Note return to page 1 *The character of King John, except in two scenes and a few speeches, lies heavy on the actor; who therefore requires great judgement, with deep and strong expression, to assist the author; dignity of person and deportment are also necessary.

Note return to page 2 *This answer to Chatillion's insolent embassy, is in the true spirit of offended Majesty; finely conceived, and nervously expressed.

Note return to page 3 *The bastard, Faulconbridge, is as odd a personage as any author ever drew; and Shakespeare has given him language equally peculiar with his ideas: a bold, blunt utterance, with spirit, and a martial figure, may do him justice on the stage; we utterly condemn that tendency to the ludicrous, which some capital actors have given to this character.

Note return to page 4 *This is a strange dispute, and oddly conducted for the ear of Majesty, which certainly should not bear such burlesque.

Note return to page 5 *This encouragement to own Bastardy upon supposition, is a very indelicate stroke of her Majesty's; and King John's knighting him without any merit to claim that honour, but impudence, is as silly a promotion, as some other Kings have made.

Note return to page 6 *This soliloquy is somewhat tedious, and very obscure; it cannot be intelligent to above one tenth of any audience, by which some excellent strokes of satire are lost; and to attempt explanation, would emaciate the ideas amazingly.

Note return to page 7 *We wish the information of Philip's real father had been furnished by some other means, than the introduction of his mother to criminate herself so indelicately; indeed the scene is very trifling, and much the greatest part of the first act dull.

Note return to page 8 *This act, upon the whole, is phlegmatic; nothing occurs to command serious attention, and there is little or no sport for fancy; we may venture to declare, that the total omission of it would be no loss to an audience: the Bastard here, as all through, requires great intrepidity of countenance, and a firm freedom of expression.

Note return to page 9 *Arthur should be a boy of small size, of tender, insinuative utterance, with sensibility of feeling.

Note return to page 10 *Constance should be an amiable appearance, possessed of features to describe settled sorrow, and wild despair; with notes of voice answerable to such affecting sensations.

Note return to page 11 *Scathe, damage.

Note return to page 12 *This encounter of the King's is not unlike that of Prettyman and Volscius, in the Rehearsul; with this difference, that the burlesque Princes are rather more polite, than the real Monarchs; and the Bastard, regardless of all decorum, appears a Billingsgate bravo. The scene, as here offered to view, is considerably, and we think very justifiably, curtailed.

Note return to page 13 *This fighting a battle behind the scenes, and leaving the stage empty till it is fought, we considers as a violent attack upon critic patience; and we think this indeterminate engagement should be omitted by leaving out the lines printed in Italics; performed so, the scene would give less offence to probability, and save the stunned ears of an audience, from much unnecessary drumming and trumpeting.

Note return to page 14 *Scroyles of Angiers flout: means, these wretches of Angiers mock.

Note return to page 15 *This is an admirable soliloquy, pregnant with fine strokes of Satire, upon the sway interest bears in every rank of life.

Note return to page 16 *The second Act consists of altercation, martial noise, and bustle; great sound, little matter; for, save a few speeches, the whole rather drags—the concluding soliloquy has great, but obscure, merit.

Note return to page 17 *Our author, who took very little pains in general with female characters, there being no performers of that sex, upon the stage in his time; has however roused his genius in favour of Constance; he has entered into, and expressed her complaints in a most masterly manner; the ideas through the whole of this scene, are happily pathetic; they appeal so successfully to the heart, that even common feelings must submit to their force.

Note return to page 18 *There was never a more spirited, or better adapted rebuff, than this given to Austria; the boasting, treacherous friend is admirably exposed.

Note return to page 19 †The haughty zeal of a Church Ambassador is finely delineated in Pandulph; and the servile situation of Kings, when under Papal influence, is instructively set forth in the person of Philip shrinking before ecclesiastical thunders in the shape of an Anathema, John cuts a respectable figure in contrast.

Note return to page 20 *This second battle is most precipitately lugged in.

Note return to page 21 *It is impossible for words to express, or imagination to paint, a finer representation of dubious cruelty, fearful to express itself, than this address of John's to Hubert exhibits; the hesitative circumlocution, with which he winds about his gloomy purpose, is highly natural and the imagery exquisite. To do this scene justice, requires more judgment than powers: a jealous eye, deep tone of voice, and cautious delivery, are the outlines of what should be.

Note return to page 22 *Though Constance's grief before the battle, appears very powerful to sympathizing passions, yet upon the loss of her son there is a tincture of despair, mingled with such an increase of sorrow, that the scene grows rather too trying for refined sensations. The actress who performs this part, has here occasion for uncommon expression of grief; her features should be the living type of sorrow, and her voice capable of breaking harmoniously into the stile of expression, which a flood of anguish occasions.

Note return to page 23 *Constance's high-wrought grief enlivens the third act considerably; and King John's working Hubert to his purpose, is equally striking; all the rest come under a medium character.

Note return to page 24 *Though it must be allowed this seene is finely written, yet the circumstance of it conveys so much of horror, that it rather strains humanity too far; the pleading of the young Prince is simply natural, and meltingly perswasive: its effect upon Hubert must greatly please humane feeling, and release it from a very painful rack.

Note return to page 25 *This is a very noble description of superstitious people, fear-struck with real or imaginary portentous appearances; which Shakespeare was fond of, and happy in, describing. The following lines from Richard the Second, are truly fine: 'Tis thought the King is dead, we will not stay; The bay trees in our country all are wither'd, And meteors fright the fixed stars of heav'n: The pale-fac'd moon looks bloody on the earth, And lean look'd Prophets whisper dreadful change; Rich men look sad, and Ruffians dance and leap; The one in fear to lose what they enjoy, The other in hope t' enjoy by Rage and War. These signs forerun the death of Kings— Ah, Richard. Ah, with eyes of heavy mind, I see thy glory, like a shooting star, Fall to the base earth from the firmament: The Sun sets weeping in the lowly West, Witnessing storms to come, woe, and unrest.

Note return to page 26 *This speech is an admirable picture of a bad man, who would slip off the burthen of guilt from his own shoulders, to those of another; John should in this scene extend his dignity and spirit, considerably.

Note return to page 27 *The fourth Act, in point of acting merit, is undoubtedly better than either of the other three; having more regularity, and what may be called essential business.

Note return to page 28 *The fifth Act would begin much better here, than with that dull, disgraceful circumstance of John's resigning his crown to Pandulph.

Note return to page 29 *The spirit and imagery of this speech are singularly fine, and well adapted.

Note return to page 30 *Though this scene is undoubtedly too long in the original, yet we could wish Salisbury's speech stood thus: To be a widow maker—oh, and there, Where honourable rescue and defence, Cries out upon the name of Salisbury: But such is the infection of the time, That for the health and physic of our right, We cannot deal, but with the very hand Of stern injustice, and confused wrong: And is't not pity—oh, my grieved friends— That we, the sons and children of this Isle, Should live to see so sad an hour as this; Wherein we step after a stranger march Upon her gentle bosom, and fill up Her enemies rank? I must withdraw and weep, &c. And we think the Dauphin's reply should stand as follows:   &lblank; an earthquake of nobility. Oh, what a noble combat hast thou fought, Between compulsion and brave respect; Let me wipe off this honourable dew That silverly doth progress on thy cheeks.

Note return to page 31 *Faulconbridge, as a representative of royalty, through this scene supports a peculiar degree of becoming spirit; representing John as wearing a bare-ribb'd Death in his forehead, is a stroke of magery admirably picturesque.

Note return to page 32 *There is a short trifling scene of the original, properly omitted here, and we think this might also be spared.

Note return to page 33 *Elbow-room for the soul, is a low, unphilosophical expression, censurable even in madness.

Note return to page 34 *The four concluding lines exhibit a very pleasing, incontestable political truth, that unanimity must always make Britons formidable abroad, and comfortable at home.

Note return to page 35 †Much the greater part of this Tragedy is unworthy its author; a rumble-jumble of martial incidents, improbably and confusedly introduced; the character of Constance intire, four scenes, and several speeches of Faulconbridge's, are truly Shakespearean. Colley Cibber altered this piece, but, as we think, for the worse; it is more regular, but more phlegmatic, than the original.

