev'n times tried that judgment is,   That did never chuse amiss.   Some there be that shadows kiss;   Such have but a shadow's bliss:   There be fools alive, I wis,   Silver'd o'er, and so was this.   Take what wife you will to bed,   I will ever be your head:   So be gone, sir, you are sped. Ar. Still more fool I shall appear, By the time I linger here. With one fool's head I came to woe, But I go away with two. Sweet, adieu! I'll keep my oath, Patiently to bear my wrath. [Exit. Por. Thus hath the candle sing'd the moth: O these delib'rate fools! when they do chuse, They have the wisdom by their wit to lose. Ner. The ancient saying is no heresy, Hanging and wiving go by destiny. Por. Come, draw the curtain, Nerissa. Enter a Servant. Ser. Where is my lady? Por. Here, what would my lord? Ser. Madam, there is alighted at your gate, A young Venetian, one that comes before To signify th' approaching of his lord, From whom he bringeth sensible regrets; To wit, besides commands and courteous breath, Gifts of rich value; yet, I have not seen So likely an ambassador of love. A day in April never came so sweet, To shew how costly summer was at hand, As this fore-spurrer comes before his lord. Por. No more, I pray thee; I am half afraid, Thou'lt say, anon, he is some kin to thee; Thou spend'st such high-day wit in praising him. Come, come, Nerissa, for I long to see Quick Cupid's post, that comes so mannerly. Ner. Bassanio, lord love, if thy will it be! [Exeunt.

Note return to page 169 *The reasoning in this speech is admirable, and the acting merit incomparable; it is clearly conclusive, and uncommonly rapid.

Note return to page 170 †This conversation, or rather rhapsody, with Tubal, contains some of the finest transitions for an actor, that ever were penned; which, as we may say, harrow up attention, when properly expressed.

Note return to page 171 *The reasoning, in this speech of Bassanio's, not only manifests brilliant fancy, but sound judgment, and should be delivered with delicate energy; we are prettily prepared for his success, and highly interested in it, when confirmed.

Note return to page 172 †These lines we think worthy preservation, as being poetically argumentative. Look on beauty, And you shall see 'tis purchas'd by the weight, Which therein works a miracle in nature. Making them lightest, that wear most of it. So are those crispy snaky golden locks, Which make such wanton gambols with the wind, Upon supposed fairness, often known To be the dowry of a second head; The skull, that bred them, in the sepulchre. Thus ornament is but the gilded shore, To a most dang'rous sea; the beauteous scarf, Veiling an Indian beauty.

Note return to page 173 *The change from joy to concern, on perusal of Anthonio's letter, is natural and well contrived,

Note return to page 174 *There is a very amiable degree of delicate generosity, in this speech of Portia.

Note return to page 175 *The sullen flintiness of Shylock's heart, in this scene, is strongly depicted.

Note return to page 176 *These lines should be retained: For in companions That do converse and waste the time together, Whose souls do bear an equal yoke of love, There must needs be a like proportion, Of lineaments, of manners, and of spirits: Which makes me think that this Anthonio, Being the bosom-lover of my lord, Must needs be like my lord. If it be so, How little is the cost I have bestowed, In purchasing the semblance of my soul, From out the state of hellish cruelty? This comes too near the praising of myself.

Note return to page 177 *Self-sufficient boasting coxcombry, is pleasantly painted in this spirited speech.

Note return to page 178 *Launcelot is indulged with an improper degree of equivocal familiarity, and there are some strokes, not strictly decent.

Note return to page 179 *The Third Act grows upon us, as being well supplied with incidents which engage the passions, being well cloathed with expression of irresistible force.

Note return to page 180 *This palliative speech of the duke's, is sensible, humane, and to every feeling mind fully perswasive.

Note return to page 181 †While the point in debate remains undetermined, we perceive Shylock, as secure of his cause, churlishly consequential, and void of respect; which is always the deportment of a rancorous heart, when possessed of real, or fancied power to do mischief.

Note return to page 182 *This line, with the next, and the repetition of them, have no merit or signification to counterbalance indelicacy: they should not be spoken.

Note return to page 183 †This speech is poetical and pathetic, to a degree, shewing Anthonio to be a man of as much courage, as generosity.

Note return to page 184 *We cannot sufficiently admire the thorough exposition of Shylock's determined malice, nor the gradual policy which brings on the overthrow of his house; it rises with the finest gradation of reasoning we ever recollect to have met with; it does high honour to the heart that bred, the head that ripen'd, and the pen that brought it forth.

