With them, the two brave bears, Warwick and THE three parts of King Henry VI. are suspected, by Montague, That in their chains fetter'd the king、y lion, K. Edw. Clarence, and Gloster, love my lovely queen; 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 the au thor'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, 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 sen. [Aside.timent, 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 ver sification, 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, King Richard II. or the tragic 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 ?* And kiss your princely nephew, brothers both. K. Edw. Thanks, noble Clarence; worthy bro- • 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 all harm. Of these three plays I think the second is the best. Aside. 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 Gloster, and the Earl of Warwick, are very strongly and distinctly painted. K. Edw. Now am I seated as my soul delights, Reignier, her father, to the king of France K. Edw. Away with her, and wait her hence to And now what rests, but that we spend the time 2 The old quarto play appropriates this line to the queen. The first and second folio, by mistake, have given it to Clarence. In Steevens's copy of the second folio, which had belonged to King Charles the First, his majesty had erased Cla. and written King in its stead. Shakspeare, therefore, in the catalogue of his restorers, may boast a royal name The old copies of the two latter parts of King Henry VI. and of King Henry V. are so apparently mutilated and imperfect, 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. * This note by Dr. Johnson has been preserved not withstanding the full answer to his argument which 19 given in the abstract of Malone's dissertation prefixed to these plays, which discriminates between what is and what is not from the hand of our great poet. 'No fraudulent copyist (says Malone) or short-hand writer would have invented circumstances totally different from those which appear in Shakspeare's new modelled draughts as exhibited in the folio, or insert whole speeches of which scarcely a trace is to be found in that edition THE LIFE AND DEATH OF KING RICHARD THE THIRD. PRELIMINARY REMARKS. HIS Tragedy, though called in the original edition | "The Life and Death of King Richard the Third,' comprises only fourteen years. The second scene commences with the funeral of King Henry VI, who is said to have been murdered on the 21st of May, 1471. imprisonment of Clarence, which is represented previously in the first scene, did not, in fact, take place till 1477-8. Several dramas on the present story had been written before Shakspeare attempted it. There was a Latin play on the subject, by Dr. Legge, which had been acted at St. John's College, Oxford, some time before the year 1588. And a childish imitation of it, by one Henry Lacey, exists in MS. in the British Museum; (MSS. Harl. No. 6926;) it is dated 1586. In the books of the Stationers' Company are the following entries:- Aug. 15, 1596, A Tragical Report of King Richard the Third: a ballad.' June 19, 1594, Thomas Creede made the following entry: 'An enterlude, intitled the Tragedie of Richard the Third, wherein is shown the Deathe of Edward the Fourthe, with the Smotheringe of the Two Princes in the Tower, with the lamentable Ende of Shore's Wife, and the Contention of the Two Houses of Lancaster and Yorke.' A single copy of this ancient Interlude, which Mr. Boswell thinks was written by the author of Locrine, unfortunately wanting the title-page, and a few lines at the beginning, was in the collection of Mr. Rhodes, of Lyon's Inn, who liberally allowed Mr. Boswell to print it in the last Variorum edition of Shakspeare.* It appears evidently to have been read and used by Shakspeare. In this, as in other instances, the bookseller was probably induced to publish the old play, in consequence of the success of the new one in performance, and before it had yet got into print. Shakspeare's play was first entered at Stationers' Hall, Oct. 20, 1597, by Andrew Wise; and was then published with the following title:-The Tragedy of King Richard the Third: Containing his treacherous Plots against his Brother Clarence; and the pitiful Murther of his innocent Nephewes; his tyrannical Usurpation: with the whole course of his detested Life, and most deserved Death. As it hath been lately acted by the Right Honourable the Lord Chamberlaine his servants. Printed by Valentine Sims, for