Note return to page 36 *The actor who exhibits this monarch, should possess importance of figure, and be, what the stage seldom can boast, a sound declaimer; several actors, who cut tolerable figures, in impassioned characters, to the ear of judicious criticism, appear spouters of declamation.

Note return to page 37 †Without these two lines the speech is nonsense: No more the thirsty entrance of this soil, Shall damp her lips with her own children's blood.

Note return to page 38 ‡The part of Henry is remarkable for speeches much too long, though in general fine; wherefore several of them are considerably reduced, and amongst that number this first is judiciously abridged.

Note return to page 39 *As gun-powder was but two years invented before this time; we doubt whether artillery was in use.

Note return to page 40 †We should prefer bath'd to balk'd.

Note return to page 41 *This is a very natural turn of a parent, who feels the dissipations of a son, disgraced and rendered more glaringly depraved, by comparison with the preferable conduct of an inferior.

Note return to page 42 †The Prince of Wales, without losing suitable dignity, should manifest uncommon ease of deportment and spirited pleasantry of expression: though he descends to actions inconsistent with honesty, and conversation far beneath his rank; yet there should be no taint of vulgarism in the disposition of figure, or mode of utterance. As to Falstaff, he describes himself so admirably, almost in every line, we need only say, that any figure which can be made particularly corpulent, with jovial features, spirited eyes, a full mellow voice, with judgment to conceive and mark the humour of this matchless character, must be in esteem with an audience.

Note return to page 43 *Though there does not appear much solid matter in this conversation between the Prince and his fat favourite, yet it seems to open their characters with such equivocal oddity, that it cannot fail to entertain.

Note return to page 44 *The Prince here alludes to the chance Falstaff runs, by dissipation, of getting into the hands of sheriffs officers, who then wore buff jerkins.

Note return to page 45 †A gib cat, is an old one.

Note return to page 46 *This part of Henry's speech is reprehensible, as containing a sentence too sacred to be sported with.

Note return to page 47 *This soliloquy contains admirable reflections, and opens the real sensibility of Henry pleasingly; shewing that a good heart, though it occasionally gives way to irregular passion, yet recurs at intervals to the proper paths of action.

Note return to page 48 *A smooth sensible flow of emphatic oratory is wanted, in this speech, wherein the thoughts are pregnant with fancy, and the reasoning strictly just; the following lines we think should be retained on the stage: &lblank; More wonder'd at, By breaking through the foul and ugly mists Of vapours that did seem to strangle him. If all the year were playing holidays, To sport would be as tedious as to work; But when they seldom come, they wish'd for come, And nothing pleases like rare accidents. So, when, &c.

Note return to page 49 †The very title of Hotspur, shews that Percy should manifest uncommon impetuosity; his person should mark the soldier strongly; his voice be able to reach any pitch, and so flexible as to answer the most rapid and disjointed transitions from one degree of passion to another: his address to the king is a noble free exculpation, worthy the mouth of a capital actor, and the attention of a judicious audience. It contains a most satirical and entertaining picture of the foppish messenger, who demanded his prisoners.

Note return to page 50 *Frontier—perhaps our author meant frontlet, a frown; which word he uses in King Lear: but the image is stronger as it stands at present.

Note return to page 51 †This line is peculiarly nervous and expressive.

Note return to page 52 *Popinjay, is a kind of parrot, and, being a chattering bird of variegated plumes, is here well applied to a beau.

Note return to page 53 *This debate, so far, is maintained with becoming dignity and spirit, on both sides. “Revolted Mortimer!” should not be roar'd by Hotspur, as some actors, indeed most we have heard, stentorize it; the words should be expressed with astonishment at such a charge.

Note return to page 54 *This is a very ungentleman-like reply of his Majesty.

Note return to page 55 *This circumstantial speech is much too long for a man of Hotspur's temper, so agitated; and rather hangs cold, as we have perceived, on the best actors; half of it given to another, would mend the matter.

Note return to page 56 *We conceive this speech to contain an excess of idea, even from the excess of passion arising from wounded pride.

Note return to page 57 *This is a very extravagant and unparalleled mode of resentment, and seems to savour more of womanish spite, than soldier-like satisfaction.

Note return to page 58 †These breaks in his narration are an admirable delineation of a rage-torn mind.

Note return to page 59 *We have no objection to this Act, but that unnatural union of the contrast sisters Tragedy and Comedy; however, they agree better in this piece, than in most others. The characters are well introduced, and the dialogue is manly.

Note return to page 60 *If any solid apology can be offered for the unnatural Tragi-comic mode of writing, the richness of humour in many scenes of this play, must stand for justification; but this of the Carriers is so exceedingly low, and we may add indecent, that it should be cast aside; nay, and might be, without any injury to the plot; indeed it is an injury to let it stand, being the lowest degree of farce.

Note return to page 61 †Botts are a kind of worms, troublesome to horses.

Note return to page 62 *A loach is a lake—this is oddly expressed, for no lake breeds fleas—it should stand, if it deserves a place at all, thus—breeds fleas as a loach does fish.

Note return to page 63 †A raze of ginger—is a bale—a race only a single slip.

Note return to page 64 *This speech of Falstaff's is extremely characteristic, and always creates laughter, on just principles.

Note return to page 65 *This long letter, and the scene with Lady Percy, have no manner of meaning, but to shew the hair brained soldier in a whimsical light; did not Sir John want some breathing-time, they might well be spared.

Note return to page 66 *The following lines well merit preservation, and we believe are only rejected by the stage, because Lady Percy is seldom personated by an actress fit to speak them: they present a fine picture of Hotspur. &lblank; Thou sit'st alone? Why hast thou lost the fresh blood in thy cheeks, And giv'n my treasures and my rights of thee, To thick-eyed musing and curs'd melancholy? In thy faint slumbers I by thee have watch'd, And heard thee murmur tales of iron wars; Speak terms of manage to thy bounding steed, Cry—Courage—to the field—and thou hast talk'd Of sallies and retreats; of trenches, tents, Of pallisadoes; frontiers, parapets; Of basilisks, of cannon, culverin: Of prisoners, ransom; and of soldiers slain, And all the current of a heady fight: Thy spirit within thee hath been so at war, And thus hath so bestirred thee in thy sleep, That beads of sweat have stood upon thy brow, Like bubbles in a late disturbed stream; And in thy face strange motions have appear'd, Such as we see when men restrain their breath, On some great sudden haste—oh! what portents, &c.

Note return to page 67 *This is as childish a lady, save her first speech, as we have met; she comes for the same purpose to Hotspur, that Portia, in Julius Cæsar, does to Brutus; but this scene is by far the most insignificant of the two; neither is it worth much, for stage action.

Note return to page 68 †Mammets—puppets.

Note return to page 69 *The propriety of a husband, in Hotspur's situation, not trusting a matter of such vast importance, with his wife, which her love might make her injure or destroy, is very obvious, and no breach of relative duty.

Note return to page 70 *This is a very strange incoherent rhapsody; yet neither uncharacteristic for a volatile young fellow, nor unpleasant to an audience; it is not easy to utter it with that disengaged negligence it requires.

Note return to page 71 †Master Francis, another farcical excrescence, has, as we think, little, or no business, in the piece, being totally calculated for the upper gallery, and even that in holiday time.

Note return to page 72 *This scene throughout, especially the latter part, is totally in the hum-bug stile; we are to seek no meaning, but puzzle.

Note return to page 73 *The prince apologizes prettily here for his own levity, by giving a pleasant and whimsical, but just picture, of his romantic rival.

Note return to page 74 †Ribi, drink.

Note return to page 75 ‡This scene, in the original, is vastly too long; therefore is curtailed of a mock trial the author introduced; which rather checked and loaded the main business.

Note return to page 76 *The confident boastful importance of Sir John, is an admirable prologue to the laughable dilemma he is presently after brought into.

Note return to page 77 *The succession of Falstaff's lies, the circumstantial confusion of his story, the braggadocio picture held forth, and the Prince's palpable detection of him, are extremely pleasant.

Note return to page 78 *During this speech of Henry's, Falstaff requires very forceable strength of look, to confess the detection which he endeavours to conceal.

