Latest / Classic Comedy Library / Characters of Shakespeare's Plays Part 2 - William Hazlitt

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Characters of Shakespeare's Plays Part 2 - William Hazlitt · Classic Comedy Library

• 0:01
  Speaker 1: The character was also a grotesque ornament of the barbarous times,
• 0:05
  Speaker 1: and which alone the tragic groundwork of the story could
• 0:07
  Speaker 1: be laid. In another point of view, it is indispensable
• 0:12
  Speaker 1: inasmuch as while it is a diversion to the too
• 0:15
  Speaker 1: great intensity of our disgust, it carries the pathos to
• 0:19
  Speaker 1: the highest pitch of which it is capable, by showing
• 0:23
  Speaker 1: the pitiable weakness of the old king's conduct on its
• 0:26
  Speaker 1: irretrievable consequences. In the most familiar point of view, Lear
• 0:31
  Speaker 1: may well beat at the gate which led his folly
• 0:34
  Speaker 1: in after as the fool says, he has made his
• 0:37
  Speaker 1: daughters his mother's. The characters dropped in the third act
• 0:41
  Speaker 1: to make room for the entrance of Edgar's mad tom,
• 0:44
  Speaker 1: which well accords with the increasing bustle and wildness of
• 0:48
  Speaker 1: the incidents. And nothing can be more complete than the
• 0:52
  Speaker 1: distinction between Lear's reel in Edgar's assumed madness, while the
• 0:57
  Speaker 1: resemblance and the cause of their distresses from the severing
• 1:01
  Speaker 1: of the nearest ties of natural affection keeps up a
• 1:04
  Speaker 1: unity of interest. Shakespeare's mastery over his subject, if it
• 1:09
  Speaker 1: was not art, was owing to a knowledge of the
• 1:12
  Speaker 1: connecting links of the passions and their effect upon the mind,
• 1:16
  Speaker 1: still more wonderful than any systematic adherence to rules, and
• 1:20
  Speaker 1: that anticipated and outdid all the efforts of the most
• 1:24
  Speaker 1: refined art, not inspired and rendered instinctive by genius. One
• 1:30
  Speaker 1: of the most perfect displays of dramatic power is the
• 1:33
  Speaker 1: first interview between Lear and his daughter, after the designed
• 1:38
  Speaker 1: affronts upon him, which till one of his knights reminds
• 1:41
  Speaker 1: him of them, his sanguine temperament had led him to overlook.
• 1:46
  Speaker 1: He returns with his train from hunting, and his usual
• 1:49
  Speaker 1: impatience breaks out in his first words, let me not
• 1:53
  Speaker 1: stay at jot for dinner, go get it ready. He
• 1:57
  Speaker 1: then encounters the faithful Kent in disguis eyes and retains
• 2:01
  Speaker 1: him in his service, and the first trial of his
• 2:04
  Speaker 1: honest duty is to trip up the heels of the
• 2:07
  Speaker 1: officious Steward, who makes so prominent and despicable a figure
• 2:11
  Speaker 1: through the piece on the entrance of Goneril. The following
• 2:15
  Speaker 1: dialogue takes place Lear, how now, daughter, what makes that front?
• 2:23
  Speaker 1: Letton methinks you are too much of late than the
• 2:27
  Speaker 1: frown fool thoust a pretty fellow. When thou hast no
• 2:33
  Speaker 1: need to care for her frowning. Now thou art, and
• 2:36
  Speaker 1: oh without the figure, I am better than thou art.
• 2:40
  Speaker 1: Now I am a fool. Thou art nothing. Yes, forsooth,
• 2:45
  Speaker 1: I will hold my tongue to Goneril, so your face
• 2:48
  Speaker 1: bids me, though you say nothing, Mum mum. He that
• 2:53
  Speaker 1: keeps nor crust nor crumb, weary of all shall want some.
• 2:58
  Speaker 1: That's a shield peace, pointing to lear.
• 3:03
  Speaker 2: Goneril, Not only sir this year all licensed fool, but
• 3:09
  Speaker 2: other of your insolent retinue to hourly carp and quarrel,
• 3:14
  Speaker 2: breaking forth in rank, and not to be endured riots.
