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Henry V. is a very favourite monarch with the English nation, and he appears to have been also a favourite with Shakspeare, who labours hard to apologize for the actions of the king, by shewing us the character of the man, as “ the king of good fellows." He scarcely deserves this honour. He was fond of war and low company :-we know little else of him. He was careless, dissolute, and ambitious ;-idle, or doing mischief. In private, he seemed to have no idea of the common decencies of life, which he subjected to a kind of regal license; in publick affairs, he seemed to have no idea of any rule of right or wrong, but brute force, glossed over with a little religious hypocrisy and archi-episcopal advice. His principles did not change with bis situation and prosessions. His adventure on Gadshill was a prelude to the affair of Agiocourt, only a bloodless one; Falstaff was a puny prompter of violence and outrage, compared with the pious and politiek Archbishop of Canterbury, who gave the king carte blanche, in a genealogical tree of his family, to rob and murder in circles of latitude and longitude abroad-to save the possessions of the church at home. This appears in
the speeches in Shakspeare, where the hidden motives that actuate princes and their advisers in war and policy are better laid open than in speeches from the throne or woolsack. Henry, because he did not know how to govern his own kingdom, determined to make war upon his neighbours. Because his own title to the crown was doubtful, he laid claim to that of France. Because he did not know how to exercise the enormous power, which had just dropped into his hands, to any one good purpose, he immediately undertook (a cheap and obvious resource of sovereignty) to do all the mischief he could. Even if absolute monarchs had the wit to find out objects of laudable ambition, they could only "plume up their wills" in adhering to the more sacred formula of the royal prerogative, “the right divine of kings to govern wrong," because will is only then triumphant when it is opposed to the will of others, because the pride of power is only then shewn, not when it consults the rights and interests of others, but when it insults and tramples on all justice and all humanity. Henry declares his resolution “when France is his, to bend it to his awe, or break it all to pieces"-a resolution worthy of a conqueror, to destroy all that he cannot enslave; and what adds to the joke, he lays all the blame of the consequences of his ambition on those who will not submit tamely to his tyranny. Such is the history of kingly power, from the beginning to the end of the world ;-with this difference, that the object of war formerly, when the people adhered to their allegiance, was to depose kings; the object latterly, since the people swerved from their allegiance, has been to restore kings, and to make common cause
against mankind. The object of our late invasion and conquest of France was to restore the legitimate monarch, the descendant of Hugh Capet, to the throne: Henry V., in his time, made war on and deposed the descendant of this very Hugh Capet, on the plea that he was a usurper and illegitimate. What would the great modern catspaw of legitimacy and restorer of divine right have said to the claim of Henry and the title of the descendants of Hugh Capet ? Henry V., it is true, was a hero, a king of England, and the conqueror of the king of France. Yet we feel little love or admiration for him. He was a hero, that is, he was ready to sacrifice his own life for the pleasure of destroying thousands of other lives: be was a king of England, but not a constitutional one, and we only like kings according to the law; lastly, he was a conqueror of the French king, and for this we dislike him less than if he had conquered the French people. How then do we like him? We like him in the play. There he is a very amiable monster, a very splendid pageant. As we like to gaze at a panther or a young lion in their cages in the Tower, and catch a pleasing horrour from their glistening eyes, their velvet paws, and dreadless roar, so we take a very romantick, heroick, patriotick, and poetical delight in the boasts and feats of our younger Harry, as they appear on the stage and are confined to lines of ten syllables; where no blood follows the stroke that wounds our ears, where no harvest bends beneath horses' hoofs, no city flames, no little child is butchered, nö dead men's bodies are found piled on heaps and festering the next morning-in the orchestra !
So much for the politicks of this play; now for the poetry. Perhaps one of the most striking images in all Shakspeare is that given of war in the first lines of the Prologue.
“O for a muse of fire, that would ascend
Rubens, if he had painted it, would not have improved upon this simile.
The conversation between the Archbishop of Canterbury and the Bishop of Ely relating to the sudden change in the manners of Henry V. is among the well known Beauties of Shakspeare. It is indeed admirable both for strength and grace. It has sometimes occurred to us that Shakspeare, in de. scribing “the reformation" of the Prince, might have had an eye to bimself
gaze o the
unger afined llows arvest
" Which is a wonder how his grace should glean it,
Ely. The strawberry grows underneath the nettle,
This at least is as probable an account of the progress of the poet's mind, as we have met with in any of the Essays on the Learning of Shakspeare.
Nothing can be better managed than the caution which the king gives the meddling Archbishop, not to advise him rashly to engage in the war with France, bis scrupulous dread of the consequences of that advice, and bis eager desire to hear and follow it.
“And God forbid, my dear and faithful lord,
you should fashion, wrest, or bow your reading,
Another characteristick instance of the blindness of human nature to every thing but its own interests, is the complaint made by the king of " the ill neighbourhood" of the Scot in attacking England when she was attacking France.