Note return to page 79 *The turn Sir John gives to so disgraceful a discovery, is pregnant with sterling humour.

Note return to page 80 *Bombast is well applied to Falstaff; he being, like inflated language, of great sound and shew, with little meaning.

Note return to page 81 *Pistols were not used in Henry's time.

Note return to page 82 †The Prince's occasional allusions to Falstaff's cowardice, are vastly pleasant and pertinent.

Note return to page 83 *A scene of a mock-trial is left out here, which, though it has some merit, would be dreadfully tedious in representation, nor do we think much to be desired in the closet.

Note return to page 84 *Though the picking Falstaff's pocket may transiently appear a trifling circumstance, it happily lays the foundation of future humour; and reading the bill heightens his character.

Note return to page 85 *Shakespeare wrote, to begin his third act, a strange unmeaning, wild scene, of seven pages, between Hotspur, Glendower, &c. which is properly rejected.

Note return to page 86 †The King, in this scene, should maintain an earnest dignity of expression, and an authoritative concern of countenance. The monarch and father should be well united.

Note return to page 87 ‡As the author wrote the part of the King, in this conference with his son, no actor could find breath to speak, nor any audience patience to hear his prolixity; two speeches only produced one hundred lines: as they are at present reduced, they work a good effect, both in utterance and perusal; the dignity of character, paternal tenderness, and filial duty, are all extremely well supported.

Note return to page 88 *From Prince Henry we expect a modest sensibility of look, and suitable feeling of expression.

Note return to page 89 *This is a most reproachful, as well as inspirative address to a young prince, who has trifled with, or rather neglected, his dignity.

Note return to page 90 *Never was a better reply offered; here the prince, roused from the confusion of shame, speaks with becoming spirit, which pleasingly and properly surprizes both his father and the audience.

Note return to page 91 *No author but Shakespeare, on so narrow a theme as Bardolph's personal appearance, could have said any thing so luxuriant, so peculiarly pleasant.

Note return to page 92 *This quarrel between Falstaff and his hostess is well suggested, and laughably carried on; his invincible spirit of boasting and lying, brings him into a fresh and very whimsical dilemma, with the Prince, who plays upon him in this scene, with peculiar pleasantry.

Note return to page 93 *Imboss'd—means puff'd up.

Note return to page 94 *Both the tragic and the comic scene, which compose this act, have, in their different stiles, very great merit; the former, without playing upon any powerful passion, arrests our attention; the latter, with mere trifling neatly dish'd up, feeds risibility.

Note return to page 95 *How has he the leisure to be sick—this is a fine effusion of enthusiasm, which thinks no apology sufficient for any impediment to the progress of its favourite ideas.

Note return to page 96 *Vernon's description of the Prince of Wales and his warlike associates, is replete with beautiful poetical imagery, pleasingly and happily adapted. Hotspur's reply nervously expresses the gallant Chief panting for fame, and particularly eager to meet the most important competitors for glory.

Note return to page 97 *Gyves—fetters.

Note return to page 98 †This soliloquy of Falstaff's is not only pregnant with richness of humour, but contains many strokes of satire upon military officers, who for their own emolument are ready to sacrifice the good of that service it is their duty to support; the Fat Knight's description of his ragamuffins, is admirable caricature painting.

Note return to page 99 *This difference of opinion, especially among chiefs, who are all upon a footing, is very natural and well thrown in, here.

Note return to page 100 *This embassy by Sir Walter Blunt, is delivered in laconic terms of becoming dignity.

Note return to page 101 *This part of Hotspur's reply is rather tedious, especially for him to make; if Worcester, as we hinted, on a former passage, had half of it, the scene would be better, which might be effected by a few words.

Note return to page 102 *There is a short scene of the original well omitted here. The Tragic part of the fourth Act, has more spirit than that of the third; the Comic is very near upon a par: both together prove extremely entertaining, and edge expectation for what is to come.

Note return to page 103 *Chewet, chatterer, from resembling a magpie.

Note return to page 104 †The idea of the cuckow's devouring the sparrow, who has fed it, we think wrong—the cuckow in our view, is not a bird of prey.

Note return to page 105 *There is a great share of good sense and pith of argument, in this justification of rebellion.

Note return to page 106 †It is common for the King to be here seated on a drum, to rise at this line, when Falstaff, who is strangely placed behind him, tumbles down, to create a very ill-timed Bartholomew-fair laugh. Can any one suppose the Fat Knight would venture so near the King, who knew him to be the chief companion of his son's dissipation? So contemptible a stage trick should be suppressed.

Note return to page 107 *This whimsical investigation of honour is characteristic, subtle and pleasant, and though it cannot be applied to those who take the field of war on just terms, it may very properly be recommended to the serious notice of Quixote Duellists.

Note return to page 108 *Cital, stands here for censure.

Note return to page 109 †There is a most agreeable delicacy in Vernon's representation of the prince of Wales's challenge.

Note return to page 110 *This short speech is nervously in character.

Note return to page 111 *Though Henry's gallant behaviour must give pleasure, yet we think every generous mind must feel for Percy's fall; as, though a rebel, he seems to act upon just principles, and very aggravated provocation. It is a very nice, and almost unparalleled point, to bring two characters in mortal conflict on the stage, where, as in the present case, we must rejoice at the success of one, and grieve for the fate of the other.

Note return to page 112 †This genteel elogium over the corpse of a brave and generous foe, does the Prince great credit; it speaks the soldier, the hero, and the man: the turn to his old fat friend, is admirably conceived, and his expressions of him possess a just degree of affectionate tenderness.

Note return to page 113 *The supposed dead man's rising is a most risible incident, and his soliloquy keeps pace with it; however, we conceive the son of sack's rolling and tumbling about the stage, to get Hotspur on his back, is too much in the stile of pantomime mummery; it may, and certainly does, create laughter, for the time; but such ludicrous attacks upon reason are beneath Shakespeare and the stage.

Note return to page 114 *Falstaff's claiming the merit of killing Percy is a bold joke of whim, and finishes his character highly.

Note return to page 115 *The last act has great spirit, from a regular succession of events, which lead to a satisfactory conclusion; different passions are called, yet so artfully, that one does not confound the other— the play, as it now stands, is free from superfluities, and possesses much strength of character and sentiment; yet we are sorry to say, that the want of ladies, and matter to interest female auditors, lies so heavy on it, that through an excellent Falstaff only, can it enjoy occasional life.

Note return to page 116 *There are three scenes previous to this, in the original, not retained in the Theatres; and we readily concur in the omission of them, especially as the only one worth notice, that between Morton and Northumberland, wherein the former acquaints the latter of his Son Percy's fall, has been plundered of its most striking beauties, to enrich the part of Henry the Sixth, in Cibber's alteration of Richard the Third.

Note return to page 117 †There is such a sameness and prolixity of quibble, in this speech, that we would recommend an omission of the Italic lines, in representation; the Fat Knight's commencement of this scene, is rather indelicate.

Note return to page 118 *Mandrake, is a root much resembling the human shape. Falstaff pleasantly applies it to the boy's diminutive size.

Note return to page 119 †It is to be greatly lamented, that Shakespeare gave so much into frivolous changes upon words: it is rather peculiar, but at this time obsolete and tasteless.

Note return to page 120 *By being spoken to an attendant on the Justice, hunt-counter, seems to be a cant term for a tipstaff, or other officer of arrests.

Note return to page 121 †This first interview of the Lord Chief Justice and Falstaff, is, on the side of the latter, exceedingly forward, as Falstaff must have heard that the same magistrate had confined the Prince of Wales for insolence.

Note return to page 122 *This is a strange and unamusing equivocation of, or rather insult to, the Chief Justice's authority.

Note return to page 123 †Falstaff's evasions of the Chief Justice's advice and reproof, are pleasant; but we think he is rather obscure, and his would-be witticisms too much wire drawn: the Chief Justice should be represented by a performer of very respectable appearance and utterance, suited to the importance of his station.

Note return to page 124 *This idea is unnecessarily fulsome, as indeed many of Falstaff's are, in this piece.

Note return to page 125 †Va-ward signifies vanguard, and is here applied as the forward part of youth.

Note return to page 126 *It is somewhat extraordinary the King, who hated and despised Falstaff as a loose debaucher of his eldest son's morals, should countenance him in any military command further.