Note return to page 185 *This proposition of Anthonio, is most liberally just, and finely contrasted to the relentless barbarity of Shylock.

Note return to page 186 †This reference to the number of an English jury, is improper, for a Venetian character.

Note return to page 187 *The ring here solicited, is merely to furnish business for a fifth act, as the main plot evidently concludes with the tryal.

Note return to page 188 *There is but one fault in the Fourt Act, Shylock's compleat and satisfactory overthrow, seems so like a full catastrophe, that expectation can scarce go further.

Note return to page 189 *This short scene between Lorenzo and Jessica, is pleasingly poetical; the speeches, after Launcelot goes oft, highly beautiful.

Note return to page 190 *This speech, and Lorenzo's next, are luxuriantly conceived, and finely expressed: there are very few singers able to speak them adequately.

Note return to page 191 *Shakespeare seems to have carried his panegyric on music too far; some of its great admirers and professors, have not only shewed themselves fools, but knaves also.

Note return to page 192 *The dispute about the rings, is pleasantly started, and archly carried on: the plot is agreeably unravelled, and the catastrophe comes about, without palling attention.

Note return to page 193 *This Act, though it falls infinitely below the Fourth, in point of importance, yet is supported by a considerable share of spirit; what it wants in strength, it has in pleasantry, and is certainly much more entertaining, than, in such a situation, could be expected.

Note return to page 194 *The tragedy of Cymbeline had been many years lost from the stage; and indeed, though many fine passages and affecting incidents occurred in the original, yet being incumbered with confusion and superfluities, the piece, without much reformation, could not have lived in representation. Lovers of the drama and Shakespeare, are therefore much obliged to Mr. Garrick, for so judicious an alteration; he has been modest in addition, and successful both in his abbreviations and transpositions; in the agreeable light he has placed it, we give it our readers; observing of this play, as we do of Cibber's Richard the Third, that it is so well digested as not to leave much room for criticism.

Note return to page 195 †Pisanio, who should be represented by an actor of open, benevolent countenance, with smooth and pathetic expression, opens the plot in a natural, agreeable manner; his account of Posthumus, interests us much in favour of that character.

Note return to page 196 *Though this question appears necessary for information to the audience, yet it seems strange for a gentleman belonging to the court, to ask; so material a circumstance as that of the king's sons, must be known to almost every subject, more particularly a domestic, even admitting he had not been above a month at court; the circumstance might have been mentioned in a more justifiable manner.

Note return to page 197 †He may well express surprise at so romantic an incident, but we find it hereafter essential to the plot.

Note return to page 198 ‡The Queen is a character of so little importance in representation, that very slender abilities may rub through; a strong featured marking countenance seems necessary. Posthumus requires an engaging external appearance, graceful sensibility of look, with ease, power, harmony, and quickness of transition. From Imogen, an audience may expect a compleat idea of delicacy, both in face and person, a symmetry of limbs, and a freedom of deportment, to grace the male habit; with musical, amorous, and pathetic tones of voice.

Note return to page 199 *Though Cymbeline gives name to the play, he is such a cypher of royalty, that a third or fourth rate actor may do him ample justice.

Note return to page 200 †A simple, affectionate, natural idea, this.

Note return to page 201 *The king is very fond of the word thing, he applies it no less than three times to the ladies, in this scene.

Note return to page 202 *A natural and chaste warmth of affection is most beautifully expressed, in this short, picturesque scene; Imogen's ideas are remarkably luxuriant, yet unstrained.

Note return to page 203 *Pisanio's honest and anxious concern for his master and Imogen, renders him exceedingly amiable; as no character can be more worthy, than a faithful domestic.

Note return to page 204 †Bold, spirited expression, with showiness of figure, and gracefulness of deportment, may render the character of Iachimo pleasing; though we think, as of Posthumus also, that he rather demands help, from the actor, than lends him any.

Note return to page 205 *Posthumus, in such a general opinion, must show himself partial; as there is no woman so fair, which is matter of fancy, nor any woman so virtuous, but another may equal her.

Note return to page 206 *It is much to be regretted, that the consequence of this extraordinary wager, had not been brought about without such licentious rudeness on the side of Iachimo, and such childish petulant folly on that of Posthumus; though, as to the latter, it may be deemed natural, as love is very captious and tinder-like, on any flight mention of the object of affection.

Note return to page 207 *In the First Act, we find not much solid food for attention; feeling is just awakened, and that's as much as we can allow.

