Note return to page 1 *There are but few æra's in history which produce a greater instance of royal imbecillity than Richard the second's character manifests, as will be seen in the course of our remarks on this piece, wherein that unhappy monarch is very faithfully delineated. Shakespeare is in nothing more commendable than taking such frequent occasion to commemorate and expose the weak and wicked great men of this island; as also for doing justice to those of merit; his historical pieces are very useful, instructive, political mirrors, wherein the upper class of life should frequently and attentively look.

Note return to page 2 *We do not remember a more elegant or fanciful compliment than this concise yet comprehensive address offered to majesty by Norfolk.

Note return to page 3 *Patience suffers many shocks from the unnecessary rhimes which frequently occur in this play.

Note return to page 4 †Bolingbroke's charge, and Norfolk's replication are delivered in terms, however spirited, rather too disgraceful to their rank, and affrontive to majesty.

Note return to page 5 *There is so much of this high flown uninteresting altercation, that we think the scene should be considerably curtailed, and therefore have marked the parts in our opinion fittest to be retrenched.

Note return to page 6 †Norfolk here acknowledges himself capable of baseness and cruelty: as to the atonement he speaks of, it suits tolerably with Roman Catholic principles, but otherwise is a slight exculpation.

Note return to page 7 &verbar2;The idea of reputation and that elevated degree of it stiled honour, the rhymes excepted, is admirably set forth in this speech; for nothing can be more true than the position that a man's essential part is gone, when he grows negligent of or indifferent to his character.

Note return to page 8 §The idea conveyed in this and the three following lines is very extravagant and somewhat disgusting; the speech surely had better conclude with the words—“this out-dar'd dastard.”

Note return to page 9 ‡There is nothing material to the plot, nor any matter of entertainment in this short trifling scene; with very little alteration the first and third scenes might be properly blended in continuation.

Note return to page 10 *There was a considerable degree of martial solemnity and warlike spirit in these single combats; but how human nature or common sense admitted them as tests of innocence or guilt, honour or treachery, is not at this time easy to be conceived; these knights under such circumstances were mere Quixotes.

Note return to page 11 *Richard's interference breathes some humanity, and is expressed fancifully; but without any conviction, and while the competitors for innocence against criminal charges remain equally uncriminated, to banish one ten years, and the other for life, favours too much of unjust partiality.

Note return to page 12 *Gaunt's reflections are replete with morality, philosophy, and religious ideas; happily urged to inconsiderate power, which knows not, nor strives to know, its own narrow limits, save in immediate transactions.

Note return to page 13 †This is a most happy conciliatory sentiment, worthy a place in every breast: a fine shield against discontent, and a most excellent balm for minds under adverse circumstances.

Note return to page 14 *This, and the preceding five lines, have been transplanted by Cibber into the first Act of his alteration of Richard the Third; the speech should undoubtedly end according to our marks.

Note return to page 15 *This is a very immaterial scene, except letting us know that Richard sees into Bolingbroke's character, and that he acquaints us with his own design of going to Ireland. The author, however, might probably mean it as a kind of justification of the king's sentence.

Note return to page 16 ‡That monarchs and politicians, in every nation, have been, through ambition or jealousy, capable of entertaining the most low, collusive, and cruel sentiments, is universally known; but scarce any circumstance goes beyond this pusillanimous, strange wish of Richard.

Note return to page 17 *The idea of England's limping after foreign fashions, is tartly satirical and strictly just; however aukward, caricature, or ridiculous they make us, we too often hobblingly pursue, and catch them when we can.

Note return to page 18 ‡Though we have marked several lines for omission, it is not for want of intrinsic merit, but because we believe they would be heavy in public repetition.

Note return to page 19 ‡This question is properly thrown in; for scarce any man, even well, would so quibble on a word, more especially one supposing himself near death, and particularly such a person as John of Gaunt.

Note return to page 20 ‡There is abundant useful meaning in this speech, and particularly in those four lines which precede the indented ones. Flattery in all ages has been the grand imperceptible rock on which monarchs and nations have split.

Note return to page 21 †Richard, in this start of unnecessary passion, shows manifestly a most irregular, ill judging, techy temper, to fall out with a man he supposes dying, merely for giving him good, though perhaps forward advice; but the expiring should not, nor seldom do palliate.

Note return to page 22 †This alludes to the known fact that no poisonous creature can exist in Ireland; a point well authenticated at this day.

Note return to page 23 ‡Richard's seizure of Gaunt's effects, with no other plea of justification than the necessity of his own circumstances, is oppressive and unjust, therefore a great blemish in his character: when a king becomes the plunderer of his subjects, he loses all claim to respect.

Note return to page 24 †The discontent of the Peers is well set forth in this scene; their resentment properly justified, and Richard's maladministration strikingly painted.

Note return to page 25 ‡Unpossible; we apprehend impossible better.

Note return to page 26 †It is very natural for selfish sycophants, when they have abused royal confidence, to tremble at and fly from the resentment of an injured awakened people.

Note return to page 27 ‡Shakespeare was remarkably careful of, and correct in, the references from one historical play to another; in the first Act of Henry the Fourth, first Part, he makes Percy advert to this line.

Note return to page 28 *York should, in representation, exhibit venerable dignity, and be a good declaimer. Bolingbroke a martial appearance with insinuative and spirited expression.

Note return to page 29 ‡The second Act, which has more spirit than the first, should end here, though the following short scene is admirably written.

Note return to page 30 *Wherever Shakespeare could conveniently introduce omens he has done it, and has shown an exhaustless imagination.