Note return to page 127 Three-man-beetle, i. e. a rammer big enough to require three men to lift it.

Note return to page 128 *The Archbishop of York should be venerable in figure, and graceful in elocution.

Note return to page 129 *The debate among the Chiefs is tedious and inconclusive. [illeg.]ll this emphatic speech.

Note return to page 130 †This speech of York gives a strong idea of popular fickleness; but we think some of the sentiments rather coarse, than elegant.

Note return to page 131 *The Hostess's insinuations are infamously licentious; her loquacity is worthy praise, her gross ideas unpardonable.

Note return to page 132 †Vice, or grasp, a metaphor taken from a smith's vice.

Note return to page 133 ‡A slip slop.

Note return to page 134 &verbar2;Malmsey nose, from his nose being reddened with deep draughts of that wine.

Note return to page 135 *Honey-suckle and Honey-seed villain, are strain'd blunders for homicidal and homicide.

Note return to page 136 †Rampallian, means a low reptile; fustilarian, a fusty, ill-scented fellow.

Note return to page 137 *It is impossible to write any thing more characteristically, for an ignorant, froward, talkative woman, than this jumbled piece of ridiculous circumlocution.

Note return to page 138 *We cannot be any way lavish in praise of the first act; in reading, it cannot please much; and in action, it totally depends on the actor's merit in Falstaff.

Note return to page 139 *This second Act begins better here, than with the preceding scene; in the original, the Hostess, &c. begin it. But that there is so much of this play necessarily reduced, we think the conference between Prince Henry, Poins, &c. might very well be spared; as containing little matter of use or entertainment: the requisites for Henry, should be much the same as in the first part.

Note return to page 140 *That is, your autumnal, or rather wintry master.

Note return to page 141 †By this word he stiles Falstaff a swoln excrescence.

Note return to page 142 *This letter is penned with very characteristic whimsical ability.

Note return to page 143 †This is unpardonably gross again.

Note return to page 144 *There is a scene of the original omitted here; but as some lines occur in Lady Percy's speech, respecting her husband, which must please in perusal, we offer them to the reader: There were two honours lost, yours and your son's; For yours, may heavenly glory brighten it! For his, it struck upon him like the sun, In the grey vault of heav'n; and by his light Did all the chivalry of England move, To do brave acts: he was indeed the glass, Wherein the noble youth did dress themselves. He had no legs that practis'd not his gait, And speaking thick, which nature made his fault, Became the accents of the valiant: For those who could speak low, and tardily, Would turn their own perfection to abuse, To seem like him; so that, in speech, in gait, In diet, in affections of delight; In military rules, humours of blood; He was the mark and glass; copy and book, That fashion'd others: and him, wond'rous him! O miracle of men! him did you leave To look upon the hideous god of war, In disadvantage: to abide a field, Where nothing but the sound of Hotspur's name, Did seem defensible &lblank;

Note return to page 145 *The ideas arising from what these two ladies utter, are gross; they should be softened, a little.

Note return to page 146 *This is another very characteristic speech for the Hostess; pleasantly and circumstantially ludicrous.

Note return to page 147 *The character of Pistol is violently outré, and though it might be intelligibly satirical, when written, yet at present it is triflingly obscure, and depends more upon oddity of figure, and extravagance of deportment, than what he says: to confess the truth, we cannot much relish the humour of this scene, till the Prince and Poins enter; and even then Falstaff's detection seems languid, compared to his laughable dilemma's in the first part.

Note return to page 148 *Pistol is one unvarying piece of inconsistent rhodomontade— wildly conceived, and full as wildly expressed.

Note return to page 149 †Neif in Yorkshire, to this day, means hand—so the meaning is directly familiar.

Note return to page 150 *Common hacks.

Note return to page 151 †Falstaff, without any real spirit triumphing over the squib Pistol, is natural and pleasant.

Note return to page 152 *Nave of a wheel alludes to his rotund shape; it is matter of surprize, that one head could find so many ludicrous titles for Falstaff, as Shakespeare has furnished.

Note return to page 153 †Very fulsome and low all this part of the scene; so very much beneath Shakespeare, we wonder he could stoop to it.

Note return to page 154 *As equivocation is Falstaff's leading characteristic, this speech has, in that light, great merit.

Note return to page 155 *What we have said of the first, may amply suffice for the second act.

Note return to page 156 *There is a scene of the original, between King Henry and some of his Peers, which begins the third act, omitted, and we think properly, in representation; the King's excellent soliloquy is well transposed to the beginning of the fourth act.

Note return to page 157 †Shallow is a very odd, but pleasing, and just portrait of a brainless magistrate; of which character, we fear, there are too many in commission.

Note return to page 158 ‡The rood means the cross; therefore profane, and highly improper.

Note return to page 159 *Hit the white mark at two hundred and forty yards.

Note return to page 160 †There is an exceeding humourous digression of variation in this short scene, if the performers are capable.

Note return to page 161 *This distinction of words, and playing upon them, is exceedingly suitable to Bardolph, and well introduced here.

Note return to page 162 *This scene of the recruits is much too farcical; the jests quaint, low, and laboured; many words; little meaning; and, upon the whole, exceedingly tedious.

Note return to page 163 *This examination of the recruits, though rather antiquated, is very applicable to the present time, and, with slight alteration, may be strictly appropriated.

Note return to page 164 *Falstaff's description of the Justice, in this speech, is exceedingly whimsical and pleasant; save where he compares him indelicately to a monkey.

Note return to page 165 *This Vice's dagger means the dagger of a buffoon; our author took this idea from a low clown in ancient drolls, named Vice.

Note return to page 166 †This conference is supported with dignity, decorum, spirit, and good argument, on both sides; both is so very long in the original, that near three pages have been properly rejected.

Note return to page 167 *These lines merit perusal: Whose beard the silver hand of peace hath touch'd, Whose learning and good letters peace hath tutor'd, Whose white investments figure innocence, The dove and very blessed spirit of peace.

Note return to page 168 †Has not this just point of complaint happened in other reigns, besides that of the fourth Henry?

Note return to page 169 *This is a beautiful and comprehensive panegyric on peace; though, we think, the rebels here enter into it rather simply.

Note return to page 170 *This is a most base stroke of faithless policy, and sets Lancaster's character in a detestable point of view.

Note return to page 171 *It is very strange that the man who can speak with such spirit to a Prince, should have so tamely and unnecessarily submitted to Falstaff, who, as it appears, did not know him.

Note return to page 172 *This over-long dissertation upon the powerful effects of sack, has merit, but is too circumstantial; the third is considerably more alive, than either the first or second Act.

Note return to page 173 †Nothing can more forcibly express the weak, and insufficient effects of sublunary greatness, which, in particular cases, cannot procure even royalty the commonest, and most essential, refreshment of nature; the whole of this soliloquy, is remarkably beautiful, and is better placed here, than at the beginning of the third Act.

Note return to page 174 *King Henry, should have a venerable, but enervated monarchical dignity, his expression ought to have a mellifluent flow of emphatic sensibility; Shakespeare seems to have taken, and successfully, more pains with him, than with all the rest of the play.

Note return to page 175 *This speech contains an elegant, expressive, and impartial picture, of Prince Henry's amiable and noble disposition.

Note return to page 176 *The King's prognosticative concern for his son's failings, is well conceived; and shews him in the light, not only of a tender, sensible parent, but that of a patriotic monarch also, fearing for his country.

Note return to page 177 †A sensible comprehensive remark, this; for as the bee will stay by its honey, even in carrison, so will depraved youth pursue its pleasures in the meanest places.

Note return to page 178 *This is a most beautiful reflection, dressed in a pleasing, poetical garb.

Note return to page 179 *Making Henry, on supposition of the King's death, seize the Crown, though it may seem a trespass on filial concern, is a well imagined incident; as it lays the foundation for a masterly scene.

Note return to page 180 *This is an admirable, well-applied simile.

Note return to page 181 *This is a speech of masterly, argumentative, pathetic, reproof; and the Prince's reply glows amply with that greatness of spirit, which he so gloriously afterwards manifested, when a Monarch; and is a very modest, sensible, dutiful exculpation.