Note return to page 208 *Through the whole of this interview, Iachimo discovers great policy; his attempt to raise jealousy in Imogen's breast, his proposal, when he supposes her feelings roused to resentment, and his exculpatory turn when she checks his familiarity, are very well imagined, and adequately expressed.

Note return to page 209 *This praise bestowed on Leonatus, is a polite mode of soothing.

Note return to page 210 *Imogen's modest, becoming, yet forgiving, and unsuspecting disposition, is finely painted; indeed the whole scene is written with strength and spirit.

Note return to page 211 †Cloten is generally personated by a Comedian, and properly, for to say truth, he is a very comical prince; the plainer he is in person, the better; a pert silliness of expression, is the leading requisite he wants.

Note return to page 212 *This scene is extremely interesting, and Iachimo's speech, tho' very long, so exquisitely picturesque, that it cannot pall, unless insipidly spoken; the mode of fulfilling his desire is romantic, but not totally improbable; a chest of peculiar value might be so deposited, and a man so concealed in it.

Note return to page 213 *We wish this phrase had been omitted.

Note return to page 214 *The Second Act has a considerable share of acting merit, and also reads pleasingly.

Note return to page 215 *This is a pretty compliment to royalty, and we heartily wish every king of Britain would study to deserve it.

Note return to page 216 *The proofs of Imogen's infidelity rise through this scene judiciously, and Posthumus's shyness to credit them, shows a generosity of affection; but after the last and most irresistible one, his feelings are poorly expressed; how deplorably feeble, compared with the jealous rage of Othello! and his exit—I'll do something— has a strong resemblance to that of Prince Prettyman, in the Rehearsal. With deference to the alterer of this piece, it would have been better to introduce his next soliloquy in this scene; there is but little reason for carrying him off, to bring him on again, with only four lines intervention.

Note return to page 217 *This soliloquy is very laborious, in some places uncouth, in others indelicate; yet supported with capable abilities, must gain considerable applause.

Note return to page 218 †The first part of this speech is much too good for Cloten; the latter, characteristic enough. Cymbeline should speak the first four lines.

Note return to page 219 *The amazing alacrity, with which persons and packets are transported from Britain to Italy, backward and forward, is worthy notice; particularly Posthumus's letter, commanding the death of Imogen: there is but one page to give him time for waiting, sending, receiving, and reading it. Poetical conjuration, with a witness!

Note return to page 220 †A very pretty, and fanciful idea.

Note return to page 221 *Bellarius should have a respectable appearance, and be a smooth, mellow, emphatic declaimer, with a medium tone of voice. The princes, light, manly, youthful figures, with spirited notes of expression.

Note return to page 222 *The following lines were retained by Mr. Garrick, but have been since omitted in representation. Did you but know the city's usuries, And felt them knowingly; the art o' th' court, As hard to leave, as keep, whose top to climb Is certain falling, or so slipp'ry, that The fear's as bad as falling. The toil o' th' war, A pain, that only seems to seek out danger, I' th' name of fame, and honour; which dies i' th' search, And record of fair act; nay, many time Doth ill deserve, by doing well; what's worse, Must court'sie at the censure. Oh boys! this story The world may read in me. My body's mark'd With Roman swords: and my report was, once, First with the best of note. Cymbeline lov'd me, And when a soldier was the theme, my name Was not far off. Then was I as a tree, Whose boughs did bend with fruit. But in one night, A storm, or robbery, call it what you will, Shock down my mellow hangings, nay, my leaves, And left me bare to weather. Guid. Uncertain favour! Bel. My fault being nothing, as I have told you oft, But that two villains, whose false oath prevail'd, Before my perfect honour, swore to Cymbeline, I was confederate with the Romans. So Follow'd my banishment; and these twenty years, This rock, and these demesnes, have been my world, Where I have liv'd at honest freedom, pay'd More pious debts to Heav'n, than in all The fore-end of my time.

Note return to page 223 *There is much instruction, pleasingly conveyed, in the old man's speeches, through this scene, and though long, they can never weary attention. The reasoning is so just, so poetical, and so agreeably varied.

Note return to page 224 *All this scene, is of a very affecting nature; and Pisanio's humane attachment to his innocent, wronged mistress, recommends him much to our favour.

Note return to page 225 *The eye that does not feel at this speech, must be very dry, indeed.

Note return to page 226 *It is odd, that Pisanio should give liquor, received from so suspicious a hand as the queen's, to Imogen; but Shakespeare loved to entrance characters.

Note return to page 227 *The Third Act rises upon us, having considerably more fire and importance, than either of the preceding ones.

