ABSTRACT
There are several judicious transpositions in the last act, which, however, is still laboured and heavy. (IV, 78) [26] [Head-note to Henry V] Our Fifth Henry, notwithstanding his unpardonable levity and dissipation while a prince, shone with such resplendant lustre and dignity when a monarch that Shakespeare, who had shewn his foibles, was under a kind of necessity to produce him in an improved state, and if we judge by the outset of his prologue, he summoned all his powers to do the hero justice. Nor has he failed: the character is faithfully and ably drawn; it is furnished with language and sentiments suitable; being placed also in the most advantageous point of view. ‘Tis true, the plot is irregular, and tainted with some low quibbling comedy which, as we think, contrary to some idolaters of Shakespeare, greatly disgrace the serious part. However, upon the whole we may safely and cordially admit that there are several passages in this piece equal to any other the author ever wrote; it would be exceedingly painful to find fault, but that we have many more agreeable opportunities to praise. (IV, 3) [The second edition concludes:] ’Tis true, the plot is irregular; but its very wildness is an additional beauty. The comic scenes, wherewith this piece is interspersed, are admirably written. An over-nice critic might perhaps dispense with them; but they are very entertaining in the performance; and the author undoubtedly felt the necessity of relieving his sublimer passages, which, till the fifth act, shine with one uniform martial fire.—On the whole this piece, we presume, must be allowed to be a very capital performance. (IV, 209) [27] [On Julius Caesar, 3.1.230ff.] The real patriot is finely distinguished here from the pretended one; Brutus, conscious that he struck for liberty alone, suspects no ill consequences from Antony’s having the rostrum; while Cassius, who acted from malevolence and ambition, justly forebodes the real event. (V, 43)
[28] [Ibid., 4.3.308ff.: the performing texts added a concluding passage to Act IV]
As these four uncharacteristic, bouncing lines are used in representation by way of sending the actor off with a flourish, we insert them; though very disgraceful to Brutus and Shakespeare. We have seen the ghost introduced a second time; but such an addition is insufferable ignorance. (V, 66) [29] [Ibid., 5.5.68ff.] This elogium of Antony’s upon a dead foe is elegant, comprehensive, and generous. The piece should conclude with it, unless something better was supplied; for Octavius’s jingles are contemptible, and seem as if Shakespeare had suddenly tired, and patched a conclusion any way. (V, 75) [30] [On Timon of Athens, 4.1.1ff.: Timon’s curse of Athens] However highly provoked, there is in this speech of general execration something unworthy a generous mind; but it is not unnatural, as the heart which undistinguishingly dispenses favours may, turned to the opposite way, be easily supposed as unlimitedly vindictive. Should this be allowed the author is yet culpable for mingling indecency, as he has done, with temporary madness. (V, 121) [31] [Ibid., 5.1.223: Timon’s exit] This languid departure of the principal character must leave an audience unsatisfied; and all that follows is so detached from the main plot, except Timon’s epitaph, that cutting every line out would rather serve than maim the piece. It is merely patching up a conclusion with ingredients totally void of critical relish. (V, 146) [32] [End-note to Timon of Athens] The last act of this play has neither much to praise, nor much to condemn; of the conclusion we may speak in Shakespeare’s own words, that it is most lame and impotent. (V, 148)
[33] [Head-note to The Winter’s Tale] That Shakespeare was particularly right in his choice of a title for this piece, very imperfect criticism must allow, for it has all the improbabilities and jumble of incidents, some merry and some sad, that constitute Christmas stories. There are many beauties even in wildness; it is a parterre of poetical flowers sadly choked with weeds. Mr. Garrick has furnished a very good alteration, which we had no right to offer as Shakespeare’s…1 (V, 151) [34] [Ibid., 1.2.108ff.: Leontes’ jealousy] The origin and progress of jealousy are mostly unaccountable, but we never met with so strange a picture as this exhibited by Leontes, who, from what he himself has desired, picks out suspicion; indeed some passages which follow this speech in the original show his majesty to be little better than a bedlamite; but to the credit of our author they are properly omitted. (V, 156-7) [The second edition reads:] The origin and progress of jealousy, conceived of sudden and unjust surmise in the sufferer’s own brain (not planted there by the malice and misrepresentations of another, as instanced in Othello) and the severe anguish and self-reproach in consequence of being undeceived, are truly and pathetically painted in this character of Leontes. Some over-rash and almost frantic expressions are justly omitted in this alteration. The scene is thereby rendered not only less exceptionable but warmer and more affecting in representation. (V, 146) [35] [Ibid., 1.2.316ff.] The proposing of and assenting to Polixenes’s death by treacherous means, upon such slight vaporous surmises, shows Leontes a monster of inhumanity as well as of folly. (V, 160) [The second edition reads:] …surmises, can only be palliated by the state of a jealous mind, which is a temporary frenzy and will run into any extremes to gratify its resentment. (V, 151) [36] [Ibid., 1.2.462: Polixenes’ departure] This obscure and precipitate retreat of a monarch, tho’ in danger, abates dignity much. It might have been rendered better by putting 1 See Vol. 4, No. 150.