Note return to page 182 *The picture that Henry draws of a country unfortunate enough to have a dissipated King, is a fine, salutary, and satirical mirror, held up to the Prince, his son.

Note return to page 183 *There is so much sterling merit in this act, it throws the others into disgrace.

Note return to page 184 *This scene, as well as all the comic part of the last act, is very insignificant; there is much irregularity through the whole, and several passages are transposed, to render it somewhat more uniform.

Note return to page 185 *A most extraordinary simile, this; it implies a face much wrinkled with laughter.

Note return to page 186 *This speech of the Chief Justice is replete with good sense, and a becoming spirit of independence; nor is Henry's answer less becoming his new acquired dignity: every good subject must wish that whoever holds the British Sceptre, may entertain similar sentiments, towards their ministers and magistrates.

Note return to page 187 *A truly majestic rebuff to the licentious companion of his dissipated hours; mingled with a humane attention for one whom, though he can no longer sport with, he may justly pity.

Note return to page 188 *This, like most of Shakespeare's, is a frivolous, jingling conclusion.

Note return to page 189 *This dramatic Olio, for such Henry the Fourth's second part is, contains some very insipid ingredients, with several richly seasoned for critical taste. The author has been complimented for his support of Falstaff's character; but though it may be a better second part, than any other author could have drawn, yet we are told to pronounce all the comedy of this piece, out of comparison, inferior to that of the first part: more low, much more indecent, consequently less deserving of approbation; several passages in the tragic scenes, are inimitably fine; but, on the whole, we cannot think it either a good acting, or reading composition; however, it is much better for both, in this edition, than as it was originally written. There are several judicious transpositions in the last act, which, however, is still laboured and heavy.

Note return to page 190 *This prologue has so much poetic merit, is so far above the despicable jingle of our days, and introduces the piece so happily, that it should always be spoken; it is a noble addition to the chorus.

Note return to page 191 *These bishops require nothing but the appearance of dignified churchmen, and decent solemnity of declamation.

Note return to page 192 *This means that as Paradise, after the expulsion of Adam, became the residence of angels, so Henry's mind, when freed from vicious society, became possessed of purer ideas. The allusion is very fine.

Note return to page 193 †Stiling the air a charter'd libertine, is incomparably fine.

Note return to page 194 ‡The panegyrics upon Henry open his reformed character very favourably; but the Archbishop is rather minutely prolix.

Note return to page 195 *King Henry demands, in representation, more weight of figure, features, and force of utterance, than when prince of Wales; yet his ease, though not touched so much with levity, should be nearly the same: as to his uncles, and peers, in general, if they keep pace with the bishops, they may answer author's intent.

Note return to page 196 ‡Miscreate, spurious.

Note return to page 197 †It is very common for kings to wish, and make, if they can, a plausible pretext for entering upon violent measures: Heaven is appealed to by both sides, at the beginning of a war, and also at the conclusion of a peace, which perhaps neither means to keep.

Note return to page 198 *Canterbury's explanation of Henry's right, is rather historical, than dramatic, and monstrously tedious, in the original; but being clipped of above thirty unnecessary, intricate lines, is now presented to the public ear and eye in a tolerable form: from it, we may deduce one certain piece of political information; that obsequious, interested statesmen, will be minutely laborious, to justify the actions, and fulfil the wishes, of their monarch.

Note return to page 199 *Well done, bishop, and christian! plead for war, to please a young spirited prince, though the first principle of his station is to preach peace, and promote it. Shakespeare seemed to know bishops very well.

Note return to page 200 *The following lines are well worthy of perusal, though they would hand heavy on stage utterance, Therefore, Heaven doth divide The state of man in divers functions, Setting endeavour in continual motion: To which is fixed, as an aim or butt, Obedience; for so work the honey bees; Creatures, that by a rule in nature teach The art of order to a peopled kingdom. They have a king, and officers of forts, Where some, like magistrates, correct at home; Others, like merchants, venture trade abroad: Others, like soldiers, armed in their stings, Make boot upon the summer's velvet buds: Which pillage they, with merry march, bring home To the tent-royal of their emperor; Who busied in his majesty, surveys The singing mason building roofs of gold, The civil citizens kneading up the honey, The poor mechanick porters, crowding in Their heavy burdens, at his narrow gate; The sad-ey'd justice, with his surly hum, Delivering o'er to executors pale, The lazy yawning drone. I this infer, That many things having full reference To one consent, may work contrariously; As many arrows loosed several ways, Come to one mark: as many ways meet in one town, As many fresh streams meet in one salt sea; As many lines close in the dial's center; So may a thousand actions once a foot, End in one purpose, and be all well borne, Without defeat.

Note return to page 201 *This short reply of Henry, expressing contempt of despotism, and its followers, adulatory circumlocution, shews true dignity of mind sustained with well-tempered resolution; and his cool, determined answer to the French ambassador's provocative message, enlarges our favourable idea of the English monarch's heart and head.

Note return to page 202 *Chace, is a term used in tennis-playing, there well brought in upon the Dauphin's sneer.

Note return to page 203 †There is becoming spirit in this speech; but it rather runs into the vaunting strain, which good sense and resolution, always carefully avoid.

Note return to page 204 ‡This scene introduces, and to us disagreeably, the low, farcical, word-catching, unintelligible crew again; would Shakespeare had never suggested such raggamuffins.

Note return to page 205 *We know not well what general opinion to give of this Act, more than that the serious part has some spirit, and considerable dignity, while the Bartholomew-fair stuff, which comes after, falls beneath notice.

Note return to page 206 †The chorus hereunto subjoined, is frequently, and most blameably, omitted in the representation; if an actor can be found to speak it properly, it is rich in thought, very poetical, and, though inconsistent with the English drama, yet seems necessary to soften the gross irregularities of plot, which frequently occur in this piece. Enter Chorus. Now all the youth of England are on fire, And silken dalliance in the wardrobe lies: Now thrive the armourers, and honour's thought Reigns solely in the breast of every man. They sell the pasture now, to buy the horse, Following the mirrour of all christian kings, With winged heels, as English Mercuries. For now sits expectation in the air, And hides a sword from hilts unto the point, With crowns imperial, crowns and coronets, Promis'd to Harry and his followers. The French, advis'd by good intelligence, Of this most dreadful preparation, Shake in their fear, and with pale policy Seek to divert the English purposes. O England! model to thy inward greatness, Like little body with a mighty heart; What might'st thou do, that honour would thee do, Were all thy children kind and natural! But see, thy fault, France hath in thee found out, A nest of hollow bosoms, which he fills With treacherous crowns; and three corrupted men, One Richard Earl of Cambridge, and the second, Henry Lord Scroop of Masham, and the third, Sir Thomas Grey, Knight of Northumberland, Have for the guilt of France (O guilt indeed) Confirm'd conspiracy with fearful France; And by their hands this grace of kings must die, If hell and treason hold their promises, Ere he take ship for France. Then in Southampton Linger your patience on, and well digest Th' abuse of distance, while we force a play. The sum is paid, the traitors are agreed, The king is set from London, and the scene Is now transported, gentles, to Southampton: There is the play-house now, there must you sit, And thence to France shall we convey you safe, And bring you back: charming the narrow seas, To give you gentle pass; for if we may, We'll not offend one stomach with our play. But till the king come forth, and not till then, Unto Southampton do we shift our scene. [Exit.

Note return to page 207 *These lines should be retained. K. Henry. We therefore have great cause of thankfu'ness, And shall forget the office of our hand, Sooner than quittance of desert and merit, According to the weight and worthiness. Scroop. So service shall with steeled sinews toil, And labour shall refresh itself with hope, To do your grace incessant services.

Note return to page 208 †Making Scroop, who himself stands in need of mercy, so nice to afford it, has a good effect.

Note return to page 209 *The method which Henry uses for convicting the noble conspirators, and sentencing them, from the strict letter of their own rigid opinions, becomes a wise and politic prince; but his speech upon the occasion, as written by Shakespeare, could never bear recital, it is here properly reduced from sixty-five lines to twenty-seven.