Note return to page 228 *This is a keen and just reflexion upon the fallacy in great life.

Note return to page 229 *This is a most beautiful and fanciful account of the young princes.

Note return to page 230 *Fancy must be enamour'd with this most exquisite idea.

Note return to page 231 †These lines should not be rejected. Guid. If he be gone he'll make his grave a bed;   With female fairies will his tomb be haunted,   And worms will not come near him. Arv. With fairest flow'rs,   Whilst summer lasts, and I live here, Fidele.   I'll sweeten thy sad grave. Why the following most beautiful lines of Arviragus's speech in the original, were omitted in the alteration, we don't perceive, as they certainly could not hang heavy on attention nor expression. Thou shalt not lack The flow'r that's like thy face, pale primrose; nor The azur'd harebell, like thy veins; no, nor The leaf of eglantine, which not to slander, Out-sweeten'd not thy breath—The ruddock* [Subnote: *Ruddock for Redbreast.] would With charitable bill; Oh, bill! sore shaming Those rich left heirs that let their fathers lye Without a monument—bring thee all this, Yea, and furr'd moss besides, when flow'rs are gone, To winter-gown thy coarse.

Note return to page 232 *This speech, from the well suggested mistake of Cloten for Posthumus, gives an actress fine scope for very feeling exertion.

Note return to page 233 *This line deserves notice and praise, as it tends to enforce reliance on, and conformity to providential dispensations.

Note return to page 234 †The Fourth Act is chiefly supported by several changes of scenes and circumstances; not but that there are many strokes well worthy Shakespeare's pen, in it.

Note return to page 235 *There is better than a page comes in here, relating to the queen's death and confession of guilt; though omitted in representation, Mr. Garrick has printed it; wherefore we give it as follows: Enter Cornelius, and Ladies. Pis. There's business in these faces: why so sadly Greet you our victory? You look like Romans, And not o'th' court of Britain. Cor. Hail, great king; To sour your happiness, I must report The queen is dead. Cym. Dead, say'st thou! How ended she? Cor. With horror, madly dying, like herself, Who, being cruel to the world, concluded Most cruel to herself. What she confest, I will report, so please you. These her women Can trip me, if I err; who, with wet cheeks, Were present when she finish'd. Cym. Pr'ythee say. Cor. First, she confess'd she never lov'd you; only Affected greatness got by you; Married your royalty, was wife to your place, Abhorr'd your person. Cym. She alone knew this: And but she spoke it dying, I would not Believe her lips in opening it. Proceed. Cor. Your daughter, whom she bore in hand to love With such integrity, she did confess, Was as a scorpion to her sight, whose life, But that her flight prevented it, she had Ta'en off by poison. Cym. O most delicate fiend! Who is't can read a woman? Is there more? Cor. More, sir, and worse. She did confess, she had For you a mortal mineral, which being took, Should by the minute feed on life, and lingering, By inches waste you. In which time, she purpos'd, By watching, weeping, tendance, to o'ercome You with her shew: yes, and in time, to work, Her son into th' adoption of the crown: But failing of her end by his strange absence, Grew shameless, desperate, open'd, in despight Of heav'n and men, her purposes: repented The ills she hatch'd were not effected: so Despairing, dy'd. Cym. Heard you all this, her women? Lady. We did, so please your highness. Cym. Mine eyes Were not in fault, for she was beautiful: Mine ears that heard her flattery, nor my heart, That thought her like her seeming. It had been vicious, To have mistrusted her; yet, O my daughter! That it was folly in me, thou may'st say, And prove it in thy feeling. Heav'n mend all.

Note return to page 236 *If the explanation of the plot could have been equally well effected, without a recital of what the audience are previously acquainted with, it would have been much better; those discoveries that bring about the catastrophe, are pleasingly and properly introduced: but the concluding scene is too circumstantial, therefore, rather tedious.

Note return to page 237 †Made your finish is a very quaint expression. Would not— And might have ta'en your life, been rather better; retaining Shakespeare's oddities is too great a degree of critical complaisance.

Note return to page 238 *There is great magnanimity of idea in this short speech; but Iachimo should have had some punishment, besides his own reflection, for though that, to a sensible villain, is bad enough, yet, it is not obvious to the audience.

Note return to page 239 ‡The Fifth Act we are bold enough to deem heavy; it rests totally upon bustle, till the last four pages, and they are languid.

Note return to page 240 *Leonato should be respectable in external appearance; free, sensible, and pathetic in utterance; general delicacy, without any extent of powers, will support Hero; but Beatrice requires peculiar vivacity of look, deportment, and expression.