• 3:18
  Speaker 2: I had thought, by making this well known unto you,
• 3:21
  Speaker 2: to have found a safe re dress. But now grow
• 3:23
  Speaker 2: fearful by what yourself too lative spoken done, that you
• 3:27
  Speaker 2: protect this course and put it on by your allowance,
• 3:31
  Speaker 2: which if you should, the fault would not escape censure,
• 3:33
  Speaker 2: nor the addresses sleep, which in the tender of a
• 3:36
  Speaker 2: wholesome wheel might in their working. Do you that offense,
• 3:39
  Speaker 2: which else for shame, that then necessity would call discreet proceeding.
• 3:45
  Speaker 1: Fool For you trow 'n uncle, the hedge sparrow fed
• 3:50
  Speaker 1: the cuckoo so long that it had its head bit
• 3:53
  Speaker 1: off by young so out points the candle, and we
• 3:57
  Speaker 1: were left darkling? Are you our daughter, Goneril.
• 4:06
  Speaker 2: Come sir, I word you would make use of that
• 4:09
  Speaker 2: good wisdom, whereof I know you are fraught and put
• 4:12
  Speaker 2: away these dispositions which have late transform you from what
• 4:16
  Speaker 2: you rightly are.
• 4:18
  Speaker 1: Fool may not in ask no? When the cart draws
• 4:21
  Speaker 1: the horse, whoop, jug, I love thee Lear? Does any
• 4:28
  Speaker 1: here know me? Why this is not Lear? Does Lear walk? Thus?
• 4:35
  Speaker 3: Speak?
• 4:35
  Speaker 1: Thus? Where are his eyes? Either his notion weakness or
• 4:41
  Speaker 1: his discernings are lethargy hah waking? This is not so?
• 4:47
  Speaker 1: Who is it that can tummy? Who I am Lear's shadow?
• 4:52
  Speaker 1: I would learn that, for by the marks of sovereignty,
• 4:56
  Speaker 1: of knowledge and of reason I should be false persuaded.
• 5:01
  Speaker 1: I had daughters your name, fair gentlewoman, Goneril, Come sir.
• 5:10
  Speaker 2: This admiration is much of the favor of other your
• 5:13
  Speaker 2: new pranks. I do beseech you to understand my purposes. Aright,
• 5:17
  Speaker 2: as you are old and reverend, you should be wise.
• 5:21
  Speaker 2: Here you do keep a hundred knights and squires, men
• 5:24
  Speaker 2: so disordered, so debauched and bold, that this our court
• 5:28
  Speaker 2: infected with their manners shows like a ritis in epicurism,
• 5:33
  Speaker 2: and less to make it more like a tavern or
• 5:34
  Speaker 2: a brothel than a graced palace. The shame itself to
• 5:38
  Speaker 2: speak for instant remedy be then desired by her, that
• 5:41
  Speaker 2: else will take the thing. She begs A little to
• 5:44
  Speaker 2: disquantity your train and the remainder that shall still depend
• 5:48
  Speaker 2: to be such men as maybe sort your age and
• 5:51
  Speaker 2: know themselves. And you.
• 5:54
  Speaker 1: Leir darkness and devils saddle my horses, call my train together,
• 6:03
  Speaker 1: degenerate bastard. I'll not trouble thee yet have I left
• 6:09
  Speaker 1: a daughter? Goneril?
• 6:13
  Speaker 2: You strike my people, and your disordered rebel makes servants
• 6:17
  Speaker 2: of their betters.
• 6:19
  Speaker 1: Enter Albany Leir, whoa that too late? Repents? Oh sir,
• 6:28
  Speaker 1: are you come? Is it your will? Speak? Sir? Prepare
• 6:34
  Speaker 1: my horses. Albany in gratitude. Thou marble hearted fiend, more
• 6:43
  Speaker 1: hideous when thou ShoWest THEE in a child than the
• 6:48
  Speaker 1: sea monster. Albany. Pray, sir, be patient, lear detested kite
• 7:00
  Speaker 1: Hi to Goneril, my train are men of choice and
• 7:05
  Speaker 1: rarest parts that all particulars of duty know and in
• 7:10
  Speaker 1: the most exact regards support the worships of their name. Oh,
• 7:16
  Speaker 1: most small fault, How ugly didst thou in Cordelia's show,
• 7:22
  Speaker 1: which like an engine wrenched my frame of nature from
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  Speaker 1: the fixed place, drew from my heart all love and
• 7:32
  Speaker 1: added to the gall Oh lear, lear, lear, beat at
• 7:40
  Speaker 1: the gate, that let thy folly in striking his head,
• 7:46
  Speaker 1: and thy dear judgment, out go go my people Albany,
• 7:55
  Speaker 1: My lord, I am guiltless, as I am ignorant of
• 7:59
  Speaker 1: what hath moved you. Lear it may be so, my lord,
• 8:06
  Speaker 1: Here nature, here, dear goddess, here says spend thy purpose.