William Wise, 1597.' It was again reprinted, in 4to, in 1598, 1602, 1612 r 1613, 1622, and twice in 1629. This play was probably written in the year 1593 or 1594. One of Shakspeare's Richards, and most probably this, is alluded to in the Epigrams of John Weever, published in 1599; but which must have been written in 1595. AD GULIELMUN SHAKESPEARE. Houle-tong'd Shakespeare, when I saw thine issue, I swore Apollo got them, and none other: Their rosie-tainted features clothed in tissue, Some heaven-born goddesse said to be their mother. Rose cheeckt Adonis with his amber tresses, Faire fire-hot Venus charming him to love her, Chaste Lucretia, virgine-like her dresses, Proud lust-stung Tarquine, seeking still to prove her, Romeo, Richard, more whose names I know not, Their sugred tongues and power attractive beauty, 1 * A complete copy of Creed's edition of this curious Interlude, (which upon comparison proved to be a different impression from that in Mr. Rhodes's collection,) was sold by auction by Mr. Evans very lately. The title was as follows: The true Tragedie of Richard the Third, wherein is showne the death of Edward the Fourth, with the smothering of the two yoong Princes in the Tower: With a lamentable end of Shore's wife, an example for all wicked women; and lastly, the conjunction of the two noble Houses Lancaster and Yorke, as it was playd by the Queenes Maiesties players. London, printed by Thomas Creede; and are to be sold by William Barley at his shop in Newgate Market, neare Christ Church door, 1594; 4to.' It is a circumstance sufficiently remarkable that but a single copy of each of the two editions of this piece should be known to exist. : Say they are saints, althogh that saints they slew rot, For thousand vowes to them subjective dutie, They burn in love thy children Shakspeare let them, Go wo thy muse more nymphish brood beget them. 27th Epig. 4th Weeke The character of Richard had been in part developed in the last parts of King Henry VI. where, Schlegel ob serves, his first speeches lead us already to form the most unfavourable prognostications respecting him he lowers obliquely like a thunder-cloud on the horizon, which gradually approaches nearer and nearer, and first pours out the elements of devastation with which it is charged when it hangs over the heads of mortals.' 'The other characters of the drama are of too secondary a nature to excite a powerful sympathy; but in the back ground the widowed Queen Margaret appears as the fury of the past, who calls forth the curse on the future: every calamity which her enemies draw down on each other, is a cordial to her revengeful heart. Other female voices join, from time to time, in the lamentations and imprecations. But Richard is the soul, or rather the demon, of the whole tragedy, and fulfils the promise which he formerly made to set the murderous Machiavel to school.' Besides the uniform aversion with which he inspires us, he occupies us in the greatest variety of ways, by his profound skill in dissimulation, his wit, his prudence, his presence of mind, his quick activity, and his valour. He fights at last against Richmond like a desperado, and dies the honourable death of the hero on the field of battle.'-But Shakspeare has satisfied our moral feelings:-'He shows us Richard in his last moments already branded with the stamp of reprobation. We see Richard and Richmond on the night before battle sleep. ing in their tents; the spirits of those murdered by the tyrant, ascend in succession and pour out their curses against him, and their blessings on his adversary. These apparitions are, properly, merely the dreams of the two generals made visible. It is no doubt contrary to sensible probability, that their cents should only be separated by so small a space; but Shakspeare could reckon on poetical spectators, who were ready to take the breadth of the stage for the distance between the two camps, if, by such a favour, they were to be recom pensed by beauties of so sublime a nature as this series of spectres, and the soliloquy of Richard on his awaking.'