Note return to page 31 *Coat of arms.

Note return to page 32 ‡Bolingbroke's crimination of Bushy and Green, though it dwells most on his own injuries, gives a strong idea of Richard's weakness, who, possessing good qualities, suffered them to be perverted to the most disgraceful purposes by ill designing favourites. Royal favourites have ever been dangerous, and often destructive both to prince and people.

Note return to page 33 ‡Richard's address to the earth is pathetic and fanciful, but rather romantic and ill adapted to the serious important situation of his affairs: the author appears sensible of this by calling it a senseless conjuration. This monarch should be represented by an amiable appearance, with a smooth interesting flow of expression.

Note return to page 34 †The king's assimilation of himself to the sun is nobly conceived and admirably expressed, but rather spun out to an unnecessary length, especially for public utterance.

Note return to page 35 †There never was a more rich, bold, or picturesque description of a nation bustling for a revolution than this speech contains; the imagery is unspeakably fine, and the whole equals any of our author's beauties.

Note return to page 36 *There are many beauties perceptible in this speech, and several very useful deductions to be drawn from it, particularly a lesson to proud mortality, showing how frail, instable, and trifling human grandeur is, how transient all its glory: the figure of Death keeping his court within the circle of a crown is exquisitely fine, and instructively philosophical; to monarchize is a phrase extremely well conceived, as it implies merely playing a part.

Note return to page 37 §Richard here discovers his true character, a most wretched shameful pusillanimity, a cowardice and despondency that would stigmatize a private man, much more a monarch, who from birth, education, and station, ought to think with more magnanimity and act with more resolution.

Note return to page 38 &verbar2;The deep politician may easily and plainly be discovered in this speech. The simile of jarring elements he introduces is a most noble and by no means an unnatural flight of fancy; a great mind, bent on great pursuits, might reasonably start an idea of such magnitude.

Note return to page 39 ‡Shakespeare in several passages of this play, asserts the sacredness of royalty, a point politically essential to be inculcated in his time; but he puts them in the mouth of a man who, having disgraced his dignity, places a confidence in heaven for that assistance, which he wants resolution to strike for.

Note return to page 40 ‡Though Richard's behaviour is despicable to the last degree, yet what he has to say is conceived and expressed in so masterly a manner, that in public or private it must materially touch sensibility, and we are led to pity where we should contemn.

Note return to page 41 *This Act, which has very great merit in point of sentimental declamation, should conclude here, the following scene being totally unessential to the fable, however poetically beautiful.

Note return to page 42 *We have exquisite style and fine fancy in this scene, but doubt whether they are not superior to persons in such low stations.

Note return to page 43 *Does it not seem strange that Shakespeare should, in so many places, make noblemen so far forget their rank, indeed common decency, as to give the plain lie to each other?

Note return to page 44 *We think the Act would begin much better here with York meeting Bolingbroke; the strange altercation which precedes, has little entertainment, as well as reference to the story.

Note return to page 45 †This bishop, on the principle of non-resistance and passive obedience, argues well though somewhat tediously; we have therefore marked some lines for omission.

Note return to page 46 †This idea of the two buckets is far-fetched, strained, and rather unworthy a king's mouth.

Note return to page 47 *This and the two preceding lines are pregnant with most ludicrous quibble, and should certainly be erased.

Note return to page 48 *Richard, in his mode of resignation, shows some degree of insanity, for which his distressful situation may, as he all through shows a feeble mind, apologize.

Note return to page 49 *This idea of the glass is odd, and the reflections on it very inferior to the former ideas of his situation. We think therefore, in action, the circumstance had better be omitted.

Note return to page 50 †This, and the preceding seven lines, have, with very little alteration, been transplanted by Cibber into the first Act of his alteration of Richard the Third.

Note return to page 51 †The fourth Act, which is much more languid than the third, might well spare all the lines after this; the parting of the king and queen is by no means so interesting as it might have been made; but we must remember there were no female performers in Shakespeare's days.

Note return to page 52 *The versatility of popular attachment is very well set forth in this scene; the description of Richard's fallen state is pathetic and picturesque; a most excellent lesson for persons in elevated stations not to idolize grandeur, or depend on its stability, nothing being more perishable, nothing more deceptive.

Note return to page 53 ‡We cannot perceive any great use or entertainment in this scene, it seems more calculated to eke out the Act; it must be rather ludicrous in action.

Note return to page 54 *There is much laborious intricacy discoverable in this very tedious soliloquy, and the scriptural allusion here introduced is not properly or defensibly introduced upon the stage.

Note return to page 55 †The thirty-nine indented lines would, for recitation particularly, be better omitted than retained; as they tend more to puzzle conception, than to inform judgment: the author seems to have indulged his own fancy, without consulting either the stage or closet.

Note return to page 56 †Richard's being angry that a favourite horse should carry Bolingbroke so proudly, is natural; and his retraction of that resentment, judicious.

Note return to page 57 ‡The manner of Richard's fall cannot work a desirable stage-effect; it is feebly introduced, and rather ludicrously executed.

Note return to page 58 ‡Bolingbroke, in this speech, manifests a humane dignity of mind, worthy the man and monarch.

Note return to page 59 ‡The true political hypocrite is fully exhibited by the fourth Henry in this speech, mourning over the sacrifice his ambition long and warmly wished to make. The fifth Act of this play is exceedingly languid, more so than any of the others, which is a great dramatic misfortune; as compositions of this nature should gradually rise from the beginning to the conclusion.

