Note return to page 1 *This Tragedy being admirably altered from the original, by that excellent judge and ornament of the stage, Colley Cibber, we shall have few observations to make.

Note return to page 2 *This descriptive preparation for Henry's appearance, is very happily expressed.

Note return to page 3 †The unfortunate monarch should be represented by a person of dignity, with features capable of expressing manly sorrow; a full but melodious voice.

Note return to page 4 *This is a most beautiful reflection expressed with much simple elegance.

Note return to page 5 *It is undoubtedly as bad for a king to be too indolent and passive, as to be too ambitious and arbitrary.

Note return to page 6 *Tressel's description is wrought up with a fine solemn climax of the pathos: indeed the whole scene merits strict attention.

Note return to page 7 *We think these lines which begin the speech in Shakespeare are worthy notice: Now is the winter of our discontent Made glorious summer by the sun of York; And all the clouds that low'r'd upon our house, In the deep bosom of the ocean buried.

Note return to page 8 †Some lines from the original have been judiciously restored in this speech by Mr. Garrick; whoever have seen the great actor just now mentioned, feelingly know what are the proper and perfect requisites for this difficult, complicate character; to others less happy, we say that Richard as to figure is artificially made; but his eyes should be spirited, his features flexible and full of deep design; his voice powerful, and his action vigorous.

Note return to page 9 *This conference, and the soliloquy which concludes the Act, let us fully and properly into Richard's character.

Note return to page 10 *This Act depends a good deal on manly Pathos; at the same time, Richard's character is extremely well opened in it.

Note return to page 11 *It is very natural to make a deformed man, though he does not like to hear mention of his deformity from other people, ruminate on it, himself.

Note return to page 12 *In this scene of strange courtship, the hypocrisy of a designing man, and the credulity of a weak woman, are finely depicted; though the latter seems rather too highly finished. Richard's looks, action, and utterance, through this masterly scene, should be more than commonly plausible.

Note return to page 13 *Buckingham should look like a man of quality, and speak like a man of sense; little more is wanted.

Note return to page 14 *A beautiful maternal idea this; finding a palliation for the loss of a husband, in his surviving semblances.

Note return to page 15 *This queen should have an elegant figure, with very pathetic expression.

Note return to page 16 *Glo'ster's hypocrisy is admirably supported through this scene, and should be strongly characterised by the actor.

Note return to page 17 *The second Act contains a great deal of regular interesting matter, and never can be flat, but through deficient performance.

Note return to page 18 *The duke of York's part is so well written, that even a tolerable child must gain great applause, and, though somewhat ludicrous, is not at all censurable, being highly natural.

Note return to page 19 *This dissertation upon conscience, exhibits a melancholy picture to moral feelings; but we fear it is by no means exaggerated.

Note return to page 20 *Lady Anne should be very delicate, in person, features, voice, and matters.

Note return to page 21 *This is a most polite and palpable bait for city pride, the true courtly food for fools.

Note return to page 22 †Dissimulation was never displayed in a more conspicuous light, an through this whole scene.

Note return to page 23 *This soliloquy affords a fine transition for acting merit to shew itself; from the low spiritless remonstrances of assumed diffidence, to the malicious enjoyment of the fair road his villainous schemes appear to be in.

Note return to page 24 *It is a very peculiar merit in this play, that each act rises above the other, and that the whole piece is alive, with increasing spirit, to the end.

Note return to page 25 *This round-about method of working on Buckingham to make a cat's paw of him, is very consistent with the depths of Richard's policy.

Note return to page 26 *There is strict preservation of character in making Richard advert to his own deformity.

Note return to page 27 *It is finely imagined to make a man loaded with conscious guilt fly abruptly from the subject.

Note return to page 28 *There is a remarkable, quick, and animating succession of incidents through the whole fourth Act, which concludes with inexpressible spirit.

Note return to page 29 Richard's full revelation of character, with the remarkable bustle of business which the fourth Act contains, invigorates it very much, and places an audience on the topmost bent of expectation.

Note return to page 30 *Richmond should be a showy soldier-like figure, such as may engage by externals, with an easy flow of utterance, neither solemn nor light.

Note return to page 31 *This, and part of the preceding speech, are taken from Henry the Fifth.

Note return to page 32 *Richard's disjointed manner of expressing himself is highly agitated; his features should seem pregnant with anxiety.

Note return to page 33 *This soliloquy is poetically descriptive and awfully solemn, the imagery fine, and the expression fluently spontaneous: great part of it is taken from Henry the Fifth.

Note return to page 34 *We are inclined to pardon the old womanish circumstance of ghosts here, because Cibber has brought them forth but once though Shakespeare produced them twice.

Note return to page 35 *These two words should not be roared out, as they usually are, but spoke with deep discontented anguish: the rest of the line rises of course.

Note return to page 36 *This is a well-introduced sensible stroke at ominous appearances.

Note return to page 37 *Here the actor is called upon for an uncommon glow of rage, and a most rapid climax of expression.

Note return to page 38 *There cannot be a stronger proof of a very singular impression upon an audience, than that general murmur which the meeting of Richmond and Richard always occasions, followed by the eager applause that attends the tyrant's fall; and we may without fear of censure say, that this play, as acted, shows that the alterations have been produced from a very extensive and settled knowledge of stage effect: we have been studious to find error, but could not materially.

Note return to page 39 *The six last lines of Richard's dying speech, is taken from Henry the Fourth, second Part.

Note return to page 40 *The fifth Act of this piece is more replete with interesting, business and spirit, than any other we know.

Note return to page 41 *Shallow is an odd kind of an humorist, and requires risible features, with arch antiquated expression; Slender cannot be too vacant in face nor utterance; volubility and the Welsh contraction of dialect will equip Sir Hugh.

Note return to page 42 †This pun upon the word Luce, which means a pike, may contain for some people humour; but to us it conveys more disgust, than pleasure.

Note return to page 43 *The parson here urges peace, pleasantly enough; but his frequent mention of the Divinity is not fit for stage representation.