• 8:13
  Speaker 1: If thou didst intend to make this creature fruitful into
• 8:17
  Speaker 1: her womb, convey sterrillity, try up in her the organs
• 8:22
  Speaker 1: of increase, and from her derogate body never spring a babe.
• 8:28
  Speaker 3: To honor her.
• 8:30
  Speaker 1: If she must team create her child of spleen, that
• 8:35
  Speaker 1: it may live to be a thwart di natured torment
• 8:38
  Speaker 1: to her, Let it stamp wrinkles in her brow of
• 8:42
  Speaker 1: youth with caden tears, fret channels in her cheeks, turn
• 8:48
  Speaker 1: all her mother's pains and benefits to laughter and contempt,
• 8:54
  Speaker 1: that she may feel how sharper than a serpent's tooth.
• 8:57
  Speaker 1: It is to have a thankless child away away exit Albany, Now,
• 9:09
  Speaker 1: gods that we adore, whereof comes this Goneril.
• 9:14
  Speaker 2: Never afflict yourself to know the cause. But let his
• 9:17
  Speaker 2: disposition have that scope that dotage gives it.
• 9:22
  Speaker 1: Re enter Lear, Lear, what fifty of my followers at
• 9:29
  Speaker 1: a clap within a fortnight, Albany. What's the matter, sir Lear,
• 9:39
  Speaker 1: I'll tell thee life and death. I am ashamed that
• 9:44
  Speaker 1: thou hast power to shake my manner. Thus the Goneril,
• 9:50
  Speaker 1: that these hot tears which break from me perforce shouldn't
• 9:54
  Speaker 1: make THEE worth them. Blast and fox upon thee. The
• 9:59
  Speaker 1: unt woundings of a father's curse pierce every sense about thee.
• 10:05
  Speaker 1: Old fond eyes between this cause again, I'll pluck you
• 10:11
  Speaker 1: out and cast you with the waters that you lose
• 10:15
  Speaker 1: to temper clay, ha ha is it come to this?
• 10:21
  Speaker 1: Let it be so? Yet? Have I left a daughter
• 10:25
  Speaker 1: who I am sure is kind and comfortable. When she
• 10:29
  Speaker 1: shall hear this of thee with her nails shall flay
• 10:34
  Speaker 1: thy wolfish visage. Thou shalt find that I'll resume the
• 10:39
  Speaker 1: shape which thou dost think I have cast off forever
• 10:45
  Speaker 1: exit Lear, Kent and attendants. This is certainly fine, no
• 10:52
  Speaker 1: wonder that Lear says after it, Oh, let me be
• 10:55
  Speaker 1: not mad, not mad, sweet heavens, feeling its effects by anticipation.
• 11:02
  Speaker 1: But fine as is this burst of rage and indignation
• 11:06
  Speaker 1: at the first blow aimed at his hopes and expectations.
• 11:10
  Speaker 1: It is nothing near so fine as what follows from
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  Speaker 1: his double disappointment and his lingering efforts to see which
• 11:16
  Speaker 1: of them he shall lean upon for support and find
• 11:19
  Speaker 1: comfort in, when both his daughters turn against his age
• 11:22
  Speaker 1: and weakness. It is with some difficulty that Leir gets
• 11:26
  Speaker 1: to speak with his daughter Reagan and her husband that
• 11:29
  Speaker 1: Gloucester's castle in concert with Goneril, they have left their
• 11:33
  Speaker 1: own home on purpose to avoid him. His apprehensions are
• 11:38
  Speaker 1: fast alarmed by this circumstance, and when Gloucester, whose guest
• 11:42
  Speaker 1: they are, urges the fiery temper of the Duke of
• 11:45
  Speaker 1: Cornwall as an excuse for not importuning him a second time,
• 11:49
  Speaker 1: Leir breaks out vengeance, plague, death, confusion, fiery, what fiery quality?