Note return to page 60 *The opening of this play presents a most solemn spectacle, which justly and forcibly awakens the mind to the general loss sustained in the too early death of that great King Henry the Fifth, and places all his virtues and glories again before us.

Note return to page 61 †This, and the four preceding lines, have been transplanted by Cibber into his Richard the Third.

Note return to page 62 *The panegyrics pronounced upon Henry the fifth are nervously elegant, and this rebuke, which Gloster gives the canting bishop, is sensibly severe.

Note return to page 63 *Marsh.

Note return to page 64 *This description of Talbot's situation and behaviour is strong and pathetic in reading, but too tedious for public recital.

Note return to page 65 *Ecclesiastical ambition mingled with temporal policy, peeps out in this short speech, very characteristically for Beaufort.

Note return to page 66 *These alarums, skirmishing, &c. should be omitted, when not essentially necessary. Too frequent a repetition of them creates confusion rather than pleasure, in the action.

Note return to page 67 *This opening of Pucelle's character, so contrary to rational conception, which must always reject supernatural qualifications, prepares us for an extraordinary personage, and consequently some extraordinary transactions.

Note return to page 68 †The word dash is very uncouth for a person of rank.

Note return to page 69 *We object heavily against this vision spoken of by Pucelle; it introduces a heathen idea amidst christian principles. Poets of antiquity always brought deities into war; but to bring in the Virgin Mary similarly, is not justifiable.

Note return to page 70 †This line is contemptibly low, and the Dauphin's challenging Pucelle ridiculous.

Note return to page 71 *This is a simile of much aptness and dignity; the gradual melting away of human glory is described with great richness of fancy.

Note return to page 72 *This is a very unessential farcical scene, unworthy our great author, and wholly unfit for action.

Note return to page 73 ‡Authority.

Note return to page 74 *Is it possible to suppose a character of elevated station, however irritated, could express himself as Gloster does in this unbecoming altercation?

Note return to page 75 *This whole scene, to do the author and the piece justice, should from beginning to end be rejected.

Note return to page 76 *This scene, between the gunner and his son, is equally trifling and superfluous with the preceding one, and should share the same oblivious fate.

Note return to page 77 *This speech of Talbot is turgidly ostentatious; a brave man seldom speaks so pompously of himself; courage, like merit, is, for the most part, modest and diffident of parading its own value.

Note return to page 78 †This incident is most strangely hauled in: Theatrical deaths should be introduced with peculiar nicety, or they lose the proper effect.

Note return to page 79 *A savage idea occurs in this line unworthy of a magnanimous mind.

Note return to page 80 *Nothing could be suggested more laughable than bringing a veteran hero to single combat with a woman.

Note return to page 81 *The first act is intolerably long, and very full of uninteresting business; more of the historian than the poet appears in it.

Note return to page 82 †This French Serjeant, the Sentinels, and what they say, may very well be spared.

Note return to page 83 *For pantomime this incident would not be amiss, but how it crept in here is astonishing; especially from the pen of an author, who must have understood stage effect.

Note return to page 84 †This is a very whimsical aggravation of the incident we have mentioned in the preceding note; the soldier who picks up the abandoned cloaths has more sense and resolution than all the rest. This caricature of French timidity seems to be a complimentary contrast to British resolution.

Note return to page 85 †By a licence, Shakespeare was very familiar with, he has changed the proper stress from the first syllable of aspect to the second.

Note return to page 86 *We see no importance or use in this fruitless design upon Talbot. The scene indeed may be very well spared.

Note return to page 87 ‡Those dreadful intestine contentions, which so long and destructively convulsed the English state, through the hard-contended claims of York and Lancaster, had this seemingly frivolous commencement.

Note return to page 88 ‡There is too much of this scene; it should undoubtedly be curtailed: several of the following speeches are mere historical explanation.

Note return to page 89 *The situation of a great man, tottering under age, infirmity and confinement, is pathetically set forth in this speech.

Note return to page 90 *This very circumstantial speech must be exceedingly tedious in recital; but, no question, historically necessary.

Note return to page 91 ‡Richard's character is admirably well opened in this Act, which we deem better for action, at least the latter part of it, than the former one.

Note return to page 92 &verbar2;How is it possible to suppose a transaction of this sort in presence even of a young and weak monarch?

Note return to page 93 *There is much smooth, plausible, evasive sophistry in Winchester's replication to Gloster's spirited, though roughly expressed charge.

Note return to page 94 †The first word of this hemistic is no better than a weak pun.

Note return to page 95 *This first speech of the young Henry suitably introduces his whole character.

Note return to page 96 †In contráry parts; here pronunciation is varied and adulterated again, by placing, in flow of versification, a stress upon the second, instead of the first syllable.

Note return to page 97 *The pelting encounter of these servants, their making a part of this scene, and their behaviour, is totally inconsistent with tragic dignity, as well as with the place and personages here described.

Note return to page 98 *The pride, resentment, and evasion of that over-bearing, vindictive churchman, Winchester, are well delineated here.

Note return to page 99 †This jumble of servants and the mayor of London is very exceptionable.

Note return to page 100 ‡Requital.

Note return to page 101 *These scraps of French being unnecessary, and to three-fourths of an audience unintelligible, had better be expunged, if there were any chance of such a wild play as this being introduced on the stage.

Note return to page 102 *Bedford's resolution, in spight of bodily indisposition, is very respectably set forth in this place; the latter part, however, is a strange scene of bustle and confusion.