Note return to page 44 *Evans, as a Welshman, should say Hur instead of I.

Note return to page 45 †The resentment of Shallow is expressed in terms ludicrously entertaining; indeed preservation of character, whether natural or antic, seems to be Shakespeare's constant care.

Note return to page 46 ‡For the stage requisites to do Sir John, &c. justice; vide First Part of Henry the Fourth.

Note return to page 47 *Labras—for lips.

Note return to page 48 †These Jargonite followers of the fat Knight, utter what we think very insipid trash; an obscure kind of knock-me-down slang; the whole scene we think composed of obsolete immaterial quibble; Pistol's hat, boots, and whiskers, are the merriest part of it.

Note return to page 49 *Sir Hugh's circumstantiality, and calling in philosophers to prove that the lips are a part of the mouth, is laughable, and descriptive of a whimsical methodical pedagogue.

Note return to page 50 †We are rather apt to think, however weak Slender may be supposed, that our author has here furnished him with too strained a confusion of words.

Note return to page 51 *Slender's maidenly shyness, and his ridiculous evasion of going in to dinner, always create mirth in representation: his turn to the bears is very natural, and exceeding laughable.

Note return to page 52 †Veneys—bouts; the dish of stewed prunes is a most characteristic bet for Slender.

Note return to page 53 *The third scene commences better here, than with that page of ribaldry in the original, which is properly pared off.

Note return to page 54 *Falstaff's ridiculous vanity is well set forth, by the supposition that Mrs. Ford and Mrs. Page are so deeply captivated, as not only to sacrifice the honour, but the purses, of their husbands, to him.

Note return to page 55 *There is somewhat not to be expected in this behaviour of those worthy gentlemen, Nym and Pistol; when profit was proposed, we could not suppose sons of rapine would entertain such delicate scruples.

Note return to page 56 †Gord and fullam—implements of gaming, then in use.

Note return to page 57 *Breedbate—a stirrer of contention.

Note return to page 58 *Doctor Caius should personate an antiquated French physician, as much as possible; he should break the English well, be full of action and grimace, with expression peculiarly emphatic and vehement.

Note return to page 59 *This Mrs. Quickly, though changed into Doctor Caius's servant, by her style and loquacity is no other than the hostess of that name; she should be represented, as we have said elsewhere.

Note return to page 60 *Quickly shews herself here, as well as hereafter, to be a most pliant able go-between, equally disposed to oblige all employers.

Note return to page 61 *To the first Act we must allow a good deal of business, with some humour; we are well made acquianted with the characters, and the plot opens properly, but a little more life is wanting.

Note return to page 62 *Mrs. Ford and Mrs. Page should both be sightly women; but the former requires more spirit, archness and pleasantry, than the latter.

Note return to page 63 *We think Mrs. Page's speech should end here: some indelicacies are omitted, and the introduction to them should be omitted also.

Note return to page 64 †Chariness, the delicacy of our honesty.

Note return to page 65 ‡There is a low unessential scene of Pistol and Nym, putting in execution what they proposed when last we saw them, properly cut off here.

Note return to page 66 &verbar2;Page requires but moderate abilities; Ford asks for an actor of considerable talents; the generous unsuspecting, therefore happy husband, opposed to the suspicious, and consequently tormented one, is a good instructive contrast.

Note return to page 67 *Heris—an old English word for Master.

Note return to page 68 †Shallow in this speech is pleasantly descriptive of the vain opinion commonly indulged by old men; that every thing declines as they personally do, and that nothing present can equal their youth.

Note return to page 69 ‡Stolen goods.

Note return to page 70 *A geminy—a couple.

Note return to page 71 †Red lattice phrases—ale-house wit.

Note return to page 72 *Canaries here implies a flutter.

Note return to page 73 †This is as natural and humorous a round-about speech, as could be written on the occasion; the method Mrs. Ford and Mrs. Page devise to punish Falstaff, is just and pleasant, but might apt, in real life, terminate so happily as it does in this play.

Note return to page 74 *Frampold, boisterous.

Note return to page 75 †Quickly's descanting on the virtue and piety of a woman; from whom she brings a message of adulterous tendency, is the right language of a procuress: such gentry always love a sanctified veil.

Note return to page 76 *Every age complains of gold's irresistible influence; yet from all authors we may collect, that its power has been and continues much the same: corruption is a disorder of long standing, and prevails in every nation, according to its wealth.

Note return to page 77 *Meed, return, compensation.

Note return to page 78 †Ford carries on his views with great plausibility, and we think this whole scene extremely well written; his introducing himself with sack, soliciting countenance with money, and flattering Sir John as a man of distinguished abilities, are all points well conceived.

Note return to page 79 *The knight's avarice and self-sufficiency make him here open himself with laughable confidence; which gives Ford, though he endeavours to smother them, an opportunity of shewing the secret workings of jealousy.

Note return to page 80 *This soliloquy possesses remarkable spirit, force, and propriety; it happily sets forth the rapid, crowding ideas of a much agitated mind, and never fails, when well delivered, to command approbation.

Note return to page 81 *This is a very whimsical, pompous rhapsody of nothingness, very full of sound, with, as was plainly intended, mighty little meaning.

Note return to page 82 †The whole humour of this scene lies in the Frenchman's mistaking the meaning of words.

Note return to page 83 *This Act is much beyond the first, more busy, better in dialogue, and more impregnated with intelligible humour.

Note return to page 84 *Making the parson sing, while in expectation, marks a whimsical oddity of disposition, and generally creates much laughter.

Note return to page 85 *Falling so suddenly into the violence of passion at mention of his antagonist's name, is much in the style of Welsh vehemence.

Note return to page 86 *The Host here is not unpleasant.

Note return to page 87 †The Host's playing on the folly of two romantic, scientific fools is well devised; his own words, with his station in life, sufficiently shew what an appearance and utterance he should have.

Note return to page 88 *Here again Ford expresses his alarmed feelings, with spirited propriety; and his speech tells favourably for the actor, whenever the actor deals favourably by it; help is reciprocal between them.