Note return to page 210 *Though we approve shortening Henry's speech, for the stage, yet what follows must well become the closet. Oh, how hast thou with jealousy infected The sweetness of affiance! Shew men dutiful? Why so didst thou: or seem they grave and learned? Why so didst thou: come they of noble family? Why so didst thou: seem they religious? Why so didst thou: or are they spare in diet; Free from gross passion or of mirth or anger; Constant in spirit, nor swerving with the blood, Garnish'd and deck'd in modest compliment, Not working with the eye without the ear, And but in purged judgment trusting neither? Such, and so finely boulted, didst thou seem.

Note return to page 211 *The Hostess's account of Falstaff's death, does its author great credit, being simply pathetic, and naturally circumstantial; it causes every feeling mind to breathe a sigh for the facetious old knight, who had so often caused laughter; the rest of this scene is pitifully poor.

Note return to page 212 †Shogg, here, implies to go.

Note return to page 213 *If the French King and his suite are figur'd well, and showily habited, very slender requisites may pass through them.

Note return to page 214 *The picture of Edward the Third viewing his son's astonishing victory, is well worthy of the magnanimous subject.

Note return to page 215 †Predestination is here, as in other places, blameably inculcated.

Note return to page 216 ‡This maxim, is well enough for an individual, but not so consistent with relative connexions: for selfishness hurts community rather more than indolence; the former, preys on many; the latter, seldom injures more than a family.

Note return to page 217 *The whole of Exeter's ambassy, particularly this speech, shows an undaunted magnanimity of spirit, and rightly speaks his heroick master. The part, which is addressed to the Dauphin, contains a fine, nervous, well applied rebuke for that prince's sarcastical, unbecoming message to Henry.

Note return to page 218 *This Act, save the first scene, is very languid.

Note return to page 219 *What critical ear, but must lament! when what follows, is not spoken! What critical understanding, but must censure us, though omitted in the text, had we not preserved it here? Enter Chorus. Thus with imagin'd wing our swift scene flies, In motion of no less celerity, Than that of thought. Suppose that you have seen, The well appointed king at Dover pier, Embark his royalty; and his brave fleet, With silken streamers, the young Phœbus fanning; Play with your fancies. And in them behold, Upon the hempen tackle, ship-boys climbing, Hear the shrill whistle, which doth order give To sounds confus'd: Behold the threaden sails, Born with th' invisible and creeping wind, Draw the huge bottoms thro' the furrow'd sea, Breasting the lofty surge. O, do but think You stand upon the rivage,§ [Subnote: §The bank, or border.] and behold A city on the inconstant billows dancing; For so appears this fleet majestical, Holding due course to Harfleur. Follow, follow; Grapple your minds to sternage of this navy, And leave your England, as dead midnight, still, Guarded with grandsires, babies, and old women; Or past, or not arriv'd to pith or puissance. For who is he, whose chin is but enrich'd With one appearing hair, that will not follow These cull'd and choice drawn cavaliers to France? Work, work your thoughts, and therein see a siege. Behold the ordnance on their carriages, With fatal mouths, gaping on girded Harfleur. Suppose th' ambassador from France comes back, Tells Harry, that the king doth offer him Katharine, his daughter, and with her, to dowry Some petty and unprofitable dukedoms. The offer likes not; and the nimble gunner, With linstock now the devilish cannon touches. [Alarm, and Cannon go off. And down goes all before him. Still be kind, And eke out our performance with your mind. [Exit.

Note return to page 220 *Cibber purloined this passage, and gave it to Richmond, in his Richard the Third.

Note return to page 221 †This is a very fine, and obvious idea for an army, ready, and impatient to attack.

Note return to page 222 *Any comedian, who possesses a voluble quaintness of expression, and utters the Welch dialect with propriety, may do Fluellen, whom we deem, a well drawn character. Justice to the [illeg.]man, and the Irishman, are very faintly delineated. The frequent oaths of these military gentlemen, should be suppressed; they may be characteristic, yet are censurable.

Note return to page 223 *The Irish, and Scotch captains, are exceeding meagre characters; very faintly drawn, and poor cyphers, when best represented; scarce any traces of nationality, in dialogue or dialect, is preserved.

Note return to page 224 *This scene is not only insignificant, but prophane.

Note return to page 225 *After this scene, we meet in the original, to wound our patience, a French one, of the most trifling, childish nature; disgraceful to the author, and the piece.

Note return to page 226 †Nook shotten; because Britain shoots out into headlands, and promontories.

Note return to page 227 ‡This vain-glorious preference given to their own country, by the French, and their ridiculous contempt of the English, show that Shakespeare knew them well.

Note return to page 228 *We cannot praise this scene much, for matter of entertainment.

Note return to page 229 *Pix, is a small chest, in which Roman Catholics keep the host.

Note return to page 230 †Slanders, for scandals of the age. Such pop-gun bullies, as Pistol, may well be deemed a scandal to any age or clime.

Note return to page 231 *A glorious maxim for kingly power to cultivate.

Note return to page 232 *This short scene among the French chiefs, displays admirably the irrational confidence among volatile spirits and shallow heads.

Note return to page 233 †The Third Act has a great deal of bustle in it, but little to strike, either in public or private.

Note return to page 234 ‡Though Cibber has purloined several lines of this chorus, for his alteration of Richard, it would be unpardonable not to present the reader with so rich and masterly a picturesque view. Enter Chorus. Now entertain conjecture of a time, When creeping murmur and the poring dark Fill the wide vessel of the universe. From camp to camp, through the foul womb of night, The hum of either army stilly sounds, That the fixt centinels almost receive The secret whispers of each other's watch. Fire answers fire, and through their paly flames Each battle sees the other's umber'd face. Steed threatens steed, in high and boastful neighs, Piercing the night's dull ear; and from the tents The armourers accomplishing the knights, With busy hammers closing rivers up, Give dreadful note of preparation. The country cocks do crow, the clocks do toll; And (the third hour of drowsy morning nam'd) Proud of their numbers, and secure in soul, The confident and over-lusty French Do the low-rated English play at dice; And chide the cripple tardy-gated night, Who, like a foul and ugly witch doth limp, So tediously. The poor condemned English, Like sacrifices, by their watchful fires, Sit patiently, and inly ruminate The morning's danger: and their gesture sad, Invest in lank-lean cheeks, and war-worn coat, Presented them unto the gazing moon, So many horrid ghosts. Who now beholds The royal captain of this ruin'd band, Walking from watch to watch, from tent to tent, Let him cry, praise and glory on his head! For forth he goes, and visits all his host; Bids them good morrow, with a modest smile, And calls them brothers, friends and countrymen. Upon his royal face there is no note How dread an army hath enrounded him; Nor doth he dedicate one jot of colour Unto the weary and all-watched night; But freshly looks and over-bears attaint, With chearful semblance and sweet majesty; That ev'ry wretch, pining and pale before, Beholding him, plucks comfort from his looks. A largess universal, like the sun, His lib'ral eye doth give to every one; Thawing cold fear; then mean and gentle, all Behold, (as may unworthiness define) A little touch of Harry in the night. And so our scene must to the battle fly: Where, O for pity! we shall much disgrace, With four or five most vile and ragged foils, (Right ill dispos'd in brawl ridiculous) The name of Agincourt. Yet sit and see, Minding true things, by what their mockeries be. [Exit.

Note return to page 235 *This is an unessential scene, particularly disgraceful to King Henry, in his present situation; but very natural for him to meet with, in his disguise.

Note return to page 236 *The composed conversation of Henry with his soldiers, while in so perilous a situation, speaks the coolest and most praise-worthy resolution: his defence of the kingly character, compelled to war, is rational, plain, and nervous.

Note return to page 237 †This soliloquy contains instructive, pathetic reflections, on the painful, partial, perilous situation of sublunary state, especially the regal part of it; the contrast of rural security, and in comparison, superior felicity thereof, is happily conceived, and pleasingly expressed.

Note return to page 238 *The remainder of this speech cannot be too much admired, for good sense and poetical imagery. Lee, in his Theodosius, has pilfered great part of this very beautiful passage.

Note return to page 239 †Shakespeare never missed an opportunity of showing the slender value of sublunary greatness; and upon every occasion has done it with abundant fancy.