Note return to page 103 ‡Expert officers: the former word, according to our Author, has its emphasis on the wrong syllable.

Note return to page 104 &verbar2;This is a remark philosophically conclusive; as, undoubtedly, care for things past remedy is idle and prejudicial.

Note return to page 105 ‡A most pathetic address this, and replete with poetic fancy and expression.

Note return to page 106 ‡Though Pucelle's arguments have great force, yet we think Burgundy's acquiescence extremely feeble and precipitate; indeed, Pucelle makes some apology by adverting in her next speech to French versatility.

Note return to page 107 *What business this short rude altercation, after the king's departure, promotes, or what pleasure it is likely to produce, we can't perceive. This act is inferior to the second, but rather better than the first.

Note return to page 108 *Shakespeare must certainly have been determinately negligent of court decorum, to introduce a circumstance so inconsistent with royal dignity. The blunt unceremonious character of Talbot is indeed some palliation.

Note return to page 109 †The propriety of attending to qualities, rather than stations, in the bestowal of honours, is well expressed here, and worthy the consideration of a king.

Note return to page 110 *The tendency of violent ambitious contesting spirits in high life, is set forth strongly, but rather grossly, in this play, considering the exalted characters who are exhibited; elegance of argument, which does not destroy or blunt acuteness, is too much sacrificed to acrimonious vulgarisms.

Note return to page 111 *This is an exceeding just remark; for ambition and self-interestedness amongst the great, never fails of producing national and very extensive evils.

Note return to page 112 ‡Talbot, though a resolute man, appears to be rather a rash and inconsiderate commander.

Note return to page 113 ‡It is a very obvious and natural deduction, from several circumstances in this play, that jealousy and animosities among the great produce numberless inconveniences and unspeakable prejudice.

Note return to page 114 ‡There is very great, but not unnatural magnanimity of mind, set forth in young Talbot. We admire the youthful spirit and filial attachment, though we must pity the situation of him and his father.

Note return to page 115 *This scene is of no manner of use to the story, and in point of writing, is inferior to the former. There is a continued jingle in both, which is very exceptionable.

Note return to page 116 *There is a classical allusion here by no means ill applied. Young Talbot's intemperate forwardness is aptly compared to the frenzy of Icarus, who ventured upon waxen wings, which in the heat of sunshine gave way, and subjected him to death.

Note return to page 117 *This wench, or maid, as she is promiscuously called, appears of so outrè and masculine a nature, that she is, through the whole, offensive to true criticism.

Note return to page 118 ‡A noble and most humane sentiment.

Note return to page 119 †This speech was unquestionably introduced, that Talbot's great atchievements and dignities might be recorded to future ages.

Note return to page 120 ‡This lady is as indelicate in her sentiments, and expression, as in her actions: this Act is too cold for representation, and little better for perusal.

Note return to page 121 *The true oppressive spirit of Winchester, starts naturally forth, with additional violence, on this sudden promotion.

Note return to page 122 *This scene is of no consequence or meaning whatever; marks of omission are therefore properly applied to it.

Note return to page 123 †Pucelle's interviews with fiends, and her witchcraft, are totally disallowable; delusive to youth, and ridiculous to age.

Note return to page 124 *There is great force of expression, and beautiful allusion, in this speech of Suffolk.

Note return to page 125 *All the marked lines may be, and must be advantageously expunged: they have no tendency to use or entertainment.

Note return to page 126 *Collop—rather read, portion.

Note return to page 127 †Surely this is a most unnatural speech for a father's mouth, however ill Pucelle's life and present behaviour may deserve.

Note return to page 128 *Rage and frantic desperation upon positive conviction, is extremely natural in so sanctified an impostor as Pucelle; who, under the strict veil of virginity, pleads at last pregnancy, but cannot fix on a father.

Note return to page 129 *We perfectly agree with Alenson, that the Cardinal's proposition is most arrogant, oppressive, and even ridiculous to any monarch, who had a trace of power remaining to help himself.

Note return to page 130 *Contráct: here we have another trespass on pronunciation; the accent falls on the second, instead of the first syllable.

Note return to page 131 †This is a turgid, unessential simile.

Note return to page 132 *Contráct again.

Note return to page 133 *This observation, in favour of disinterested marriages, is just and sensible, though too seldom put into practice; as merit is rarely put in competition with fortune.

Note return to page 134 ‡“To rest,” in this place, merely implies “to remain.”

Note return to page 135 &verbar2;The catastrophe of this play is rather feeble and uninteresting. The whole may properly enough be stiled a detail of historical events, with very few of our Author's masterly lines to embellish it.

Note return to page 136 *This Dramatis Personæ is the most strange assemblage of jumbled characters we know of.

Note return to page 137 *This is a manly, spirited, argumentative address, without ostentation or superfluity; it breathes the nice and glorious spirit of a patriot heart feeling for his country.

Note return to page 138 †Rules the Roast, is a vulgar expression for Gloster.

Note return to page 139 ‡We object to this line strongly, as containing an oath too solemn and sacred: the Divinity should be mentioned with awe and diffidence in relative forms; but positive ones are no way to be justified in works of this sort.

Note return to page 140 *The shrewd, politic, ambitious and envious churchman, glares through every line of this plausible characteristic speech.

Note return to page 141 *These great men are exactly similar to those of all corrupt times, whose public aims are solely centered upon the paltry view of ill-earned private emolument, or undeserved empty honours.

Note return to page 142 *This speech sufficiently shews York's opinion and views; beginning here as originally written, it is much too long for the stage; soliloquies of this extent are tedious, unless they turn upon more spirited points; curtail'd according to our suggestion, it would speak well.

