The conduct of this drama is deficient: the action begins and ends often before the conclusion, and the different parts might change places without inconvenience; but its general power, that power by which all works of genius shall finally be tried, is such, that perhaps it never yet had reader or spectator, who did not think it too soon at an end.

MEASURE FOR MEASURE.

THERE is perhaps not one of Shakspeare's plays more darkened than this, by the peculiarities of its author, and the unskilfulness of its editors, by distortions of praise, or negligence of transcription.

whole many sparks of genius; nor is there any play that has more evident marks of the hand of Shakspeare.

LOVE'S LABOUR'S LOST.

In this play, which all the editors have concurred to censure, and some have rejected as unworthy of our poet, it must be confessed that there are many passages mean, childish, and vulgar; and some which ought not to have been exhibited, as we are told they were, to a maiden queen. But there are scattered through the

MIDSUMMER NIGHT'S DREAM.

WILD and fantastical as this play is, all the parts in their various modes are well written, and give the kind of pleasure which the author designed. Fairies in his time were much in fashion; common tradition had made them familiar, and Spenser's poem had made them great.

MERCHANT OF VENICE.

Ir has been lately discovered, that this fable is taken from a story in the "Pecorone" of Giovanni Fiorentino, a novelist, who wrote in 1978. The story has been published in English, and I have epitomized the translation. The translator is of opinion, that the choice of the

The novel of " Giraldi Cynthio," from which Shakspeare is supposed to have borrowed this fable, may be read in "Shakspeare illustrated," elegantly translated, with remarks, which will assist the inquirer to discover how much absurdity Shakspeare has admitted or avoided.

I cannot but suspect that some other had new-caskets is borrowed from a tale of Boccace, modelled this novel of Cynthio, or written a story which in some particulars resembled it, and that Cynthio was not the author whom Shakspeare immediately followed. The emperor, in Cynthio, is named Maximine; the duke, in Shakspeare's enumeration of the persons of the drama, is called Vincentio. This appears a very slight remark; but since the duke has no name in the play, nor is ever mentioned but by his title, why should he be called Vincentio among the persons, but because the name was copied from the story, and placed superfluously at the head of the list by the mere habit of transcription? It is therefore likely, that there was then a story of Vincentio, duke of Vienna, different from that of Maximine, emperor of the Romans.

Of this play, the light or comic part is very natural and pleasing, but the grave scenes, if a few passages be excepted, have more labour than elegance. The plot is rather intricate than artful. The time of the action is indefinite; some time, we know not how much, must have elapsed between the recess of the duke, and the imprisonment of Claudio; for he must have learned the story of Mariana in his disguise, or he delegated his power to a man already known to be corrupted. The unities of action and place are sufficiently preserved.

which I have likewise abridged, though I believe that Shakspeare must have had some other novel in view.

Of "The Merchant of Venice," the style is even and easy, with few peculiarities of diction, or anomalies of construction. The comic part raises laughter, and the serious fixes expectation. The probability of either one or the other story cannot be maintained. The union of two actions in one event is in this drama eminently happy. Dryden was much pleased with his own address in connecting the two plots of his "Spanish Friar," which yet, I believe, the critic will find excelled by this play.

AS YOU LIKE IT.

Or this play the fable is wild and pleasing. I know not how the ladies will approve the facility with which both Rosalind and Celia give away their hearts. To Celia much may be forgiven for the heroism of her friendship. The character of Jacques is natural and well preserved. The comic dialogue is very sprightly, with less mixture of low buffoonery than in some other plays: and the graver part is elegant and harmonious. By hastening to the end of his work, Shakspeare suppressed the dialogue between the usurper and the hermit, and lost an opportunity of exhibiting a moral lesson in which he might have found matter worthy of his highest powers.

TAMING OF THE SHREW.

Or this play the two plots are so well united, that they can hardly be called two without injury to the art with which they are interwoven. The attention is entertained with all the variety

of a double plot, yet is not distracted by uncon- | deur, and variety of its action, but it has no nice discriminations of character; the events nected incidents. are too great to admit the influence of particular dispositions, and the course of the action necessarily determines the conduct of the agents.