Note return to page 240 *Shakespeare, very blamably, has introduced the Creator's name, at least fifty times in this play; but that point is softened on the stage. It has been determined, in a court of justice, that the Creator's name may be mentioned on the stage, with reverence.

Note return to page 241 †This wretched picture of the English army, is finely introduced, to enhance the glory of their future victory.

Note return to page 242 *This passage also, is transplanted to Cibber's Richard III. as is that of the crows, a few lines before.

Note return to page 243 †Henry displays, in this speech, great fortitude, but the author spun it out, too much: there are twenty lines very well spared, and even now, it is rather too long. This is an undaunted, becoming reply, but in the original prolix; therefore, properly pruned of fifteen lines.

Note return to page 244 *This throughout, is a despicable, unnecessary scene, serving no purpose but to destroy the dignity of expectation; yet we retain it, being usually performed.

Note return to page 245 †Playing thus upon the word Dieu, though characteristic for Pistol, is intolerably licentious; though it is worth observing, that as Pistol does not understand a word of French, he only catches the sound of the word oftenest used by the soldier, without knowing what it means, therefore does not intend to be licentious.

Note return to page 246 *Exeter's description of a gallant warrior's mourning over and dying by the corse of a deceased friend, is extremely beautiful,, and interesting.

Note return to page 247 †This order has a strange tint of cruelty; but Gower apologizes, by insinuating, that the baggage had been plundered, and the boys killed.

Note return to page 248 *This laughable nationality and pride, in Fluellen, is much in character, therefore pleasing, as well as proper.

Note return to page 249 *Henry seems too fond of cutting, he has mentioned it once, before, and that was once too much.

Note return to page 250 *It is exceedingly characteristic to make Fluellen fond of proving the king a Welchman.

Note return to page 251 *Williams makes a good defence: it puts us in mind of a similar one, made by a Jack-tar at Plymouth, in the late war, who, having jostled and overset an admiral he did not know, and being told of it, he replied, If his honour had carried his flag in his hat, I should have steer'd clear.

Note return to page 252 †The king's exchange of his glove with a common soldier, seems, from the first, to have a commendable design; he foments a quarrel between Williams and the cholerick Welchman, pleasantly; prevents any mischief humanely, and rewards the soldier's blunt resolution generously. Majesty never shows itself with more dignity, than by affable and prudent condescension.

Note return to page 253 †One of the most glorious events in British history, the battle of Agincourt, is contained in this Act; many fine things are said previous to, and after the action; but some disgraceful stuff has here and there crept in.

Note return to page 254 ‡Our author begins the Fifth Act with a chorus, which tho' perhaps necessary to palliate a monstrous breach of dramatic unity, being little more than mere narration, does not merit, as we apprehend, a place in this Edition.

Note return to page 255 *The encounter of Fluellen and Pistol, if their characters want any higher colouring, affords it them; but is merely farcical, not worth hearing, much less perusal.

Note return to page 256 *It is amazing Shakespeare should have run so much, and so often, into prolixity: Burgundy loses thirty lines of his original speech, yet says here quite enough.

Note return to page 257 *The Turks were not in possession of Constantinople for many years after Henry's death, but our author did not mind anachronisms, now and then.

Note return to page 258 *The last Act of this play, labours under the terrible misfortune of having less merit, than any of the rest.

Note return to page 259 *After surmising that, in our idea, the author has given this piece too extensive a title, by calling it the Life of Henry the Eighth; we must applaud him for exercising his masterly talents upon so many important æras of the English history; they are not only nobly entertaining, but politically instructive; as it would be impossible to maintain strict unity in such dramas, we shall take no notice of the violent breaches which frequently occur in this, and other pieces of the kind.

Note return to page 260 †Buckingham should be a graceful figure, elegantly deported; with a full, distinct, declamatory voice. This first scene is merely to acquaint us with the prodigal pride of Wolsey, and the duke's antipathy to him; it is considerably reduced, in acting, and justly; for what answers the above purpose is sufficient, all the rest tedious and superfluous.

Note return to page 261 *This scene is very much, and very properly curtailed from the original; as Shakespeare pen'd it, it must be terribly tedious on the stage, and not amusing in the closet.

Note return to page 262 †The cardinal should be important in appearance, supercilious in countenance, possessed of full, florid declamation, master of oratorical variations, and sententiously emphatic.

Note return to page 263 *He bores me with some trick, means, he stabs me with some malignant trick.

Note return to page 264 ‡The sap of reason seems strained: reason certainly vegetates, but not in an embodied state.

Note return to page 265 *Warburton makes this an obscure passage; we think it exceeding clear—Buckingham, foreseeing the king's arbitrary design to destroy him, calls himself emphatically a shadow, made by the cloud of adversity.

Note return to page 266 †King Henry requires corpulent importance of person, strong, stern features, with a sonorous, powerful voice.

Note return to page 267 ‡The best heart of it, means, the purest part; this we should not have offered to common understanding, but that commentators have puzzled about it.

Note return to page 268 *The queen should be amiably majestic, in appearance and deportment; rather gracefully than beautifully featured, with clear, mellow utterance.

Note return to page 269 *There is a beautiful degree of modest, generous sensibility, affording a good scope for graceful elocution, in all the queen's speeches.

Note return to page 270 ‡This conveys an exceeding high picturesque idea of popular tumult, urged by necessity.

Note return to page 271 *Katharine's taking the people's part, against the oppression of an over-grown favourite, renders her worthy of warm regard.

Note return to page 272 †This is the true language of political evasion, and has been, we believe, made use of, by every censurable minister, in every age.

Note return to page 273 *A fine stroke, from a deep, designing politician.

Note return to page 274 *An excellent piece of advice, strongly intimating how dangerous it is to trust an interested informer.

Note return to page 275 *There may be, and we believe there are many comical peers, but we think, lord Sands might very well be spared; we like not the ludicrous, in tragedy.

Note return to page 276 *Bevy, implies a flock, or flight of quails, as covey does that of partridges, and is well applied here, quails being amorous pleasurable birds.

Note return to page 277 †The old whimsical peer's pleasantry is rather indelicate, but may do for Harry's reign, when virtue had almost as few friends as poverty.

Note return to page 278 *By judging unhappily, he means judging archly of the cardinal's having such a meeting.

Note return to page 279 *This Act, is very little more than a dialogue introduction to those which follow; yet, by means of show, and various circumstances, it must not be deemed, heavy; though the heart cannot feel much, the eye is considerably indulged; for acting merit, it affords very little scope, except as to Henry, who is pretty much the same, throughout.

Note return to page 280 *The second Act, begins much more properly here, than with the two gentlemen Shakespeare has introduced, to speak of Buckingham's trial, and conviction.

Note return to page 281 †This speech, displays noble resolution, and pathetic resignation: very fine feelings are required, to do it justice.

Note return to page 282 *The compliment here seems strained; first praying for a tyrannical king, who cuts him off, and next, forming an idea that goodness could be intomb'd with tyranny.

Note return to page 283 *Buckingham, in this scene, if a proper degree of manly, dignified pathos is supported, must gain the actor credit, and give the audience pleasure.

Note return to page 284 *The peremptory spirit of Henry, is here opened in a very natural, emphatic, characteristic manner.

Note return to page 285 ‡This scene gives a melancholy, but just picture of that servile knavery, too often found in ambitious, dignified churchmen

Note return to page 286 *This seeming friendship for the queen, is admirably thrown in, as it adds a deep tint of hypocrisy to the cardinal.

Note return to page 287 †There are amazing fine strokes of hypocritical plausibility, between Henry and the two holy tools of his base purposes.

Note return to page 288 ‡Kept him a foreign man—That is, kept him from the sunshine of Court favour.

Note return to page 289 *Knowing his brother cardinal to be little better than himself, Wolsey here opens, pretty clearly, the ideas of a proud, ambitious churchman, ready to do any dirty work, for favour and advantage.

Note return to page 290 †Elegance of figure is all Anne Bullen wants; this scene is considerably curtailed, and is indeed so trifling, that the intire omission of it, would rather mend, than hurt the play: some indecencies are commendably struck out.

Note return to page 291 *This is as interesting, as argumentative, and dutiful an address, as could be imagined; it calls for the true pathos of declamation, to do it justice: we think a line or two thrown in, to break its length, would improve it.