Note return to page 143 *The dangerous and unsettled state of a kingdom, under the rule of a young king, is well and strongly inculcated here.

Note return to page 144 *Gloucester's affectionate attachment, and incorruptible loyalty to the king, are most pleasingly delineated, and render the duke an object of our esteem and love.

Note return to page 145 *It is somewhat singular to observe the miserable state of England at this period. Gloster, the only real honest man and loyalist among the peers, is tempted by an ambitious dutchess to conduct himself traiterously in hopes of ascending a throne.

Note return to page 146 *The scene should certainly begin here; all that precedes is superfluous.

Note return to page 147 *Margaret opens her own character emphatically in this seene: she should be represented by an actress possessing features expressive of elegant haughtiness, a graceful person, and a full powerful voice.

Note return to page 148 *This scene exhibits a fine picture of state blood-hounds running down an honest man, full cry.

Note return to page 149 †However termagant the queen might be, this violent breach of dignity and decorum is censurable and very unbecoming.

Note return to page 150 ‡This is a horrible irksome allusion.

Note return to page 151 *The Act has very little theatrical merit, but is not unpoetical; it had better end here. The following scene of incantation or conjuration is so offensive to common sense in these days, that though a superstitious opinion of that kind might prevail in Sixth Henry's time, it should be put out of the view of youth.

Note return to page 152 *This speech is very poetical, and the ideas well associated, though unfit for public exhibition.

Note return to page 153 †This line is painful to every degree of religious reverence.

Note return to page 154 *An additional reason for omitting this unimportant improbable scene, is the immoderate length of the Act.

Note return to page 155 *There is too much of this ungentleman-like railing between the noblemen; it wearies and disgusts. Making the king, who certainly was weak, capable of bearing any insult that foul and virulent language could offer in the royal presence, is very unpleasant.

Note return to page 156 *This enthusiastic miracle, so unnecessarily introduced, and so tediously insisted on, might be passable in days of popery, but must either be despised or laughed at by reformed principles.

Note return to page 157 *What a strange incident this before a monarch! The whole scene is certainly with great justice consigned to oblivion; unfit for representation, and unworthy our great Author.

Note return to page 158 †Very becoming spirit, dignity, and principle, are all included in this declaration.

Note return to page 159 ‡This circumstantial genealogical narration seems necessary to the plot, but must, in recitation, be rather intricate and tedious.

Note return to page 160 §York, through the whole of this scene, justifies his pretensions to the crown in a masterly manner, and shows himself not only possessed of good sense, but spirit and policy also.

Note return to page 161 *This scene is trifling through the whole, and the burlesque combat a most farcical intrusion upon tragic dignity.

Note return to page 162 †Uneasily.

Note return to page 163 ‡Endure.

Note return to page 164 *The dutchess's speech is well adapted to her situation, and pathetically expressed.

Note return to page 165 †Harm.

Note return to page 166 *A most admirable sentiment, and conveys an excellent lesson.

Note return to page 167 †This Act has more importance than the former; the characters glow more upon us, and the incidents, in general, are of more dignity.

Note return to page 168 ‡Wont, for custom.

Note return to page 169 †The Queen's declaratory accusation of Gloster shews deep cunning, and a thorough knowledge of her husband's weakness; but we think it spun out rather too much, wherefore we have marked omissions in it, and in Suffolk's corroboration; which latter is also very nervous and subtle.

Note return to page 170 ‡This speech conveys the full idea of conscious innocence, which disdaining sophistry and circumlocution, appeals to facts and plain unadorned reasoning.

Note return to page 171 †The inequality of our penal laws has been long and universally admitted. Gloster here vindicates himself well, by mentioning the distinctions: murder should undoubtedly be much more severely punished than felony.

Note return to page 172 †This speech, which has great merit, in some passages is too long; and the proverb, with which it concludes, rather beneath a nobleman's mouth, though the allusion is strictly just.

Note return to page 173 *These two allusions are admirably just; and the speech contains the true spirit of wronged innocence.

Note return to page 174 †Henry's's panegyric on, and confidence in Gloster, shows him to have had a tender feeling, and an affectionate heart; but, at the same time, manifests a most weak head, and want of resolution. Indeed, the character is most nicely preserved through the several parts, in our Drama, of his reign.

Note return to page 175 *The readiness with which this cruel cardinal undertakes the destruction of a great and worthy man, shows the basest and most confirmed depravity of mind.

Note return to page 176 *This soliloquy, abridged according to our marks, would be uniform, spirited, and copious; as the Author left it, it must be too great a burden upon utterance and attention. There is much policy, shrewdness, and poetical merit in it.

Note return to page 177 *These two lines give a very compact view of hypocritical cunning.

Note return to page 178 *Henry appears to have a super-abundance of commendable tender sensations, and laments the loss of a valuable friend in the pathos of elegance; and though we lament that the cause of his sorrow has taken place, yet we must applaud his reflections.

Note return to page 179 †The queen's crocodile lamentation is admirably thrown in here, to impose on the king's credulity; it is couched in fanciful terms and extreme plausibility.

Note return to page 180 *This very artful pregnant speech is far too diffused; if any thing, it requires more pruning than we have pointed out; yet it is throughout most admirably calculated to work on the pliant tender disposition of Henry.

Note return to page 181 †If my suspect—Suspect for Suspicion, is a licentious mode of expression; but Shakespeare wholly neglected narrow laws and forms.