Note return to page 89 *Eyas-musket—in Italian, implies a troublesome stinging fly.

Note return to page 90 *It is no wonder Sir John, whose finances were mostly low, should make so unsavory a simile to a prison-gate.

Note return to page 91 *This conversation between Mrs. Page and Mrs. Ford is most entertainingly conceived to heighten Falstaff's dilemma; and the audience's enjoyment of it plainly proves the merit.

Note return to page 92 *Nothing can be more laughable than the overgrown lover's trembling readiness to cram himself any where.

Note return to page 93 *The shame-faced unmeaning cub is here naturally set forth.

Note return to page 94 *This speech of the unfortunate knight's, is luxuriantly humorous, and strictly picturesque; he states his lamentable case, most feelingly.

Note return to page 95 *For a man of Falstaff's timidity, after the peril he has been so lately in, to consent to another hazard, without more persuasion, seems a slight deviation from character.

Note return to page 96 *Bilbo—a flexible Spanish blade, that may be wrapped round in a small compass.

Note return to page 97 *After the speech noted at the beginning of the scene, it is hard to imagine that the same circumstance could so soon be entertainingly recited; yet the picture is here so varied and so heightened, that it comes upon our feelings with additional force.

Note return to page 98 †Ford is uniformly characterestic, and his part contains as much matter as dwelling so long on the same subject would admit; the whole third Act is much better than any other in the piece.

Note return to page 99 *That ridiculous excrescence of scene in the original, which begins the fourth Act with an examination of young Page in grammar, is justly cut off, the act commencing much better here.

Note return to page 100 *This witticism of Sir Hugh's, might very well be spared.

Note return to page 101 *This metamorphose of Falstaff's, besides being a good variation of punishment, naturally produces a most risible appearance.

Note return to page 102 *The time allowed by these four speeches, for The Merry Wives to explain Falstaff's amour, is strangely short; though the Host and Bardolph are merely thrust in, to give them pause.

Note return to page 103 *Old people.

Note return to page 104 *After this, there is a page of unnecessary explanation judiciously cut out; the scene, in its present state, hangs more than we could wish.

Note return to page 105 *Mussel-shell—is well applied to open mouth'd simplicity.

Note return to page 106 *The fourth Act, though much reduced in the performance, is still long enough for any matter it contains, and its conclusion is rendered more agreeable, by getting rid of that insipid scene which Shakespeare tacked to it.

Note return to page 107 *This third punishment of Falstaff, and their baiting him in the shape of Herne the hunter, does not rise and operate upon us with catastrophic force; we are not so much interested as we should be in this place.

Note return to page 108 *The cheats put upon Slender and Caius throw a gleam of spirit upon this scene.

Note return to page 109 *These lines, though they usually are, should not be omitted: Th' offence is holy that she hath committed, And this deceit loses the name of craft, Of disobedience, or unduteous title; Since therein she doth evitate and shun A thousand irreligious cursed hours, Which forced marriage would have brought upon her.

Note return to page 110 †The last Act is so spiritless, that it throws a damp upon the preceding ones; the greatest merit we find is its brevity, for the whole, as acted, does not extend above seven pages.

Note return to page 111 *The opening of this tragedy, is happily preparative to the future incidents and subject.

Note return to page 112 †The requisites for Horatio are an easy deportment, genteel figure, and smooth level delivery.

Note return to page 113 *If criticism or common sense can forgive the idea of a Ghost, this of Hamlet's father lays the foremost claim to pardon and praise; it should be figured above the middle size, and uttered by a round deep mellow voice; the mode of expression rather pompous, to mark a supernatural Being.

Note return to page 114 *We cannot be altogether of opinion, that persons struck by so awful and unusual an appearance, could so soon turn to another subject of conversation.

Note return to page 115 *The former part of this speech, though founded on a superstitious opinion, we must be pleased with; the latter is beautifully poetical.

Note return to page 116 †The character of Hamlet should be a good, if not a striking figure; with very flexible, spirited, marking features; a sonorous voice, capable of rapid climaxes, and solemn gradations; if not so soft as the upper notes of expression, nor so deep as the lower ones, if otherwise sufficient in articulation and compass, it may do the part justice.

Note return to page 117 ‡Four and twenty lines of this speech, with a brace of useless ambassadors, are omitted, commendably.

Note return to page 118 *This reply is sensibly pathetic, and insinuates with strict truth, that the seeming is but a shadowy semblance of sorrow; substantial grief dwells in the heart.

Note return to page 119 *Here again, as written, the King was unpardonably prolix.

Note return to page 120 †This soliloquy is admirably adapted to the situation of Hamlet's mind; which is oppressed with grief, not only for the loss of a father, but by the sudden and strange second marriage of his mother.

Note return to page 121 *This scene unfolds the circumstance of the Ghost to Hamlet; happily, and his interrogative curiosity is highly in nature.

Note return to page 122 *This is a most natural and feeling introduction to the uncommon circumstance Horatio and Marcellus have to relate; it saves them the trouble of an abrupt or painful mention of so delicate and interesting a point.

Note return to page 123 †As we find by the beginning of this scene, that Horatio has not, paid his respects to the prince before, 'tis odd he should not have done it; and equally odd, that a Ghost should be seen three nights together by the guards, without public mention being made; it shows, the Danish soldiers more capable of secrecy, than ours would be.

Note return to page 124 *There is an unspeakable degree of easy significant dialogue, in these short-well-put interrogations, and the replies.

Note return to page 125 *The chariest—is the coyest—the most cautious.

Note return to page 126 †This advice from Laertes to his sister, is a prudent caution; the fair fruit of good sense and fraternal affection.