‡ Steevens, in part of a note, which I have thought it best to omit, observed that the favour with which the tragedy has been received on the stage in modern times 'must in some measure be imputed to Cibber's reformation of it.' The original play was certainly too long for representation, and there were parts which might, with advantage, have been omitted in representation, as 'dramatic encumbrances;' but such a clumsy piece of patchwork as the performance of Cibber, was surely any thing but 'judicious ;' and it is only surprising, that the taste which has led to other reformations in the performance of our great dramatic poet's works, has not given to the stage a judicious abridgment of this tragedy in his own words, unencumbered with the superfluous transpositions and gratuitous additions which have been so long inflicted upon us. ley. The title is as follows:-'Epigrammes in the old est Cut and newest Fashion. A twise seven Houres. (in so many Weekes) Studie. No longer (like the Fashion) not unlike to continue. The first seven, John Weever. Sit voluisse sit valuisse. At London: printed by V. S. for Thomas Bushele; and are to be sold at his shop, at the great north doore of Paules. 1599. 12o.* There is a portrait of the author, engraved by Cecill, prefixed. According to the date upon this print, Weever was then twenty-three years old; but he tells us, in some introductory stanzas, that when he wrote the Epigrams, which compose the volume, he was not twenty years old; that he was one That twenty twelvemonths yet did never know.' Consequently, these Epigrams must have been writter in 1595. . Schlegel's Lectures r. Dramatic Literature, vol. i' This very curious little volume, which is supposed he unique, is in the possession of Mr Comb, of Hen- | p. 246 SCENE I. London. A Street. Enter GLOSTER. About a prophecy, which says-that G Gloster. Now is the winter of our discontent 6 But I,—that am not shap'd for sportive tricks, 1 The cognizance of Edward IV. was a sun, in memory of the three suns which are said to have appeared at the battle which he gained over the Lancastrians at Mortimer's Cross. 2 Made glorious by his manly chivalry, 8 Dances. As I am subtle, false, and treacherous, comes. Enter CLARENCE, guarded, and BRAKENBURY. Brother, good day: What means this armed guard, That waits upon your grace? Clar. His majesty, Tendering my person's safety, hath appointed This conduct to convey me to the Tower. Glo. Upon what cause? Clar. Because my name is—George. Glo. Alack, my lord, that fault is none of yours; He should, for that, commit your godfathers: O, belike, his majesty hath some intent, That you shall be new christen'd in the Tower. But what's the matter, Clarence? may I know? Clar. Yea, Richard, when I know; for, I protest, As yet I do not: But, as I can learn, He hearkens after prophecies, and dreams And from the cross-row plucks the letter G And says-a wizard told him, that by G His issue disinherited should be; And, for my name of George begins with G, It follows in his thought, that I am he: These, as I learn, and such like toys as these, Have mov'd his highness to commit me now. Glo. Why, this it is, when men are rul'd by wo men: 'Tis not the king, that sends you to the Tower; Clar. By heaven, I think, there is no man secure, Legend of the Death of King Richard III. in the Mirror for Magistrates, evidently imitated from Shakspeare. 6 Feature is proportion, or beauty, in general. By dissembling is not meant hypocritical nature, that pretends one thing and does another; but nature, that puts together things of a dissimilar kind, as a brave soul and | a deformed body. 7 Preparations for mischief. 4 i. e. steeds caparisoned or clothed in the trappings 8 This is from Holinshed. Philip de Comines says of war The word is properly barded, from equus bar-that the English at that time were never unfurnished datus, Latin of the middle ages. with some prophecy or other. by which they accounted for every event. 5 'Is the warlike sound of drum and trump turned to the soft noise of lyre and lute? The neighing of barbed 9 i. e. fancies, freaks of imagination. steeds, whose loudness filled the air with terror, and 10 i. e. frames his temper, moulds it to this extre whose breaths dimmed the sun with smoke, converted mity. This word is often used in the same figurative to delicate tunes and amorous glances.'-Lyly's Alex-sense by Spenser and other contemporaries of Shak ander and Campaspe, 1584. There is a passage in the speare. M But the queen's kindred, and night-walking heralds Got I'll tell you what,-I think, it is our way, Brak. I beseech your graces both to pardon me ; Glo. Even so? an please your worship, Braken- You may partake of any thing we say: A bonny eye, a passing pleasing tongue; Glo. Naught to do with mistress Shore? I tell He that doth naught with her, excepting one, Brak. What one, my lord? Glo. Her husband, knave:-Would'st thou betray me? Bruk. I beseech your grace to pardon me; and, Forbear your conference with the noble duke. Glo. We are the queen's abjects,4 and must obey. I will perform it to enfranchise you. Clar. I know it pleaseth neither of us well. I must perforce; farewell. Guard. turn, Simple, plain Clarence !