Note return to page 182 *Warwick's description of suspicious circumstances, respecting Gloster's death, is most strongly painted; and the image of his beard, as from struggling, being lodged and dishevelled like storm-struck corn, is inimitably fine.

Note return to page 183 *There is such an intolerable quantity of vaunting and recrimination in this piece, that we have marked the preceding lines; presuming the scene, which is in itself very striking, would be more so by this mutilation.

Note return to page 184 †These lines also Cibber has transplanted to his alteration of Richard IIId.

Note return to page 185 *It would be of great use to monarchs if their people would becomingly warn them of mal-practices; and if they would be prudent enough to avail themselves of proper hints and salutary remonstrances upon public subjects.

Note return to page 186 *The omission of the third and fourth lines in this speech, would relieve it from the coarseness which otherwise must attend it.

Note return to page 187 *Suffolk's execration in this speech has great poetic expression, much strength, and very powerful fancy.

Note return to page 188 †If Margaret and Suffolk were not such a detestable pair, there is somewhat in this scene that must rouse powerful feelings; it is most excellently written.

Note return to page 189 ‡When the word pap was at hand, how could such an indelicate expression as dug catch our author's fancy. The speech however has much poetical merit.

Note return to page 190 &verbar2;This is an elevated compliment, comparing obliquely Suffolk to Jove, and herself to Juno.

Note return to page 191 *The many instances Shakespeare has, in other pieces, given of his conception of madness, and perturbation of mind, leaves us nothing to say of this speech, but that it is better than any other author could have written on such a subject; the appeals to imagination are extremely forceable, and the whole scene horridly fine.

Note return to page 192 ‡This pious king's solemn address for an expiring sinner, however great a foe to himself, is an additional mark of a benevolent mind.

Note return to page 193 †This close of the third Act has great merit. It is indeed altogether very deserving of representation as well as reading.

Note return to page 194 *This sea captain speaks in language too figurative and elegant for the general run of persons in such a station.

Note return to page 195 *This strange equivocation upon the words Water and Walter, is highly consistent with such juggling fiends as the dutchess of Gloucester tampered with. The reader may remember the question and answer, page 107. This double meaning is exactly of a piece with the prophecy about Birnam Wood, &c. in Macbeth.

Note return to page 196 *This speech is rather too tedious for recital, yet the accusations are all strongly pointed, and justly come home to the breast of so bad a man as Suffolk.

Note return to page 197 †This scene being greatly too long for any matter it contains, we recommend curtailing according to the comma'd lines.

Note return to page 198 ‡In this, and the subsequent speech, Suffolk manifests very proper pride and spirit, however faulty his moral principles are.

Note return to page 199 *We more cordially wish the whole of this crew suppressed than any characters or passages we have met in our author; for though Jack Cade and his associates are essential to history, and might have created a real tragedy, they are miserable members to compose parts of one for representation.

Note return to page 200 †This is a good mobbish levelling principle, and shows the design of popular risings to be much of the same nature as noble cabals.

Note return to page 201 *These superabundant promises from a weak ignorant fellow, aiming at, and hoping for, great advancement, is very natural and humorous; and shews that nature alone will teach how to lay out the irresistable bait of interest for human weakness.

Note return to page 202 †This is exceedingly natural, that an illiterate son of ignorance, like Cade, possessed of occasional power totally beyond his ability to conduct properly, should condemn even the lowest professor of literature to punishment.

Note return to page 203 *How exquisitely does this short expression in Cade's mouth recal Henry the Vth's conquests, and contrast his glorious reign with the degenerate times of this his son.

Note return to page 204 †The King's behaviour through this whole scene is most miserably pusillanimous, and that of the Queen insultingly indelicate.

Note return to page 205 *Cade's charges against Lord Say, his criminations of him, are most pointedly laughable; and from a remark we have already made, strictly characteristic.

Note return to page 206 †However low the characters, and disgustful the events, there is much true humour in these rebels. It certainly was calculated to please in our Author's days.

Note return to page 207 ‡When a mismanaged government brings matters of positive rebellion to such a shameful compromise as this, it shows wretched depravity, or unspeakable meanness.

Note return to page 208 &verbar2;Shakespeare ever paints the irrationality and instability of popular attachments in strong and conclusive lights. Cade's satirical remark is expressed in terms worthy a higher character than his.

Note return to page 209 *We believe every just thinking monarch would join Henry in this opinion.

Note return to page 210 †Deplorable imbecility is manifested here again; nothing but compromise and submission offered to insurgents; by so much as majesty should cordially acquiesce with reasonable requests, by so much should it firmly resist, and properly correct, all violent and illegal measures.

Note return to page 211 ‡This Act has so much of Cade's inadequate stuff, and his vulgar adherents, in it, that it must be reduced very much to make it merit public attention.

Note return to page 212 &verbar2;Though Cade is drawn ignorant and vulgar, he is not left without resolution, and so far becomes a rascal of pity to all appearance. Henry, with innumerable advantages, does not in this light show so favourably.

Note return to page 213 *This is the most uncharitable, unmanly wish that could be expressed; totally unworthy a brave man of any religious opinion, much more a Christian.

Note return to page 214 †York here breaks out with a very just degree of undaunted spirit, and rebukes Henry with great propriety; but the decorum of a subject is much violated.

Note return to page 215 ‡As a palliator, we know not a more perfect character than Harry the Sixth; he softens admirably. This speech is full of most pathetic reasoning.