Note return to page 127 ‡The following lines, usually omitted, should certainly be retained: &lblank; There; My blessing with you, And these few precepts in thy memory, See thou character. Give thy thoughts no tongue, Nor any unproportion'd thought his act. Be thou familiar, but by no means vulgar. The friends thou hast, and their adoption try'd, Grapple them to thy soul with hooks of steel: But do not dull thy palm with entertainment Of each new-hatch'd, unfledg'd comrade—beware Of entrance to a quarrel; but being in, Bear't that th' opposer may beware of thee. Give every man thine ear; but few thy voice. Take each man's censure; but reserve thy judgement. Costly thy habit, as thy purse can buy, But not express'd in fancy—rich, but not gaudy. Neither a borrower, nor a lender be; For loan oft loses both itself and friend, And borrowing dulls the edge of husbandry. This above all, to thine ownself be true; And it must follow, as the night the day, Thou canst not then be false to any one. There is a compact richness of instruction set forth in these lines, which well deserves attention in public, and perusal in private.

Note return to page 128 *Laertes may be supported by the same requisites as Horatio, but more animated; Polonius, in performance, should maintain a quaint, self-important shrewdness of expression, but studiously avoid all low comedy tricks; delicacy of appearance, and harmonious utterance, will do justice to Ophelia.

Note return to page 129 *This scene begins so distant from its main subject, that our minds are diverted from the Ghost, till he returns with double force of impression, and awful sensations.

Note return to page 130 *There is a striking solemnity in this address to the Ghost; it begins with a natural degree of intimidation, proceeds in a beautiful climax of imagery, and warms into a just manly confidence of interrogation; the Author has been so correct, as not to introduce an idea or expression, but what such a personage might be supposed on this occasion to form.

Note return to page 131 *It is justly remarked by Warburton, that Shakespeare has adverted to the Roman Catholic purgatory, though the Danes were at that period Pagans; however, we believe, without reference to an intermediate state, he could not have a shadow of excuse for bringing in a ghost.

Note return to page 132 *This speech may be styled a most melting, heart-rending, sense-alarming address.

Note return to page 133 *This line in representation is very judiciously given to Hamlet, as the remark more fitly comes from him; and it pleasingly divides the Ghost's speech, which in the original is very tedious.

Note return to page 134 †The idea of the glow-worm is very poetical; and the warning not to bear resentment, inculcates a regard for the living, after nature's debt is paid.

Note return to page 135 *Hamlet's dalliance with the natural, yet improper, curiosity of his friends, is well imagined: it varies action, and turns the main subject.

Note return to page 136 *This Act, though exceedingly well supported by character, incident, and writing, is, after great reduction, too long; Mr. Garrick, in a late alteration of this play, has judiciously shortened it. The Ghost is certainly too much in view.

Note return to page 137 *This is an exceeding pretty and significant account of Hamlet's behaviour.

Note return to page 138 *By this scene, one might suppose Polonius intended for the ludicrous; that he is whimmy, all through, we admit, but never should descend vulgarly low—to face-making, &c.

Note return to page 139 *The idea of an assumed madness in Hamlet, is vastly well conceived, as it occasions a fine variation of character and action: there is a scene of an embassy previous to this, in the original, which we think properly omitted.

Note return to page 140 *Hamlet plays upon Polonius with great spirit, and much pleasant satirical perspicuity, in this scene; it requires frenzied ease of deportment and looks, to support it.

Note return to page 141 *We do not recollect to have met, in any author, a more concise or elegant panegyric on human nature, than this speech contains: some part of this scene is properly curtailed.

Note return to page 142 *The introduction of players, and a mock play, realizes the main action, admirably.

Note return to page 143 †Valanced—appears to mean, fringed with a beard.

Note return to page 144 ‡Chopin—in French, a pint; in Scotch, a quart: so that the prince says she is taller by so much.

Note return to page 145 *There is great force in this description; and, though the play exhibited by these itinerants, is certainly a mock tragedy, we cannot think the above speech any way burlesque, though bad speakers often make it such, by vile utterance.

Note return to page 146 *A more benevolent expressive sentiment never dropped from the pen or mouth of any man, than this speech turns upon.

Note return to page 147 *The lines markt &blquo;are sometimes, and should always be, left out, as the speech is full long enough without them.

Note return to page 148 *The idea that conscience always haunts the guilty, especially those concerned in murder, is most certainly just, and properly introduced here.

Note return to page 149 †The second Act is by no means so striking or solemn, as the first, yet has spirit to please, and beauties to charm.

Note return to page 150 *There never was so much philosophical reasoning expressed so nervously, in so narrow a compass, by any author, as in this excellent, we may say unparalleled, soliloquy, which gives a good orator great latitude for the exertion of his abilities—the thought of death being a desirable consummation; the doubts arising from that transition; the picture of life, which our uncertainty forces us to bear, are admirably conceived and expressed.

Note return to page 151 *It should seem as if Hamlet had surprisingly forgot the Ghost; for if no traveller returns, how came that supernatural visitant in view? To save contradiction, we must admit the author means in a corporeal sense.

Note return to page 152 *This scene is admirably supported for Hamlet by the author, and contains many excellent strokes of sportive, lively, well-adopted satire, pleasingly couched.

Note return to page 153 *If all the theatrical performers would adhere strictly to the rules here laid down, they would come nearer nature than they do, or perhaps ever have done; indeed some Hamlets deliver them, and the whole part, in such a manner, as to violate the intention almost through every sentence, which rather turns the instruction to ridicule, by telling what ought to be, and shewing us what ought not.

Note return to page 154 †It is cruel to leave out what follows: &lblank; should the poor be flatter'd? No, let the candied tongue lick absurd pomp, And crook the pregnant hinges of the knee, Where thrift may follow fawning—

Note return to page 155 *It is a very probable method of discovering hidden guilt, to bring its counterpart to view; but by no means infallible, for a man over-modest may change countenance at what does not concern him, and a villain justly accused may preserve rigid features.

Note return to page 156 †The levity and vague behaviour of Hamlet, in this Scene, which should be supported by a great flow of forced spirits, is excellently designed to cover his deep intention of criminating the King.

Note return to page 157 *This scene of the mock play is properly much shortened.

Note return to page 158 †It is very odd Shakespeare should have so often jumbled rhime, blank verse, and prose, together in one piece.