• 12:00
  Speaker 1: Why Gloucester. I'll speak with the Duke of Cornwall and
• 12:04
  Speaker 1: his wife. Afterwards, feeling perhaps not well, himself. He is
• 12:10
  Speaker 1: inclined to admit their excuse from illness, but then recollecting
• 12:15
  Speaker 1: that they have set his messenger Kent in the stocks,
• 12:19
  Speaker 1: all suspicions are roused again, and he insists on seeing
• 12:23
  Speaker 1: them enter Cornwall. Reagan, Gloucester and servants Lear, good morrow
• 12:31
  Speaker 1: to you both, Cornwall, Hail to your grace. Kent is
• 12:38
  Speaker 1: set at liberty, Reagan.
• 12:42
  Speaker 2: I am glad to see your highness, Lear Reagan.
• 12:47
  Speaker 1: I think you are. I know what reason I have
• 12:51
  Speaker 1: to think so if thou shouldst not be glad, I
• 12:54
  Speaker 1: would divorce me from thy mother's tomb suppler king an adulteress.
• 13:00
  Speaker 1: Oh are you free to Kent some other time for that,
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  Speaker 1: beloved Reagan? Thy sister's not o Reagan. She hath tied,
• 13:12
  Speaker 1: sharp toothed, unkindness like a vulture. Here points to his heart.
• 13:19
  Speaker 1: I can scarce speak to thee thou'lt not believe of
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  Speaker 1: how depraved a quality a Reagan? Reagan.
• 13:29
  Speaker 2: I pray you, sir, take patience. I have hope you
• 13:32
  Speaker 2: less know how to value her dessert than she discant
• 13:35
  Speaker 2: her duty.
• 13:37
  Speaker 1: Lear say, how is that? Reagan?
• 13:44
  Speaker 2: I cannot think my sister in the least would fail
• 13:46
  Speaker 2: her obligation. If Sir, perchance she has restrained the riots
• 13:51
  Speaker 2: of your followers, tis on such ground and to such
• 13:54
  Speaker 2: wholesome end as clears her from all blame.
• 13:58
  Speaker 1: Lear my curses on her.
• 14:02
  Speaker 2: Reagan, Oh, sir, you are old nature, and you stands
• 14:07
  Speaker 2: on the very verge of her confine. You should be
• 14:10
  Speaker 2: ruled and led by some discretion that discerns your state
• 14:14
  Speaker 2: better than you yourself. Therefore, I pray you, but to
• 14:19
  Speaker 2: our sister, you do make return. Say you have wronged.
• 14:22
  Speaker 1: Her, Sir, Leir, ask her forgiveness? Do you but mark
• 14:29
  Speaker 1: how this becomes the use? Dear daughter, I confess that
• 14:34
  Speaker 1: I am old. Age is unnecessary on my knees. I
• 14:39
  Speaker 1: beg that you'll vouchsafe me raiment bed and food.
• 14:44
  Speaker 2: Reagan, good, Sir, No more, these are insightly tricks. Return
• 14:49
  Speaker 2: you to my sister, Leir.
• 14:53
  Speaker 1: Never Reagan, she hath abated me of half my train,
• 14:59
  Speaker 1: look blank upon me, struck me with her tongue, most
• 15:04
  Speaker 1: serpent upon the very heart. All the stored vengeances of
• 15:09
  Speaker 1: heaven fall on her ungrateful top, strike her young bones,
• 15:16
  Speaker 1: you taking airs with lameness, cornwall Fi Sir fi Leir,
• 15:26
  Speaker 1: you nimble lightnings. Dart your blinding flames into her scornful eyes,
• 15:33
  Speaker 1: infect her beauty. You fan sucked fogs drawn by the
• 15:39
  Speaker 1: powerful sun to fall and blast her pride.
• 15:45
  Speaker 2: Reagan, Oh the blessed gods, so you wish on me
• 15:49
  Speaker 2: when the rash mood is on.
• 15:51
  Speaker 1: Lear. No, Reagan, thouch shall never have my curse. Thy
• 15:58
  Speaker 1: tender hefted nature shall not give thee or to harshness.
• 16:02
  Speaker 1: Her eyes are fierce, But thine do comfort to not burn.