Note return to page 216 ‡The determined and desperate disposition of Richard, unfolds itself admirably in this short scene.

Note return to page 217 *Part of this speech, as well as the ensuing altercation between York and Clifford, is transferred by Cibber to the mouth of Richard the Third.

Note return to page 218 *Whimsical enough to make Clifford die with a French phrase in his mouth.

Note return to page 219 *Young Clifford's speech, however agitated his mind may be, is too turgid, too allusive, and too prolix for the critical situation of affairs.

Note return to page 220 ‡Here is another equivocating prophesy fulfilled.—We may remember the answer to the interrogatory about the duke of Somerset, at the beginning of this play: “Let him shun Castles,” &c.

Note return to page 221 ‡The catastrophe of this play is almost as unsatisfactory as that of the First Part, and the fifth Act is a strange jumble of military operations. It might, with great alteration, perhaps, be suited to action; but whether it might answer the purpose and trouble, at last, is very difficult to determine.

Note return to page 222 *This scene in description, though not in positive action, may be stiled a slaughter house one; shewing and kicking about heads is totally inconsistent with stage representation; and it is almost impossible to conceive how our author, so frequently delicate, elegant, and humane, could suffer such spectacles to disgrace the labours, or rather spontaneous effusions of his matchless pen.

Note return to page 223 *This line contains great scope of idea. Warwick compares himself, by an allusion to falconry, to a hawk, the sound of whose bells is sufficient to create terror in all surrounding birds. The thought is superabundantly self-sufficient; but poets have all made their heroes strange vain boasters.

Note return to page 224 ‡In our comments upon the two former parts of this drama we have remarked that Henry appeared exceeding weak; here nevertheless he seems more so, than in any former transaction.

Note return to page 225 *The whole of this feeble monarch's turbulent reign shows how dangerous, how destructive royal consanguinity with subjects is. May Britain never again experience such internal convulsions from similar unpolitical connections! In the eye of reason it is hard that royal characters should not have a right of choice; but when we consider that millions may be injured by even one injudicious application of that choice, the common and powerful principle of self defence says, that the people at large in this island should peculiarly control it.

Note return to page 226 *If the picture of Shakespeare is to be considered as a faithful likeness, certainly Henry the sixth's leading peers were a set of the most factious, versatile, unprincipled men that ever disgraced any sphere of life.

Note return to page 227 ‡The last observation we made on Henry pronounced him highly disgraceful to his birth and station; but here he falls so low that no slightest degree of estimation can follow him. The whole scene also is made up of flat altercation, and inconclusive assertions; and save Henry's mean concession, leaves us as much in the dark respecting the point contested, as before we perused it.

Note return to page 228 ‡The reproaches of Margaret, though rather masculine, are poignant, spirited, and very properly applied; every provocation to rage and harsh language, she, upon this occasion, as a queen, wife, and mother, stands fully and fairly possessed of.

Note return to page 229 ‡This is a thorough paced politician, who keeps promise or oath no longer than he sees convenient.

Note return to page 230 §Richard's justification of breaking an oath given on this occasion, is as fine a piece of sophistical evasion as we remember to have met.

Note return to page 231 ‡This is a scene exceedingly frivolous and unsatisfactory, as well as offensive to humanity; but in course of the business cannot well be omitted.

Note return to page 232 *Shakespeare, who took so much pains to delineate Richard's character, here opens it in a very masterly manner.

Note return to page 233 ‡All the lines preceding this that we have marked for omission, are an intolerable attack and burthen upon patience.

Note return to page 234 *York, who should be personated by an actor of respectable feelings, and forceable, though not capital, delivery, maintains a degree of very characteristic consequence in this scene: our author has thought him worthy of support, and has given it him commendably.

Note return to page 235 *This Act contains a great deal of historical matter, yet little of an interesting nature for representation; and this butchery at the conclusion of it is intolerable.

Note return to page 236 ‡We have already remarked Shakespeare's proneness to omens; but this seems a very far-fetched one indeed. We think it and what follows, till the Messenger arrives, might be spared.

Note return to page 237 ‡This and the preceding line contain a very powerful poetical idea.

Note return to page 238 *Warwick's narration is tedious, but cannot be curtailed without being maimed.

Note return to page 239 *This speech is admirably wrote to inspire the king, if he possessed the smallest share of resolution.

Note return to page 240 *We have repeatedly complained of these altercations, and think this in particular should be shortened.

Note return to page 241 *The author here, as in many other instances, realizes his subject by adverting to mimic representation.

Note return to page 242 †This line, which Cibber has transplanted into his alteration of Richard, should end this scene. It has more spirit and meaning than any thing that follows.

Note return to page 243 *This short and very insignificant scene might be omitted, without impropriety, or injury to the whole.

Note return to page 244 *If we wanted any additional proof of Henry's weakness, this very tedious unnecessary soliloquy furnishes it amply, though we allow a considerable display of fancy in it; for recital it had better be pruned, and we submit our marking to the judicious reader.

Note return to page 245 *This circumstance, as well as that which follows, of the father killing his son, are too horrid for stage exhibition, yet do they give a true, strong, and melancholy picture of the miserable state of a country under the tyranny of civil wars.

Note return to page 246 †It is a most just remark, that ill-timed lenity tends much to a prejudicial accumulation of crimes, levelled against public peace and private property.

Note return to page 247 ‡These clamorous insults over Clifford's corse contradict heroism; as Zanga in The Revenge, nobly observes, “A lion preys not upon carcasses.”