The part between Katharine and Petruchio is eminently sprightly and diverting. At the marriage of Bianca, the arrival of the real father, perhaps, produces more perplexity than pleasure. The whole play is very popular and diverting.

ALL'S WELL THAT ENDS WELL.

THIS play has many delightful scenes, though not sufficiently probable, and some happy characters, though not new, nor produced by any deep knowledge of human nature. Parolles is a boaster and a coward, such as has always been the sport of the stage, but perhaps never raised more laughter or contempt than in the hands of Shakspeare.

I cannot reconcile my heart to Bertram; a man noble without generosity, and young without truth; who marries Helen as a coward, and leaves her as a profligate when she is dead by his unkindness, sneaks home to a second marriage, is accused by a woman whom he has wronged, defends himself by falsehood, and is dismissed to happiness.

The story of Bertram and Diana had been told before of Mariana and Angelo, and, to confess the truth, scarcely merited to be heard a second time.

TWELFTH-NIGHT.

THIS play is in the graver part elegant and easy, and in some of the lighter scenes exquisitely humorous. Ague-cheek is drawn with great propriety, but his character is, in a great measure, that of natural fatuity, and is therefore not the proper prey of a satirist. The soliloquy of Malvolio is truly comic; he is betrayed to ridicule merely by his pride. The marriage of Olivia, and the succeeding perplexity, though well enough contrived to divert on the stage, wants credibility, and fails to produce the proper instruction required in the drama, as it exhibits no just picture of life.

WINTER'S TALE.

THE story of this play is taken from "The pleasant History of Dorastus and Fawnia," written by Robert Greene.

This play, as Dr. Warburton justly observes, is, with all its absurdities, very entertaining. The character of Autolycus is very naturally conceived, and strongly represented.

MACBETH.

THIS play is deservedly celebrated for the propriety of its fictions, and solemnity, gran

The danger of ambition is well described: and I know not whether it may not be said, in defence of some parts which now seem improbable, that in Shakspeare's time it was necessary to warn credulity against vain and illusive predictions.

The passions are directed to their true end. Lady Macbeth is merely detested; and though the courage of Macbeth preserves some esteem, yet every reader rejoices at his fall.

were printed in 1600. When " Henry V." was | equal probability, that the natural passions of a written, we know not, but it was printed like- poet would have disposed him to separate his wise in 1600, and therefore before the publica- own works from those of an inferior hand. tion of the first part: the first part of" Henry And, indeed, if an author's own testimony is VI." had been often shown on the stage, and to be overthrown by speculative criticism, no would certainly have appeared in its place had man can be any longer secure of literary rethe author been the publisher. putation.

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 discriminated. King Henry and his queen, king Edward, the duke of Gloucester, and the earl of Warwick, are very strongly and distinctly painted.

The old copies of the two latter parts of "Henry VI." and of "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.

KING RICHARD III.

KING HENRY VI. PART III.

THE three parts of " 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 productions of wit there will be inequality. Sometimes judgment will err, and sometimes the matter itself will defeat the artist. Of every author's works ope 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 spurious-hibition, cannot be denied. are trifling, others shocking, probable.

ness 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 "King John," "Richard II." or the tragic scenes of "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 inquire 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 refers to the second play in his epilogue to " Henry V.," and apparently connects the first act of "Richard III." with the last of the third part of " 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

THIS is one of the most celebrated of our author's performances; yet I know not whether it has not happened to him, as to others, to be praised most, when praise is not most deserved. That this play has scenes noble in themselves, and very well contrived to strike in the exBut some parts

and some im

I have nothing to add to the observations of the learned critics, but that some traces of this antiquated exhibition are still retained in the rustic puppet-plays, in which I have seen the Devil very lustily belaboured by Punch, whom I hold to be the legitimate successor of the old Vice.

KING HENRY VIII.

THE play of" Henry the Eighth" is one of those which still keep possession of the stage by the splendour of its pageantry. The coronation, about forty years ago, drew the people together in multitudes for a great part of the winter. Yet pomp is not the only merit of this play. The meek sorrows and virtuous distress of Katharine have furnished some scenes, which may be justly numbered among the greatest efforts of tragedy. But the genius of Shakspeare comes in and goes out with Katharine. Every other part may be easily conceived, and easily written.