Note return to page 159 *We think Hamlet's expression, upon the full conviction of his uncle, much too light and inadequate.

Note return to page 160 *This is a masterly turn of satire on court spies, and a fine rebuff to the mean ready agents of power.

Note return to page 161 †Polonius is here played off, in a pleasant characteristic manner.

Note return to page 162 *This soliloquy of the King exhibits, in a fine flow of poetical expression and just reasoning, the agitation of a guilty soul, wishing, but afraid, to look towards heaven; the strugglings of imperfect condition, and the laborious, thorny state of a mind, so situated, and thus feelingly pictured, must make every sensible heart shrink.

Note return to page 163 *A long speech of Hamlet's is here commendably thrown aside, first, as being unnecessary, and next, as tending to vitiate and degrade his character, much.

Note return to page 164 *In the catastrophe of Polonius, we think the author sports with death, and sheds blood unnecessarily.

Note return to page 165 *His reasoning and remonstrances, in this scene, are truly pathetic and persuasive.

Note return to page 166 *For stage action, the Ghost is most happily introduced here; its appearance enlivens the plot, vastly, and relieves the scene, very much.

Note return to page 167 *There are about thirty lines lopped off the end of this scene, very justifiably.

Note return to page 168 †The third Act is supported greatly by spirit, business, sentiment, and dialogue; if Hamlet is equal to it, the conclusive scene must send him off with remarkable eclat.

Note return to page 169 *The sculking scycophants of royalty are here touched off with strict truth, and uncommon keenness.

Note return to page 170 *Hamlet supports his feigned madness exceeding well and divertingly; but, in his circumstances, consenting so tamely to depart for England, seems to show him pusillanimous and impolitic.

Note return to page 171 *The author has here introduced a very unessential scene, unworthy the closet and stage, therefore properly consigned to oblivion; though Hamlet's soliloquy, in Mr. Garrick's alteration, is preserved not censurably—in the original state of the play, the whole is quite superfluous: besides, the Prince seems to take a violent resolution; yet is no more heard of, till we find he has been shipwrecked.

Note return to page 172 †The transitions of this young lady's frenzy, are extremely well conceived for representation, and render her a very interesting object: too much extravagance, or a figure too much dishevelled, should be avoided.

Note return to page 173 *The author has fancied Ophelia's madness well, affectingly, and furnished it with suitable expression; we like the object, are entertained with her flights, and commiserate the frenzy.

Note return to page 174 *Though Laertes has great provocation to rouse him, yet such peremptory violent and abusive behaviour to his sovereign, breaks through the bounds of decorum and allegiance, unpardonably; and we by no means see why the rabble should offer to chuse him King.

Note return to page 175 *Making Ophelia sing so frequently, so disjointly, and suiting the words so strictly to her situation, shew great judgement.

Note return to page 176 *This treacherous plot upon the life of Hamlet, is truly villainous on the part of his Majesty, and pitifully mean in Laertes, though he has lost a father; for no revenge can be just, that is not open and manlike; it is a bad feeling of the human heart, in its best shape: what must it be, in the worst?

Note return to page 177 *This description of Ophelia's end, is exceeding pretty; but we perceive no absolute occasion for destroying the young lady.

Note return to page 178 †The fourth Act is much more languid, than any other in the piece; Hamlet has too little, the King and Laertes too much, to say; Ophelia, as a new, pitiable, yet agreeable object, seems the chief support.

Note return to page 179 *These gentry, and their quibbling humour, certainly trespass upon decorum; but the moral reflections occasioned by the grave, &c. make ample amends; and though their dialogue is often stigmatized as mere gallery stuff, yet we think that sensible boxes may be pleased and instructed by it; for which reason it is cause of concern to think Mr. Garrick has too politely frenchified his alteration, by endeavouring to annihilate what, though Mr. Voltaire could not like it, has indubitable merit.

Note return to page 180 *These two speeches convey a fine idea of that influence custom has on the human mind, making the most awful and disagreeable objects familiar, at last.

Note return to page 181 *Read this speech, titled Pomp, with due attention, and shrink into thy original nothingness.

Note return to page 182 *The rites are not only maimed, but the funeral itself is a maimed circumstance. This punishment of suicide, and the idea of consecrated ground, show that Shakespeare meant this for a Christian priest, diametrically opposite to the opinion of Warburton, which we have mentioned, that the Danes were then Pagans.

Note return to page 183 *This violent frantic climax of passion, is very indecent, at such a time and place, therefore highly disgraceful to Hamlet.

Note return to page 184 †If, as Mr. Theobald thinks, vinegar is meant, the idea is rather poor.

Note return to page 185 *There are eighty odd lines of the original, left out here: we think retaining a dozen or fifteen of them, would make the plot more clear. As to the scene, upon the whole, it would be dreadfully tedious, and most unnecessarily circumstantial.

Note return to page 186 †This fopling, whose character, as well as business, we dislike, may be sufficiently supported by smartness of figure, pertness of delivery, and affectedness of gesticulation; Mr. Garrick has rejected him indeed, as Shakespeare says he speaks an infinite deal of nothing.

Note return to page 187 *We think the last scene of this play very reprehensible; it teems with slaughter, and, though the plot in many places is disgustful to criticism, even with latitude, we have no scruple to pronounce its catastrophe the worst part of it.

Note return to page 188 *As the play is cut, these five lines should, we think, be omitted; for they are unintelligible to all those who remember the original play, and are quite unnecessary here, and foreign to the representation, as it now stands.

Note return to page 189 †The fifth Act of this play is by no means so good as we could wish; yet it engages attention in public, by having a good deal of bustle, and, what English audiences love, many deaths.

Note return to page 190 *The name, and first material incident of this piece, are exceedingly contrastic to comedy; however, there is a good opportunity afforded, for pleasing scenery and curious mechanism.

Note return to page 191 *This scene, we think, very ill written; in Dryden's alteration, which seems to us a better acting play than that before us, it is mended; but the sea terms, in both, to be characteristic, want much to be modernized.