• 16:07
  Speaker 1: Tis not in THEE to grudge my pleasures, to cut
• 16:10
  Speaker 1: off my train, to bandy hasty words, to scant my sizes,
• 16:16
  Speaker 1: and in conclusion, to oppose the bolt against my coming in.
• 16:21
  Speaker 1: Thou better knowest the offices of nature, bond of childhood,
• 16:26
  Speaker 1: effects of courtesy, dues of gratitude, Thy half of the kingdom,
• 16:32
  Speaker 1: thou hast not forgot wherein I THEE endowed Reagan, good sir,
• 16:38
  Speaker 1: to the purpose trumpets within? Lear, who put my man
• 16:45
  Speaker 1: in the stocks cornwall? What trumpet's that? Enter, Steward, Reagan,
• 16:54
  Speaker 1: I know it.
• 16:55
  Speaker 2: My sisters disapproves her letter that she would soon be
• 16:58
  Speaker 2: here is your late come Lear.
• 17:03
  Speaker 1: This is a slave whose easy borrowed pride dwells in
• 17:07
  Speaker 1: the fickle grace of her. He follows out, varlet from
• 17:12
  Speaker 1: my sight, Cornwall, what means your grace? Leir? Who stopped
• 17:21
  Speaker 1: my servant, Reagan? I have good hope thou didst not know?
• 17:26
  Speaker 1: Aunt who comes here? Oh heavens, enter Goneril. If you
• 17:35
  Speaker 1: do love old men, if your sweet sway allow obedience,
• 17:41
  Speaker 1: if yourselves are old, make it your cause. Send down
• 17:46
  Speaker 1: and take my part. Art not ashamed to look upon
• 17:51
  Speaker 1: this beard to Goneril, Oh, Reagan, wilt thou take her
• 17:57
  Speaker 1: by the hand, Goneril?
• 18:02
  Speaker 2: Why not by the answer? How have I offended? All's
• 18:05
  Speaker 2: not offense? That indiscretion finds in dotage terms.
• 18:09
  Speaker 1: So, Leir of sights, you are too tough? Will you
• 18:17
  Speaker 1: yet hold? How came my man in the stocks? Cornwall?
• 18:24
  Speaker 1: I set him there, Sir, But his own disorders deserved
• 18:28
  Speaker 1: much less advancement, Leir, You did you? Reagan?
• 18:38
  Speaker 2: I pray you, father, being weak, seem so if till
• 18:44
  Speaker 2: the expiration of your month, you will return and sojourn
• 18:47
  Speaker 2: with my sister, dismissing half your train. Come then to me.
• 18:52
  Speaker 2: I am now from home and out of that provision
• 18:54
  Speaker 2: which shall be needful for your entertainment.
• 18:58
  Speaker 1: Leir return to her and fifty men dismissed.
• 19:05
  Speaker 2: No.
• 19:06
  Speaker 1: Rather, I abjure all roofs and choose to be a
• 19:10
  Speaker 1: comrade with a wolf and owl, to wait against the
• 19:14
  Speaker 1: nimity of the air necessity sharp pinch. Return with her.
• 19:21
  Speaker 1: Why the hot blooded France that dowerless took our youngest born,
• 19:27
  Speaker 1: I could as well be brought to me his throne
• 19:31
  Speaker 1: and squire like pension beg to keep base life afoot.
• 19:37
  Speaker 1: Return with her. Persuade me rather to be slave and
• 19:41
  Speaker 1: sumter to this detested groom. Looking on the steward goneril.
• 19:49
  Speaker 3: At your choice, sir lear.
• 19:53
  Speaker 1: Now I pray THEE daughter, do not make me mad.
• 19:58
  Speaker 1: I will not trouble thee my child farewell, will no
• 20:02
  Speaker 1: more meet, no more see one another. But yet thou
• 20:08
  Speaker 1: art my flesh, my blood, my daughter, or rather a
• 20:15
  Speaker 1: disease that's in my flesh, which I must needs call mine.
• 20:19
  Speaker 1: Thou art a bile, a plague, sore, an embossed carbuncle
• 20:24
  Speaker 1: in my corrupted blood. But I'll not chide thee. Let
• 20:29
  Speaker 1: shame come when it will. I do not call it.