Note return to page 241 *A title of ridicule, taken from montantu, the Spanish for a large two-handed sword.

Note return to page 242 †Beatrice unfolds her archness of character pleasantly, even at the outsetting.

Note return to page 243 *Claudio should be a handsome figure, with a mellow medium toned voice. Benedick, requires qualifications exactly consonant to those pointed out for Beatrice; as to Pedro, if he looks like a nobleman, any decent delivery will do for his dialogue.

Note return to page 244 *The retorts of raillery, between Benedick and Beatrice, are extremely spontaneous, and spirited.

Note return to page 245 *Giving so smart and talkative a lady the last word, is very natural.

Note return to page 246 *Benedick displays a whimsical oddity of character, in this equivocal reply.

Note return to page 247 *Recheat, is that part of hunting music, which recalls the dogs.

Note return to page 248 *What sort of bottles they hung eats in to shoot at, we cannot guess, there are some, without necks, large enough 'tis true, but the idea is odd.

Note return to page 249 †This self-sufficient declaration of Benedick, as supposing himself proof against the power of love, lays a very apt foundation for future merriment in his character.

Note return to page 250 &verbar2;This alludes to the amorous propensity of the Venetians.

Note return to page 251 *Claudio unfolds his affection for Hero, in a very pleasing manner, and the prince's device to obtain the lady, is not only friendly, but probable.

Note return to page 252 *The gloomy aspect of a mean villain, seems to be the most marking requisite of Don John, who is as unaccountable, and as unimportant a scoundrel, as we have met with.

Note return to page 253 †To claw, here means, to flatter him in his humour.

Note return to page 254 †This scene appears to mean little more than to afford an opportunity for the Don to draw his own strange picture.

Note return to page 255 *The First Act rests entirely on Benedick and Beatrice. It is not languid, nor yet possessed of much spirit.

Note return to page 256 *Beatrice is through this scene, exceedingly pleasant, but rather obscure.

Note return to page 257 *The masquerade scene is merely calculated to thicken the plot, which purpose it answers very well.

Note return to page 258 †The author did well to bring Benedick and Beatrice together, which gives her an opportunity of playing merrily upon him, under cover.

Note return to page 259 *Benedick, in this speech and the next, utters a rhapsody of very laughable ideas, cloathed in a very pointed and adequate stile; but they require a remarkable distinct volubility of utterance, to do them justice.

Note return to page 260 †Benedick's hasty retreat has a very pleasant effect.

Note return to page 261 ‡Beatrice rather trespasses on virgin diffidence; archness and real modesty, are no ways incompatible; therefore it is a pity the author should have suffered this pleasant lady even to peep over the line of decency.

Note return to page 262 *This is not only a poor pun, but wrong in its sense, an orange is not civil, but seville,

Note return to page 263 †In this and her next speech, she is again too knowing.

Note return to page 264 *This is, in few words, a very pretty, pleasant description, of her volatile, disengaged disposition.

Note return to page 265 *Borachio lays his plot in a deep and probable manner, proving himself an able tool of villainous practices.

Note return to page 266 †This soliloquy is highly in character, and prepares us agreeably, to relish the change soon wrought in Benedick.

Note return to page 267 *Pedro and Leonato lay a very plausible trap for the confident humorist, which he pleasantly and naturally slips into.

Note return to page 268 *This scene is justly curtailed, a page or better; as the author wrote it, the representation must prove tedious.

Note return to page 269 *There is much nature and whim in the mode of arguing himself into a liking of the person he supposes in love with him; reciprocal affection, we believe, has often vegetated from such seeds as these.

Note return to page 270 †His method of reconciling Beatrice's cynical address in his own favour, is happily conceived, and suitably expressed.

Note return to page 271 §Act the Second, is replete with sprightliness and humour; there is remarkable vivacity of dialogue, and the incidents relieve one another well.

Note return to page 272 *Wild hawks.

Note return to page 273 †Mis-prizing, undervaluing.

Note return to page 274 *An agle, was a tag of the points, so much worn formerly, on which little images were frequently cut; so that the word is not only jocosely, but justly applied to petitness of figure.

Note return to page 275 *This scene, which works upon Beatrice, though similar to that wherein Benedick has been entrapped, is well supported, but rather tedious in the original, therefore, should be more shortened than it generally is.

Note return to page 276 †This alludes to the common vulgar notion, that people's ears burn, when they are talked of; or it may, more fancifully, be interpreted— the flame of love that has entered her ears.