Note return to page 292 †Tho' the speech is certainly rather long for utterance, these lines well deserve perusal. Ever in fear to kindle your dislike, Yea, subject to your count'nance; glad or sorry, As I saw it inclin'd; when was the hour I ever contradicted your desire? Or made it not mine too? Which of your friends Have I not strove to love, although I knew He were mine enemy? What friend of mine, That had to him deriv'd your anger, did I Continue in my liking? nay, gave not notice He was from thence discharg'd.

Note return to page 293 *Catherine's humility to the king, and resentment to Wolsey, are well contrasted.

Note return to page 294 *This turn is beautifully natural; after so long sustaining her situation with firm dignity, such a sudden swell of female weakness, is finely imagined.

Note return to page 295 †There is a page of the original very properly left out here, no actor could have spoke, nor any audience have listened with patience to the whole of it.

Note return to page 296 ‡There is rather a breach of comparative degrees here; the primest creature means the best paragon that equals; however the passage, with some latitude, is by no means unjustifiable.

Note return to page 297 *The Second Act is fraught with much more important matter, than the First: there is less incident and show, but more of feeling. Henry and Katherine are admirably delineated; the latter particularly.

Note return to page 298 †Appeals to music, for softening the weight of oppressive core, is natural, and in this place, the introduction is happily conceived, but we think the original song, descriptive of the power of music, much beyond this ballad, and therefore give it to our readers. SONG. Orpheus, with his lute, made trees, And the mountain tops that freeze,   Bow themselves, when he did sing; To his music, plants and flowers, Ever sprung, as sun and showers,   There had made a lasting spring. Ev'ry thing that heard him play, Ev'n the billows of the sea,   Hung their heads and then lay by; In sweet musick is such art, Killing care or grief of heart,   Fall asleep, or hearing die.

Note return to page 299 *In this scene the queen displays great dignity, and feeling of mind; nor are the subtle churchmen less happily display'd. Some lines of the original, not quite essential, are omitted, to compact the interview as much as possible.

Note return to page 300 †We have taken the liberty, to break a disagreeable jingle of rhime, the author introduced here.

Note return to page 301 *The anxious combination and joy of envious courtiers, at the approaching fall of an overgrown favourite, is well described, in this scene.

Note return to page 302 *Wolsey's perplexity is extremely well described.

Note return to page 303 *This scene, between the king and Wolsey, is most characteristically supported; the dissembled resentment of the former, and the hypocritical treachery of the other, are highly painted.

Note return to page 304 *Henry's artful method of attacking Wolsey, cannot be too much admired; it works powerfully on an audience.

Note return to page 305 *Sacring, means the bell rung when the host is carried in procession, to give notice of its approach.

Note return to page 306 *If Shakespeare had never written a line more, than this admirable soliloquy, and the excellent scene which follows, they were sufficient to stamp him an eminent author. Never was there a finer, or more philosophical a picture, of fallen ambition, brought to reflexion by a just reverse of fortune; the assimilation of human greatness to the vegetation of a fruit-tree, is admirable; the puerility of venturing out upon a sea of troubles beyond depth, for very burdensome, and perishable acquisitions, is amazingly fine. This speech requires an excellent orator, to do it justice; yet, is so exquisite in itself, that a tolerable one, may seem respectable.

Note return to page 307 †These six lines, are usually omitted in performance; but we chuse to present them among the notes. The king has cur'd me, I humbly thak his grace; and from these shoulders, These ruin'd pillars, out of pity taken A load would sink a navy; too much honour. O, 'tis a burden, Cromwell, 'tis a burden, Too heavy for a man that hopes for Heav'n.

Note return to page 308 *These lines also, well deserve to be retained. That his bones, When he has run his course, and sleeps in blessings, May have a tomb of orphans' tears wept on him.

Note return to page 309 †We cannot think how the omission of these lines could ever be suggested. No sun shall ever usher forth my honours, Or gild again the noble troops, that waited Upon my smiles.

Note return to page 310 *All the lines, from this, to the end of Wolsey's speech, particularly the three last, which should be engraved on every statesman's heart, are exquisitely pathetic, and interesting.

Note return to page 311 †One of the most moral, instructive sentiments, we recollect; and concisely beautiful. The Third Act, is pregnant with business, and Wolsey calls for a very full, graceful, feeling, and powerful, declaimer.

Note return to page 312 *The Fourth Act, begins much better here, after the coronation, than with that heavy, uninteresting scene, between two gentlemen, written by our author.

Note return to page 313 †The person originally introduced, by Shakespeare, with Katharine, is named Griffith; but blending the part with Cromwell's, makes the latter more respectable; and is indeed, for other reasons, better.

Note return to page 314 *This description of Wolsey's fate, is simply beautiful.

Note return to page 315 †There is something fancifully just, in this brief remark.

Note return to page 316 *Cromwell's panegyric on the cardinal, is modest, friendly, and pleasing; the result of it, Catherine's forgiveness and applause to her greatest enemy, is very amiable.

Note return to page 317 †Shakespeare's regard for visions and spirits, has made him introduce an odd unessential dance here, with great minuteness of direction; but it is not worth notice.

Note return to page 318 *The Fourth Act, as played, is very short, but being introduced by the Coronation, possesses sufficient space of time, and is agreeable.

Note return to page 319 †What, in the original, Bishop Gardiner and Lovel say at the beginning of the Fifth Act, is so very trifling and superfluous, that it is properly left out, to make way for the King and Suffolk.

Note return to page 320 *The silent gratitude of Cranmer is delicately imagined, and goes more to the heart, than words could.

Note return to page 321 *The malevolence of one prelate to another, supposing him out of favour, and gaping for his place, is finely depicted in the character of Gardiner; who should never be represented by a low comedian, as mostly happens, to make the galleries laugh, at the expence of all propriety,

Note return to page 322 *The insolence of a proud, peevish churchman, who wishing for the highest promotion, would by any means remove the impediment to his hopes.

Note return to page 323 *This is an admirable natural turn of servility, in a mean, and malicious mind; finding its selfish, cruel purposes disappointed.

Note return to page 324 *There cannot be a more natural effusion of an arbitrary mind, than this speech of Henry's; haughtily and adequately delivered, it must strike.

Note return to page 325 *Here, we encounter a dreadful low, quibbling, indecent scene, of a porter, and his associates, resisting a mob. What an idea for a royal palace! We have ventured to offer something, in our idea, more decent, to give time for the royal christening, and we hope, not unjustifiably. Enter Lovel, meeting Cromwell. Lov. What thrusting gaping crowds assail the court? Crom. The usual English taste for public show; Some press, to see the royal christening pass, Who with full hearts, will shout a loud applause; Yet should they live to see this princess throned, Haply to hate would fickle praises turn. Lov. Good Cromwell, I have thought the rank of kings Less to be envied, than a private station; Tempests of policy around them blow, Nor stop at thrones—Proud ministers are taught— Witness the verity, great Wolsey's shade— To feel their force, and sink beneath their weight. Had not the cardinal so highly soar'd, Fortune could ne'er have sunk him down so low. Crom. Oh, name him not: though manifold his faults, With me, his virtues still must freshly bloom; For oh, full many he has left behind, To glory in his fate, of blacker die, Than the worst actions of his censur'd life. Lov. Too true, I fear. But hark, the trumpet's sound, Bids grave reflexion hence; while loyalty Calls us to mingle with the jocund train. Crom. Proceed, I'll follow to the scene of joy. [Exeunt.

Note return to page 326 †The bear garden, at that time.

Note return to page 327 *Making Cranmer assume the gift of prophecy, is a strange stretch of poetic licence; but a compliment to the late queen, and an absurd one to the reigning monarch, seemed so necessary, that Shakespeare, like most authors, stepped out of his way, to make them. This speech, as originally written, though the sentiments are fine, is intolerably prolix; what the stage retains, is amply sufficient.

Note return to page 328 †Having come to the conclusion, we must observe, that however nervous and pathetic several scenes of this play are, the success in representation, unless before a very sensible audience, depends chiefly on decoration, and splendor of show. As to the closet, we hope, and believe, this edition will prove much more pleasing, for perusal, than the original one.

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