• 20:32
  Speaker 1: Did not bid the thunderbear shoot, nor tell tales of
• 20:36
  Speaker 1: thee to hide judging jove, men, when thou canst be
• 20:41
  Speaker 1: better at thy leisure? I can be patient. I can
• 20:44
  Speaker 1: stay with Reagan I and my hundred knights.
• 20:49
  Speaker 2: Reagan, I'm not altogether so, Sir, I looked not for
• 20:54
  Speaker 2: you yet, nor unprovided for your fit. Welcome, give ear, sir,
• 20:58
  Speaker 2: to my sister. For those that mingle reason with your passion,
• 21:02
  Speaker 2: must be content to think you old and so. But
• 21:05
  Speaker 2: she knows what she does.
• 21:08
  Speaker 1: Lear is this well spoken?
• 21:11
  Speaker 2: Now, Reagan, I dare a vouch it, Sir? What fifty followers?
• 21:19
  Speaker 1: Is it not? Well?
• 21:20
  Speaker 2: What should you need more?
• 21:22
  Speaker 1: Yea?
• 21:22
  Speaker 2: Or so many? Set them? Both charge and danger speak
• 21:25
  Speaker 2: against so great a number? How in one house should
• 21:28
  Speaker 2: many people under two commands hold amity? Tis hard, almost impossible, Goneril.
• 21:36
  Speaker 2: Why might you not, my lord, receive attendance from those
• 21:39
  Speaker 2: that she calls servants or for mine?
• 21:42
  Speaker 1: Reagan?
• 21:44
  Speaker 2: Why not, my lord? If then they chanced to slack you,
• 21:47
  Speaker 2: we would control them. If you will come to me
• 21:50
  Speaker 2: for an hours, by danger, I entreat you to bring
• 21:53
  Speaker 2: but five and twenty to no more will I give
• 21:56
  Speaker 2: place or notice?
• 21:58
  Speaker 1: Lear. I gave you all, Reagan.
• 22:05
  Speaker 2: And in good time you gave it.
• 22:07
  Speaker 1: Lear made you my guardians, my depositors, but kept her
• 22:14
  Speaker 1: reservation to be followed with such a number. What must
• 22:19
  Speaker 1: I come to you with five and twenty? Reagan said
• 22:23
  Speaker 1: you so, Reagan.
• 22:27
  Speaker 2: And speak it again, my lord, no more with me.
• 22:31
  Speaker 1: Lear those wicked creatures yet to look well favored when
• 22:37
  Speaker 1: others are more wicked, not being the worst, stands in
• 22:41
  Speaker 1: some rank of praise. I'll go with thee to Goneril
• 22:47
  Speaker 1: thy fifty yet doth double five and twenty, and thou
• 22:52
  Speaker 1: art twice her love?
• 22:54
  Speaker 3: Goneril, hear me, my lord?
• 22:57
  Speaker 2: What needs you five and twenty ten or five to
• 23:01
  Speaker 2: follow in a house where twice so many have a
• 23:03
  Speaker 2: command to attend.
• 23:04
  Speaker 1: You, Reagan?
• 23:07
  Speaker 2: What need one?
• 23:09
  Speaker 1: Lear? Oh reason? Not the need? Our basest beggars are
• 23:15
  Speaker 1: in the poorest things superfluous allow not to nature more
• 23:20
  Speaker 1: than nature needs. Man's life is cheap as beast. Thou
• 23:26
  Speaker 1: art a lady, if only to go warm? We're gorgeous.
• 23:30
  Speaker 1: Why nature needs not what thou gorgeous west, which scarcely
• 23:36
  Speaker 1: keeps thee warm? But for true need, you Heavens, give
• 23:42
  Speaker 1: me that patience which I need. You see me, hear you,
• 23:46
  Speaker 1: God's a poor old man as full of grief as
• 23:51
  Speaker 1: age wretched in both. If it be you that stir
• 23:56
  Speaker 1: these daughter's hearts against their father, fool me not so
• 24:01
  Speaker 1: much to bear it. Tamely touch me with noble anger. Oh,
• 24:07
  Speaker 1: let no woman's weapons water drops stain my man's cheeks. No, you,
• 24:15
  Speaker 1: unnatural hags, I will have such revenges on you both
• 24:20
  Speaker 1: that all the world shall. I will do such things.