Note return to page 277 §After Benedick's first excellent soliloquy, in the preceding scene, it was very judicious to limit Beatrice's reflexions here; she could have uttered nothing so pleasing and pertinent, without being nearly a repetition.

Note return to page 278 *Benedick is very pleasantly bantered, in this scene, and cuts a very laughable figure.

Note return to page 279 *These nocturnal officers are very whimsical characters, yet not beyond the bounds of nature; they require a rich vein of low humour, to support them: the first, should exhibit an important, the last, a vacant simplicity.

Note return to page 280 *The teizing ignorant forwardness of two fools in office, is admirably depicted in this scene, and never fails to create a considerable degree of laughter.

Note return to page 281 *The Third Act is not so spirited as the second, yet does not flag upon a attention.

Note return to page 282 *There is a very nervous, beautiful strain of paternal resentment and grief, runs through this speech; and though we know Hero's innocence, we must strongly sympathize with the agitated father.

Note return to page 283 †We think the following lines should be retained. Why had I one! Why wast thou ever lovely in my eyes? Why had not I, with charitable hand, Took up a beggar's issue at my gates? But mine, and mine I lov'd, and mine I prais'd, And mine that I was proud of, mine so much, That I myself was to myself not mine, Valuing of her.

Note return to page 284 *The friar's interposition here, is sensible and humane, his discernment strong and just, set forth with much purity and fancy of expression.

Note return to page 285 *Though this speech; as originally written, was too long, yet we wish the following lines preserved, for their great beauty. When he shall hear she dy'd upon his words, Th' idea of her love shall sweetly creep Into his study of imagination, And every lovely organ of her life, Shall come apparel'd in more lovely habit; More moving, delicate, and full of life, Into the eye and prospect of his soul, Than when she liv'd, indeed.

Note return to page 286 *The manner of making up matters between Benedick and Beatrice in this scene, is exceedingly well fancied; her stirring him to revenge Hero's cause, shows generous and spirited friendship, and his ready acceptance of the charge, shows him possessed of more courage than many men of less voluble oddity.

Note return to page 287 *A blundering exercise of authority was never better, nor more laughably set forth, than in this trial; the misapplication of words seems rather a little strained, but we have met with instances in real life, not far behind.

Note return to page 288 †The greater part of this Act is written, and nervously, in the grave stile; the comic scenes are laughable, and the business consequential.

Note return to page 289 *This scene, on the side of Leonato, contains very strong reasoning in favour of those natural feelings, which arrogant stoicism considers as weakness. We recommend these lines as well worthy preservation, for speaking and perusal. Brother, men Can counsel, and give comfort to that grief, Which themselves not feel; but tasting it, That counsel turns to passion, which before Would give perceptial medicine to rage, Fetter strong madness in a silken thread, Charm ach with air, and agony with words.

Note return to page 290 *Daffe, to put off.

Note return to page 291 †The old men show commendable spirit, in their treatment of Pedro and Claudio, who bear their reproaches with becoming calmness of resolution.

Note return to page 292 †It is an exceeding fine picture of human nature, to make Antonio, who has so lately urged philosophical patience, here entertain and submit to ungovernable passion.

Note return to page 293 †Benedick here makes a sensible and just remark, for true valour can only show itself in the cause of truth, honour, and our country. Duellists, who fight merely to avoid an imputation of cowardise, are the grossest cowards. The scene is pleasantly varied upon Benedick's entrance, and supported by him with spirit, while his antagonists turn off his challenge with agreeable raillery.

Note return to page 294 *Shakespeare should have brought the Bastard to some disgrace or punishment, for his unprovoked villany.

Note return to page 295 *There is great pleasantry in this short scene; and this question of Beatrice, is well thrown in, to produce a poignant reply.

Note return to page 296 *The coy lovers, bring their affairs pleasantly to a conclusion, in this scene.

Note return to page 297 †There is a scene of the original, previous to this, wherein, Pedro, Claudio, &c. v. fit Hero's supposed monument; judiciously omitted here.

Note return to page 298 *This speech, is both rude, and indelicate.

Note return to page 299 †The finishing scene of this play, contains a pleasing suprize; a just reward of slandered innocence, and, by means of Benedick and Beatrice, is maintained towards the end, with very entertaining spirit.

Note return to page 300 *This mention of Don John, we deem rather insufficient, for poetical justice.

Note return to page 301 †The Fifth Act, is busy, important, pleasant; and works up, by just degrees, a very agreeable catastrophe.

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