Note return to page 192 *Being professed foes to all sentiments and characters which inculcate ideas of enchantment, conjuration, or supernatural appearances, we necessarily declare ourselves against the very foundation of this play; however, as what Prospero utters, in point of sentiment, is, all through, both nervous and sensible, he requires a performer of oratorical ability to support him: venerable appearance is likewise requisite. Miranda should describe an elegant simplicity.

Note return to page 193 †There is something enchantingly humane in the ideas of this speech.

Note return to page 194 ‡More better—is a very strange degree of comparison.

Note return to page 195 *There is a pleasing natural ease in the manner of Prospero's sifting his daughter's recollection; it leads on the scene agreeably.

Note return to page 196 *Our Author has been in this speech, as well as in other places, too liberal of digressive parentheses.

Note return to page 197 *So dry he was for sway; we think this very impoverished phraseology; a small change in our apprehension might mend it— he thirsted so for sway.

Note return to page 198 †Fated—is rather an exaggerated term, here.

Note return to page 199 *Prospero describes the treatment himself and his infant daughter met, with the deplorable situation they were turned adrift in, in strong terms.

Note return to page 200 †There is much paternal tenderness and delicacy, in this very affectionate remark.

Note return to page 201 *This foreknowledge, joined with magic, we by no means like; they are ticklish ideas for young or weak minds, therefore ill calculated for public utterance, or private perusal.

Note return to page 202 *Ariel should be remarkably delicate in appearance and expression, with a good musical voice; the description of his operation, upon the ship, is remarkably animated and poetical.

Note return to page 203 *The spirit's squabbling here with Prospero, shows too much of the sulky-mortal servant; a being of this kind, and of such power, must previously know that such resistance could be of no effect, therefore superfluous.

Note return to page 204 *The only use we see in this quarrel, between master and attendant, is to eke out a scene rather too long before, and to make mention of Sycorax, which might have been done as well elsewhere.

Note return to page 205 *The figure of Caliban is totally made; his language, which is most admirably adapted, should be uttered with a rough, malignant costiveness of expression.

Note return to page 206 *As ingratitude is a very deep mark of a bad, unprincipled heart, and which is never found among the brute creation, when kindly used, fixing a positive charge of it on Caliban, heightens his gloomy character much.

Note return to page 207 *Miranda's simplicity of surprize at seeing Ferdinand for the first time, is natural, and finely imagined.

Note return to page 208 *The young lady, we think, is rather forward in declaring her inclination, especially considering the abstracted, lonely state she has been brought up in—nature has sudden feelings, but sense and delicacy check them.

Note return to page 209 *The stern behaviour of Prospero is well conceived, to check for a time, though it, in reality, increases the precipitate affection for each other, entertained by the young pair.

Note return to page 210 *The first Act, exclusive of the bustling first scene, and two agreeable songs, we deem exceeding heavy; though Caliban must be admitted a very original object, and well worthy particular notice: the sentiments and language are good, but spirit and variation are wanting.

Note return to page 211 *If this half-drowned King, and his sea-soused attendants, are decent figures and decent speakers, they walk through well enough.

Note return to page 212 †There are near three pages of the scene succeeding this speech, in the original, very properly left out, as they are strangely trifling, and therefore not worthy either utterance or perusal.

Note return to page 213 *This rebuff Gonzalo gives Sebastian, for remarks monstrously ill timed, and most indecently cruel.

Note return to page 214 †We think sleep is too often called upon; Miranda has had a nap, in the first act, to very little use, and here we are presented with another, to less.

Note return to page 215 *There is above a page of this dull scene most necessarily sliced out; patience must otherwise cry out loudly.

Note return to page 216 †This strange suggestion of murdering a King for dominions, which they know not they shall ever see again, and by people so lately saved themselves, appears a strain of probability, and is besides superfluous.

Note return to page 217 *This speech is extremely and peculiarly picturesque, nothing could be better conceived, or expressed, for a mongrel monster; the ideas are abundantly rich, and happy in their kind.

Note return to page 218 *There is considerable spirit and humour in this speech, which, as well as the rest of Trinculo, requires a good low comedian: his remark on the English taste for strange sights, is tart, pleasant, and just; Stephano is nearly in the style of his companion.

Note return to page 219 *Though this last scene has some humour, we cannot help thinking the second Act more languid and inconsiderable than the first; the actors, in the grave part, have a most insipid load to sustain.

Note return to page 220 *This sentiment, though very well expressed here, is delivered more concisely in Macbeth: “The labour we delight in physics pain.”

Note return to page 221 *We know not a prettier, or more delicate, pattern of love, than this scene exhibits; it is not quite so warm as that in the second Act of Romeo and Juliet; but, considering Miranda's sequestered education, has equal merit.

Note return to page 222 *The invisibility of Ariel, with his interruptions, give a zest to this scene, which, in other respects, has considerable humour.

Note return to page 223 *Jocund—is a very improper word for Caliban.

Note return to page 224 *This awful address and condemnation, with the preparative circumstances, are well framed, to strike torment and terror deep into guilty breasts.

Note return to page 225 †The third Act has more life, humour, and entertaining matter, than the two preceding ones: it performs far beyond them: as to perusal, there is little or no difference.

Note return to page 226 *There is something very fanciful and prudent in this precautionary intimation, but the third line seems to us rather indelicate.

Note return to page 227 *The following is altered from Shakespeare, and judiciously made half as short again as the original.

Note return to page 228 *Of this passage, so universally known, and so justly admired, we may say, that it possesses eastern magnificence of idea, cloathed with the chastest elegance; no author ever soared beyond, and Shakespeare himself but rarely comes up to it.

Note return to page 229 *The smelling of music is a very strange idea, or, at least, one of singular latitude, to whatever objects it may be applied.

Note return to page 230 *This speech of Trinculo is very indelicate and unnecessary; for it conveys a nauseous idea, without a gleam of humour; some passages, censurably gross, have a plea of pleasantry in their favour: this having none, should certainly be omitted.

Note return to page 231 †Hood-wink mischance—which has an allusion to falconry, is certainly too fanciful an expression, for such a brute.