-I do love thee so, Hast. Good time of day unto my gracious lord! must: But I shall live, my lord, to give them thanks, 1 The Queen and Shore. 2 This odd expression was preceded by equally singular, expressing what we now call vanced age.' others an Glo. No doubt, no doubt; and so shall Clarence For they, that were your enemies, are his, Glo. What news abroad? Hast. No news so bad abroad as this at home Glo. Now, by Saint Paul, this news is bad in O, he hath kept an evil diet long, He is. Hast. He cannot live, I hope; and must not die And leave the world for me to bustle in! By marrying her, which I must reach unto. When they are gone, then must I count my gains. [Exit. SCENE II. The same. Another Street. Enter the Corpse of KING HENRY THE SIXTH, borne in an open Coffin, Gentlemen bearing Halberds, to guard it; and LADY ANNE as mourner. Anne. Set down, set down your honourable If honour may be shrouded in a hearse,- wounds! Lo, in these windows, that let forth thy life, To lie signified anciently to reside, or remain in a place, and being confined therein, while moulting, was meta6 A mew was a place in which falcons were kept, ad-phorically used for any close place or places of confine. ment. The verb to mew was formed from the substan tive. 3 This and the three preceding speeches were probably all designed for prose. It is at any rate impossible that this line could have been intended for metre. 4 i. e the lowest of her subjects. This substantive is found in Psalm xxxv. 15:- Yea the very abjects came together against me unawares, making mouths at me, and ceased not.' 5 He means, or else be imprisoned in your stead' 7 Lady Anne, the betrothed widow of Edward prince which it is composed, was often employed to stop any May fright the hopeful mother at the view; Than I am made by my young lord, and thee!- [The Bearers take up the Corpse, and advance. Glo. Stay you, that bear the corse, and set it down. Anne. What black magician conjures up this fiend, To stop devoted charitable deeds? Glo. Villains, set down the corse; or, by Saint Paul, 'll make a corse of him that disobeys.2 1 Gent. My lord, stand back, and let the coffin pass. Glo. Unmanner'd dog! stand thou when I command: Advance thy halberd higher than my breast, ; For thou hast made the happy earth thy hell, O God, which this blood mad'st, revenge his death! Or, earth, gape open wide, and eat him quick; Glo. Lady, you know no rules of charity, man; No beast so fierce, but knows some touch of pity. Glo. But I know none, and therefore am no beast. Anne. O wonderful, when devils tell the truth! Glo. More wonderful, when angels are so angry.Vouchsafe, divine perfection of a woman, Of these supposed evils, to give me leave, By circumstance, but to acquit myself. Anne. Vouchsafe, diffus'd' infection of a man, For these known evils, but to give me leave, By circumstance, to curse thy cursed self. Glo. Fairer than tongue can name thee, let me have Glo. By such despair, I should accuse myself. Anne. And, by despairing, shalt thou stand excus'd; For doing worthy vengeance on thyself, Anne. Why then, they are not dead But dead they are, and, devilish slave, by thee. Glo. I did not kill your husband. Anne. Why, then he is alive. Glo. Nay, he is dead; and slain by Edward's hand. Anne. In thy foul throat thou liest; Queen Margaret saw Thy murderous falchion smoking in his blood; Glo. I was provoked by her sland'rous tongue, wreck, You should not blemish it, if I stood by ; Anne. Black night o'ershade thy day, and death thy life! Glo. Curse not thyself, fair creature; thou art both. Anne. I would I were, to be reveng'd on thee. Glo. It is a quarrel most unnatural, To be reveng'd on him that loveth thee. Anne. It is a quarrel just and reasonable, To be reveng'd on him that kill'd my husband. Glo. He that bereft thee, lady, of thy husband, Did it to help thee to a better husband. Anne. His better doth not breathe upon the earth. the reason. The opinion seems to be derived from the ancient Swedes, or northern nations, from whom we descended; for they practised this method of trial in dubious cases. See Pitt's Allas; Sweden, p. 20. 5 Diffus'd anciently signified dark, obscure, strange, uncouth, or confused. 6 i. e. the crime of my brothers. He has just charged the murder of Lady Anre's husband on Edward |