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Thus have we swept suspicion from our seat,
Glo. I'll blast his harvest, if your head were laid;
And kiss your princely nephew, brothers both.
K. Edw. Thanks, noble Clarence; worthy brother,
Glo. And, that I love the tree from whence thou sprang'st, • Witness the loving kiss I give the fruit:To say the truth, so Judas kiss'd his master; And cried-all hail! when as he meant
K. Edw. Now am I seated as my soul delights,
Clar. What will your grace have done with Margaret?
• Work thou the way, &c.] He speaks this line, first touching his head, and then looking on his hand.
4 Thanks, noble Clarence; worthy brother, thanks.] In my copy of the second folio, which had belonged to king Charles the first, his majesty has erased. Cla. and written King, in its stead. - Shakspeare, therefore, in the catalogue of his restorers, may boast of a royal name. STEEVENS.
Hath pawn'd the Sicils and Jerusalem,
K. Edw. Away with her, and waft her hence to France. And now what rests, but that we spend the time With stately triumphs, mirthful comick shows, Such as befit the pleasures of the court? Sound, drums and trumpets! - farewell, sour annoy ! For here, I hope, begins our lasting joy. [Exeunt. 6
5 With stately triumphs,] Triumphs are publick shows.
The three parts of King Henry VI. are suspected, by Mr. Theobald, of being supposititious, and are declared, by Dr. Warburton, to be certainly not Shakspeare's. Mr. Theobald's suspicion arises from some obsolete words; but the phraseology is like the rest of our author's style, and single words, of which however I do not observe more than two, can conclude little.
Dr. Warburton gives no reason, but I suppose him to judge upon deeper principles and more comprehensive views, and to draw his opinion from the general effect and spirit of the composition, which he thinks inferior to the other historical plays.
From mere inferiority, nothing can be inferred; in the production of wit there will be inequality. Sometimes judgment will err, and sometimes the matter itself will defeat the artist. Of every author's works, one will be the best, and one will be the worst. The colours are not equally pleasing, nor the attitudes equally graceful, in all the pictures of Titian or Reynolds.
Dissimilitude of style and heterogeneousness of sentiment, may sufficiently show that a work does not really belong to the reputed author. But in these plays no such marks of spuriousness are found. The diction, the versification, and the figures, are Shakspeare's. These plays, considered, without regard to characters and incidents, merely as narratives in verse, are more happily conceived, and more accurately finished than those of K. John, Richard II. or the tragick scenes of King Henry IV. and V. If we take these plays from Shakspeare, to whom shall they be given? What author of that age had the same easiness of expression and fluency of numbers?
Having considered the evidence given by the plays themselves, and found it in their favour, let us now enquire what corroboration can be gained from other testimony. They are ascribed to Shakspeare by the first editors, whose attestation may be received in questions of fact, however unskilfully they superintended their edition. They seem to be declared genuine by the voice of Shakspeare himself, who re
fers to the second play in his epilogue to King Henry V., rently connects the first act of King Richard III. with the last of The Third Part of King Henry VI. If it be objected that the plays were popular, and that therefore he alluded to them as well known; it may be answered, with equal probability, that the natural passions of a poet would have disposed him to separate his own works from those of an inferior hand. And, indeed, if an author's own testimony is to be overthrown by speculative criticism, no man can be any longer secure of literary reputation.
Of these three plays I think the second the best. The truth is, that they have not sufficient variety of action, for the incidents are too often of the same kind; yet many of the characters are well dis criminated. King Henry, and his queen, king Edward, the duke of Gloster, and the earl of Warwick, are very strongly and distinctly painted.
The old copies of the two latter parts of King Henry VI. and of King Henry V. are so apparently imperfect and mutilated, that there is no reason for supposing them the first draughts of Shakspeare. I am inclined to believe them copies taken by some auditor, who wrote down, during the representation, what the time would permit, then perhaps filled up some of his omissions at a second or third hearing, and, when he had by this method formed something like a play, sent it to the printer. JOHNSON.
END OF THE FIFTH VOLUME.