Note return to page 232 *This Act, though inferior to the third, yet has matter and spirit enough to please in representation: it is to be remarked in general of this play, that it stands a good deal indebted for agreeable effects, to music and dancing.

Note return to page 233 *There is here a signal elevation of sentiment, a peculiar fineness of feeling, which does the author great honour; but why Ariel, as a good spirit, should have no tender sensations, we know not: he feels joy and pain for himself; why not a little for human beings distressed?

Note return to page 234 *There is great poetical solemnity and richness of description, in this speech, which concludes well with Prospero's determination to give up the pernicious power and study of magic.

Note return to page 235 †This speech is also beautiful and humane; it almost teaches us to feel pity and forgiveness, for those wretched characters we have hitherto justly despised.

Note return to page 236 *It speaks exceeding delicacy of sense in Prospero, to check the stings of self-reproach.

Note return to page 237 *The last Act has a considerable share of business, the incidents are pleasing, the writing nervous, the characters well disposed, and the catastrophe most pleasingly brought about.

Note return to page 238 †This address to the audience is sensible, and the lines happily avoid namby pamby jingle, by running agreeably into each other; the last distich we object to, as alluding too closely to the Lord's-prayer.

Note return to page 239 *The title of this play to persons not very intelligent, sounds rather odd, and is somewhat obscure; but the play fully justifies and appropriates it.

Note return to page 240 *Shakespeare has most judiciously, on every occasion, shown the insignificancy of vehement popular applause; an idol which knaves sometimes worship, successfully, and fools always admire, without a meaning.

Note return to page 241 †After this scene, there are three very slight unworthy pages of the original, most properly rejected.

Note return to page 242 *This is an unpardonable long parenthesis; hard to speak intelligibly.

Note return to page 243 †Arbitrary governors will rake amongst the most antiquated authorities, to gloss rigid exertion and extension of power.

Note return to page 244 ‡The power of female youth and beauty, is expressed with comprehensive brevity, in this line.

Note return to page 245 *Though Lucio is drawn a spirited coxcomb, yet for the melancholy circumstance his acquaintance Claudio is in, we think him furnished in this scene with too much levity.

Note return to page 246 †That performer, who personates the Duke, in this piece, should be a sound, firm, judicious orator; possessed of agreeable medium tones, action of dignity, and emphasis of force: the character is finely written, yet from its length and sameness, requires considerable help from the actor; who, if not very clever, stands a chance to pall.

Note return to page 247 *The effects arising from too great a relaxation of power, are happily described here; and the regal is well assimilated to parental authority.

Note return to page 248 †The Duke's purpose is very sensibly expressed, in the four last lines of this speech; as surmising justly, that seemers may vary much from their appearances.

Note return to page 249 *Isabella should be graceful and amiable in figure; her voice full and harmonious, her emphasis strictly just, her cadences unaffected; and the whole of her utterance remarkably perswasive.

Note return to page 250 †The requisites for pert self-sufficient foppery, will render Lucio a pleasant character; it is more in favour of the actor, than any other in the piece.

Note return to page 251 *This is an excellent remark, very often felt by the shy and timorous, who let slip, through diffidence, advantageous opportunities, which the more confident suitors of Fortune, push on to meet.

Note return to page 252 †The first Act is sufficiently interesting, as it opens the plot and characters, in a pleasing manner.

Note return to page 253 *Angelo and Escalus, though material agents in the Play, may be sufficiently supported by third-rate abilities; however, they should look nobility, and speak like men of sense.

Note return to page 254 *Escalus here shews himself sensibly humane; if dispensers of public justice would, as they ought, look at home, the rigid duties of law would be frequently softened.

Note return to page 255 †Escalus, in these four lines, delivers a very sensible remark; life frequently evinces, that the very means which raise some, cast down others, and that great villains escape that punishment, which falls heavy on smaller ones.

Note return to page 256 ‡Here follows no less than seven pages of absolute ribaldry, full of nothingness and indecencies; the annihilation of them does credit to our author and the stage.

Note return to page 257 *The supplicative perswasion of Isabella, in this scene, is delicate, pathetic, and forceable; Shakespeare's humane disposition, and love of mercy, are very evident, in his masterly recommendations of that heavenly attribute, particularly those in this Play, and the Merchant of Venice.

Note return to page 258 †There is as much poetic fire, as fine reflections, as strict moral truth, and as powerful reasoning, in this speech, as any Shakespeare ever wrote.

Note return to page 259 *This is a remark sensibly satirical, upon mis-judging greatness, which supposes it may do things with impunity, punishable in those of lower station.

Note return to page 260 *The superior estimation of orisons, breathed from chaste sincerity, to temporal riches, is here beautifully set forth.

Note return to page 261 †The agitations of even a bad mind, first verging on, and then plunging into extreme guilt, are finely depicted in this soliloquy: the discerning auditor and reader may collect much instructive and pleasing matter from it.

Note return to page 262 *We cannot help pronouncing the cause of that difficulty, Claudio labours under, indecent; and therefore blameable.

Note return to page 263 *This soliloquy has some similitude to that of the King in Hamlet; to which it is certainly inferior, yet wants not considerable merit.

Note return to page 264 *The manner in which Angelo winds about his vicious purpose, is artfully distant; he wants to save explanation on his side, by drawing Isabella to meet his meaning.

Note return to page 265 *The plausible, villainous sophistry of Angelo, is finely exposed, by the ingenuous, immoveable, virtuous resolution of Isabella.

Note return to page 266 *We think the word prolixious rather exceptionable, and are ready to deem baffling blushes better.

Note return to page 267 *There is much spirit of nice honour in this soliloquy, and it powerfully engages, as the whole Act in its present state feelingly does, the strict attention of a judicious audience.

Note return to page 268 *This is an admirable idea of worldly minded men; bearing about that wealth, like asses, which at the unerring call of death they must be disburthened of. This speech requires peculiar weight of delivery.