Note return to page 248 ‡Though Shakespeare is peculiarly commendable for a general preservation of character, we find him sometimes slipping his noble characters into vulgarisms, and those quite unnecessary. This Act, save some superfluous passages, is superior to the first.

Note return to page 249 *There is great dignity of thought in this and the following line. From Henry's behaviour through the piece, it would seem as if he here mistook wretched pusillanimity for philosophical resignation, or rather resolution, to bear against the torrent of adversity.

Note return to page 250 ‡Here again the wayward and unstable favour of vulgar opinion is finely painted.

Note return to page 251 *This whole conversation of courtship is exceedingly trifling, in this passage unpardonably gross; the scene should be much shortened.

Note return to page 252 †There is exquisite beauty and propriety in this allusion.

Note return to page 253 *This soliloquy is very nervous and spirited, but much too long; Cibber has availed himself considerably of several parts of it, and applied them very happily. Some of the lines, which are marked, are still too good to be lost.—Gloster's description of his own hypocritical art is admirable.

Note return to page 254 *The several parts of Henry the Sixth are so encumbered, we may say overwhelmed, with squabbling, that we wish every scene of that tendency much reduced.

Note return to page 255 *Warwick is a most strange, turbulent, inconsistent character: personal resentments, backed by a Quixotic-disposition, seem to be the whole of this turgid king-maker and king-destroyer.

Note return to page 256 *This soliloquy reflects but little credit upon Warwick; however the Act is by no means devoid of merit; it contains some transactions of consequence, and has a considerable share of animation in it.

Note return to page 257 *This is a very spirited and just political remark, as well as one that follows in the mouth of Hastings.

Note return to page 258 †The becoming resolution of Edward is a fine contrast to the piping and praying of heartless Henry.

Note return to page 259 ‡This single line in Richard's character is admirably strong, and comprehensive.

Note return to page 260 *Is it not strange and improbable, that a king of Edward's spirit should hear rebellion announced to his face, and yet suffer such material instruments of it to pass off uninterrupted? Indeed, the threatener being his brother may be some palliation.

Note return to page 261 †This is a most liberal and elegant sentiment.

Note return to page 262 ‡We are not, I presume, to suppose, that in a tent, nay, as we have been told, at rest, Edward should wear his crown; but we may easily suggest that the king had it with him in his tent, and on the first alarm, seized and wore it by way of securing it.

Note return to page 263 *This scene is very immaterial to the story, and therefore had better be omitted.

Note return to page 264 ‡This escape is full as concise as the circumstance of losing his crown. Our author undoubtedly meant only to be true to history; to shew that Edward was surprized and deposed, and that afterwards he escaped from confinement; but well knew they were circumstances, which were not very affecting, therefore took no great pains with the poetry.

Note return to page 265 ‡This is a most pleasing allusion, and very natural in Henry's mouth.

Note return to page 266 *Here again the strong line of Henry's character is fully display'd; he seems better calculated to have wore a mitre than a crown.

Note return to page 267 *This is the prophecy, to which our author makes Richard III, afterwards allude, viz. “I do remember me, Harry the sixth “Did prophecy that Richmond should be king, “When Richmond was a peevish boy.”

Note return to page 268 *This wise magistrate seems exceeding open to persuasion; he gives up the city as mildly as possible. Gloucester properly remarks it, whose shrewd observations are very poignantly expressed through the whole of his character.

Note return to page 269 §The particular deeds of mercy are here nicely and pleasingly related, and well it becomes Henry as a man and christian, to pride himself in them.

Note return to page 270 †The revolutions in this bustling act put probability to the blush; and we cannot perceive a scene, or even a speech in it, worthy particular approbation, except that remarked in the foregoing page.

Note return to page 271 ‡This tame sufferance of reinforcements to enter the city, is an exceeding strange piece of generalship in Edward and his adherents.

Note return to page 272 *It does not appear that any of the nobles or princes pay the least regard to either public or private faith; and this is surely a most sudden and unaccountable revolt of Clarence. If a picture of the great world may be taken from this, and other historical plays of our Author, the members who compose it are the lowest objects of society.

Note return to page 273 *The marked lines would be superfluous in speaking, and much too fanciful for Warwick's situation, though they are strictly descriptive of his former abilities and influence.

Note return to page 274 †This allusion is very solemnly strong, and affecting.

Note return to page 275 ‡This speech, though very poetical, being much too long, and unnaturally allegorical, ought to be shortened: it was written more to indulge the Author's fancy, than to promote the plot.

Note return to page 276 *This harangue of the Queen, though short, is spirited, and to the purpose.

Note return to page 277 *The purport of this scene is all transplanted by Cibber, very judiciously, into the first Act of Richard the Third, and put into Tressel's mouth.

Note return to page 278 †This is surely one of the most deliberate pieces of cruelty that ever disgraced men, much more peers and soldiers.

Note return to page 279 †The queen's remonstrance to the mean perpetrators of the murder of her son, is very just, natural, and affecting.

Note return to page 280 *This speech is extremely emphatic and fanciful; the whole scene has, by judicious application, considerably enriched Cibber's Richard; the imagery, to render Gloster detestable, is fine; and his own soliloquy, after Henry's death, is admirable, either for delivery or perusal.

Note return to page 281 †This Act has some passages, particularly the scene before this, of considerable acting merit; however, upon the whole, it is bustling without importance, and scarce makes any appeal to the passions worth notice. On a thorough consideration, the Second part of this king's troubles seems best calculated for alteration, and performance; but neither of them suited to the latter, in the state Shakespeare has left them.

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