• 24:26
  Speaker 1: What they are yet I know not, but they shall
• 24:29
  Speaker 1: be the terrors of the earth. You think I'll weep, No,
• 24:36
  Speaker 1: I'll not weep. I have full cause of weeping. But
• 24:41
  Speaker 1: this heart shall break into a hundred thousand flaws, or
• 24:46
  Speaker 1: e'er i'll weep. Oh, fool, I shall go mad, exit
• 24:53
  Speaker 1: lear Gloucester, tent and fool. If there is anything in
• 24:59
  Speaker 1: any author like this yearning of the heart, these throes
• 25:02
  Speaker 1: of tenderness, this profound expression of all that can be
• 25:05
  Speaker 1: thought and felt in the most heartrending situations, we are
• 25:09
  Speaker 1: glad of it. But it is in some author that
• 25:12
  Speaker 1: we have not yet read. The scene in the Storm
• 25:16
  Speaker 1: where he is exposed to all the fury of the elements,
• 25:19
  Speaker 1: though grand and terrible, is not so fine. But the
• 25:23
  Speaker 1: moralizing scenes with mad Tom Kent and Gloucester are upon
• 25:27
  Speaker 1: a par with the former. His exclamation in the supposed
• 25:31
  Speaker 1: trial scene of his daughters, see the little dogs and
• 25:34
  Speaker 1: all tray Blanche and Sweetheart, see they bark at me,
• 25:39
  Speaker 1: his issuing his orders. Let them anatomize Reagan, see what
• 25:44
  Speaker 1: breeds a better heart? And his reflection when he sees
• 25:48
  Speaker 1: the misery of Edgar. Nothing but his unkind daughters could
• 25:53
  Speaker 1: have brought him to this are in a style of
• 25:56
  Speaker 1: pathos where the extremest resources of the imagination are called
• 26:01
  Speaker 1: in to lay open the deepest movements of the heart,
• 26:04
  Speaker 1: which was peculiar to Shakespeare, and the same stylen spirit
• 26:09
  Speaker 1: is as interrupting the fool who ask whether a madman
• 26:13
  Speaker 1: be a gentleman or a yeoman, by answering a king
• 26:18
  Speaker 1: a king. The indirect part the Gloucester takes in these scenes,
• 26:23
  Speaker 1: where his generosity leads him to relieve Leir and resent
• 26:27
  Speaker 1: the cruelty of his daughters at the very time that
• 26:30
  Speaker 1: he is himself instigated to seek the life of his
• 26:33
  Speaker 1: son and suffering under the sting of his supposed ingratitude,
• 26:38
  Speaker 1: is a striking accompaniment to the situation of Lear. Indeed,
• 26:43
  Speaker 1: the manner in which the threads of the story are
• 26:45
  Speaker 1: woven together. Is almost as wonderful in the way of
• 26:49
  Speaker 1: art as the carrying on the tide of passion, still
• 26:52
  Speaker 1: varying and unimpaired, is on the score of nature. Among
• 26:56
  Speaker 1: the remarkable instances of this kind are edgard meeting with
• 27:00
  Speaker 1: his old blind father, the deception he practices upon him
• 27:05
  Speaker 1: when he pretends to lead him to the top of
• 27:07
  Speaker 1: Dover Cliff. Come on, sir, here's the place to prevent
• 27:12
  Speaker 1: his ending his life and miseries. Together, his encounter with
• 27:16
  Speaker 1: a perfidious steward whom he kills, and is finding the
• 27:19
  Speaker 1: letter from Goneril to his brother upon him, which leads
• 27:23
  Speaker 1: to the final catastrophe and brings the weal of justice
• 27:26
  Speaker 1: full circle home to the guilty parties. The bustle and
• 27:31
  Speaker 1: rapid succession of events in the last scene is surprising,
• 27:35
  Speaker 1: but the meeting between Leir and Cordelia is by far
• 27:38
  Speaker 1: the most affecting part of them. It has all the
• 27:41
  Speaker 1: wildness of poetry and all the heartfelt truth of nature.
• 27:46
  Speaker 1: The previous account of her reception of the news of
• 27:48
  Speaker 1: his unkind treatment, hurt involuntary reproaches to her sisters, shame
• 27:54
  Speaker 1: Lady's shame leers backwardness to see his daughter. The picture
• 27:59
  Speaker 1: of the desolate state to which he is reduced a
• 28:02
  Speaker 1: lack tis he why he was met even now as
• 28:05
  Speaker 1: mad as the vexed sea, singing aloud, only prepare the
• 28:10
  Speaker 1: way for Anne. Heighten our expectation of what follows, and
• 28:14
  Speaker 1: assuredly this expectation is not disappointed when, through the tender
• 28:20
  Speaker 1: care of Cordelia, he revives in recollects her.