Note return to page 269 †The Duke, in his address to Claudio, presents us with a very fine, and strictly moral, chain of reasoning; worthy the constant recollection of human nature, which thereby may be taught a just, yet not irreligious, contempt of death.

Note return to page 270 *Shakespeare's darling principle of humanity, is delightfully expressed here; in four lines we are instructed, as we fear death ourselves, not to be forward in administring it even to insects.

Note return to page 271 *Isabella, in this scene, rises to a very peculiar degree of estimation, by her noble ideas, and spirited maintenance, of chastity.

Note return to page 272 *The whole of Claudio's plea for dreading death, is fanciful and plausible, but rather too speculative; and somewhat dangerous for young, or timorous minds.

Note return to page 273 †In the preceding sentence, Shakespeare seems to point, in his words, lawless and incertain thoughts, a doubt of, or a satire against, received notions of future punishment.

Note return to page 274 ‡These distinguished lines, as blemishing the chaste ideas of Isabella, particularly that insinuation of a mother's frailty, should be left out; but the noble-spirited purport of her speech, amply atones for a greater slip of strict decency.

Note return to page 275 *If an effect similar to that of the Duke's proposition, in this scene, could have been otherwise brought about, it would have been better; for though Isabella is made a well-intentioned, yet she is at present, to us, rather a forward and indelicate instrument; however, if this objection is rather too nice, we submit it.

Note return to page 276 †This scene, till the clown, &c. go off, though retained in performance, should certainly be omitted; it is low ribaldry, too insignificant to make even an upper gallery laugh; and too indecent to bear.

Note return to page 277 *Lucio, in this sentence, is most offensively gross.

Note return to page 278 †The Duke plays upon Lucio's forward, flippant, lying braggadocio disposition, finely in this scene; and his conclusive remark on the irresistible force of scandal, is indisputably just; for the most exalted, as well as the lowest stations, are leveled and subjected to its envenomed darts.

Note return to page 279 ‡This scene should begin here; the preceding half dozen speeches are rather a low intrusion upon attention.

Note return to page 280 *The Duke's remarks here, are very sensible, and well suited to the present times; Novelty, having never been in any age or country more worshiped, than at this day, when frippery ornaments and entertainment for the body, are preferred to wholesome food for the mind.

Note return to page 281 *The sentiments of this soliloquy are just and instructive; but the namby-pamby versification, in which they are conveyed to our apprehension, is abominable.

Note return to page 282 †This Act, save the second scene, which we have objected to, is written with great ability, and contains some as fine sentiments as ever Shakespeare penned.

Note return to page 283 *There are some speeches and a song, previous to this, properly left out; the Act begins better here.

Note return to page 284 *The return of Mariana and Isabel, is much too sudden; there should have been a pause, of at least eight or ten lines more than the Duke's soliloquy, to give them probable time for their purpose.

Note return to page 285 *We could wish all the preceding part of this scene omitted, as trifling, or rather worse; and that Claudio's meeting the Provost should begin it. We suppose several parts which are retained, as well as this, owe their preservation to a fear of shortening the play, too much; not any merit they possess.

Note return to page 286 *This short break, in the Duke's speech, is very beautiful; it is a well-timed relief to, and pleasing gratification of, attention.

Note return to page 287 *Barnardine, though natural, is a character of that cast we deem unworthy both of the stage and closet.

Note return to page 288 *There is too much child-getting in this piece.

Note return to page 289 †There is considerable pleasantry suggested in this short scene, between the Duke and Lucio.

Note return to page 290 *After this soliloquy, there is a page of immaterial import left out, which makes the fourth act end much better.

Note return to page 291 †The Fourth Act has not, in our view, so much merit as the Third, yet does not sink, so as to pall, in any shape; though the writing is not so nervous and fanciful, the progressive circumstances of the plot rise well.

Note return to page 292 *These lines ought to be spoken, And I should wrong it, To lock it in the wards of covert bosom, When it deserves, with characters of brass, A forted residence, 'gainst the tooth of time, And razure of oblivion.

Note return to page 293 *Vail—for cast.

Note return to page 294 †These emphatic repetitions of the word Justice! are well imagined, and have a fine, forceable effect.

Note return to page 295 ‡This speech is very feelingly written, and requires the expression of strong sensibility.

Note return to page 296 *Lucio's coxcomical forwardness has always a very pleasant effect, in representation; to give him his due, the last scene would be very flat, without him; his reasoning, here and there, is rather too high, but in general palatable.

Note return to page 297 *The Duke's strong scruples, to credit Isabella's heavy charge, is finely imagin'd, to render Angelo's situation more interesting.

Note return to page 298 *The progressive steps to Angelo's detection, keep expectation in play, and bring the result upon us with more force.

Note return to page 299 †Lucio's pert interruptions, through this scene, are very laughable and characteristic.

Note return to page 300 *This encouragement, and peculiar countenance, shewn to Angelo, is a judicious preparation to render his situation more striking, at the catastrophe.

Note return to page 301 *Passes, for ways.

Note return to page 302 *This marriage is celebrated in a very short improbable space of time; but as the author was here circumstanced, he could not well allow more.

Note return to page 303 *The Duke's disposition of affairs and characters, is not only strictly just, but exceedingly pleasing, and well fulfils the title of the piece: the five distinguished lines, which conclude, are an addition, by whom we know not; however, they afford a better finishing, than that supplied by Shakespeare; upon the whole of this play, for we cannot stile it either Tragedy or Comedy, there are several great beauties, clouded with much trifling and indecent dialogue: it must always be heavy to the majority of an audience; yet, purged of impurities and superfluities, as we hope the readers will find it, in this edition, it may be entertaining and instructive in the closet; to royal and princely characters it offers a most valuable truth—that nothing is more dangerous, than to trust a seemingly virtuous statesman with too extensive powers of rule over his fellow-subjects; delegated authority being generally more liable to abuse, than the power which gives it.

Note return to page 304 †Though we approve the catastrophe, when unfolded, yet it appears tedious in the winding up; wherefore the last act seems heaviest of the five.

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