The historical dramas are now concluded, of

and "

which the two parts of "Henry the Fourth," | strongly discriminated. Upton, who did not Henry the Fifth," are among the happiest easily miss what he desired to find, has discovered of our author's compositions; and King that the language of Antony is, with great skill John," "Richard the Third," and "Henry and learning, made pompous and superb, accordthe Eighth," deservedly stand in the second ing to his real practice. But I think his diction class. Those whose curiosity would refer the not distinguishable from that of others: the historical scenes to their original, may consult most tumid speech in the play is that which Hollinshed, and sometimes Hall: from Hollin- Cæsar makes to Octavio. shed, Shakspeare has often inserted whole The events, of which the principal are describspeeches with no more alteration than was ed according to history, are produced without necessary to the numbers of his verse. To any art of connection or care of disposition. transcribe them into the margin was cessary, because the original is easily examined, and they are seldom less perspicuous in the poet than in the historian.

unne

TIMON OF ATHENS.

66

To play histories, or to exhibit a succession of events by action and dialogue, was a common entertainment among our rude ancestors, upon great festivities. The parish clerks once performed at Clerkenwell a play which lasted three days, containing "The History of the World."

CORIOLANUS.

THE tragedy of "Coriolanus" is one of the most amusing of our author's performances. The old man's merriment in Menenius; the lofty lady's dignity in Volumnia; the bridal modesty in Virgilia; the patrician and military haughtiness in Coriolanus; the plebeian malignity, and tribunitian insolence, in Brutus and Sicinius, make a very pleasing and interesting variety and the various revolutions of the hero's fortune fill the mind with anxious curiosity. There is, perhaps, too much bustle in the first act, and too little in the last.

THE play of "Timon" is a domestic tragedy, and therefore strongly fastens on the attention of the reader. In the plan there is not much art, but the incidents are natural, and the characters various and exact. The catastrophe affords a very powerful warring against that ostentatious liberality, which scatters bounty, but confers no benefits, and buys flattery, but not friendship.

ANTONY AND CLEOPATRA.

THIS play keeps curiosity always busy, and the passions always interested. The continual hurry of the action, the variety of incidents, and the quick succession of one personage to another, call the mind forward without intermission from the first act to the last. But the power of delighting is derived principally from the frequent changes of the scene; for except the ferainine arts, some of which are too low, which distinguish Cleopatra, no character is very

In this tragedy are many passages perplexed, obscure, and probably corrupt, which I have endeavoured to rectify, or explain, with due diligence; but having only one copy, cannot promise myself that my endeavours shall be much applauded.

TITUS ANDRONICUS.

ALL the editors and critics agree with Mr. Theobald in supposing this play spurious. I see no reason for differing from them; for the colour of the style is wholly different from that of the other plays, and there is an attempt at regular versification, and artificial closes, not always inelegant, yet seldom pleasing. The barbarity of the spectacles, and the general massacre, which are here exhibited, can scarcely be conceived tolerable to any audience; yet we are told by Jonson, that they were not only borne, but That Shakspeare wrote any part, though Theobald declares it incontestible, I see no reason for believing.

JULIUS CÆSAR.

Or this tragedy many particular passages deserve regard, and the contention and reconcilement of Brutus and Cassius is universally celebrated; but I have never been strongly agitat-praised. ed in perusing it, and think it somewhat cold and unaffecting, compared with some other of Shakspeare's plays; his adherence to the real story, and to Roman manners, seems to have impeded the natural vigour of his genius.

The testimony produced at the beginning of this play, by which it is ascribed to Shakspeare, is by no means equal to the argument against its authenticity, arising from the total difference of conduct, language, and sentiments, by which it stands apart from all the rest. Meres had probably no other evidence, than that of a titlepage, which, though in our time it be sufficient, was then of no great authority; for all the plays which were rejected by the first collectors of Shakspeare's works, and admitted in later editions, and again rejected by the critical editors, had Shakspeare's name on the title, as we may suppose, by the fraudulence of the printers, who, while there were yet no gazettes, nor advertisements, nor any means of circulating lite