• 28:24
  Speaker 3: Cordelia, how does my will?
• 28:27
  Speaker 1: Lord?
• 28:29
  Speaker 2: How fares your majesty?
• 28:32
  Speaker 1: Lear? You do me wrong to take me out of
• 28:36
  Speaker 1: the grave. Thou art a soul and bliss? But I
• 28:41
  Speaker 1: am bound upon a wheel of fire that mine own
• 28:43
  Speaker 1: tears do scald like molten lead.
• 28:47
  Speaker 3: Cordelia, sir, do you know me?
• 28:53
  Speaker 1: Lear?
• 28:55
  Speaker 3: You are a spirit?
• 28:56
  Speaker 1: I know? When did you die?
• 29:00
  Speaker 3: Cordelia?
• 29:01
  Speaker 2: Still still far wide.
• 29:04
  Speaker 1: Physician, he's scarce awake. Let him alone a while? Lear,
• 29:12
  Speaker 1: Where have I been? Where am I? Fair?
• 29:16
  Speaker 3: Daylight?
• 29:17
  Speaker 1: I mightly abused? I should even die with pity to
• 29:21
  Speaker 1: see another. Thus, I know not what to say. I
• 29:26
  Speaker 1: will not swear. These are my hands, Let's see I
• 29:30
  Speaker 1: feel this pin prick. Would I were assured of my condition? Cordelia?
• 29:37
  Speaker 2: Oh, look upon me, sir, and hold your hands in
• 29:41
  Speaker 2: benediction or me. No, sir, you must not kneel.
• 29:47
  Speaker 3: Lear.
• 29:49
  Speaker 1: Pray, do not mock me. I'm a very foolish, fond
• 29:54
  Speaker 1: old man for scoring upward, not an hour more nor less.
• 29:59
  Speaker 1: And to you, plainly, I fear I am not in
• 30:02
  Speaker 1: my perfect mind methinks I should know you and know
• 30:06
  Speaker 1: this man. Yet I am doubtful, for I'm mainly ignorant
• 30:11
  Speaker 1: to what place this is, and all the skill I
• 30:14
  Speaker 1: have remembers not these germents, nor I know not where
• 30:19
  Speaker 1: I did lodge last night. Do not laugh at me,
• 30:23
  Speaker 1: for as I'm a man, I think this lady to
• 30:27
  Speaker 1: be my child. Cordelia.
• 30:30
  Speaker 3: Cordelia, and so I am.
• 30:33
  Speaker 1: I am almost equal to this, and awful beauty is
• 30:39
  Speaker 1: their consolation of each other when after the triumph of
• 30:42
  Speaker 1: their enemies they are led to prison. Cordelia, we are.
• 30:48
  Speaker 2: Not the first who, with best meaning have incurred the worst.
• 30:54
  Speaker 2: For thee oppressor king, and my cast down myself can
• 30:58
  Speaker 2: also up frown. All fortunes frown. Shall we not see
• 31:02
  Speaker 2: these daughters and these sisters.
• 31:06
  Speaker 1: Lear, no, no, no, no, come let's away to prison.
• 31:18
  Speaker 1: We two alone will sing like birds in the cage.
• 31:21
  Speaker 1: When thou dost ask me blessing, I'll kneel down and
• 31:25
  Speaker 1: ask of thee forgiveness. So we'll live and pray, and sing,
• 31:31
  Speaker 1: and tell old tales, and laugh at gilded butterflies, and
• 31:35
  Speaker 1: hear poor rogues talk of court news, and we'll talk
• 31:40
  Speaker 1: with them too, who loses and who wins, who's in,
• 31:44
  Speaker 1: who's out, And take upon us the mystery of things,
• 31:48
  Speaker 1: as if we were God's spies, and we'll wear out
• 31:52
  Speaker 1: in a walled prison. Packs and sects of great ones
• 31:56
  Speaker 1: that ebb and flow by the moon Edmond, take them away.
• 32:04
  Speaker 1: Lear upon such sacrifices, my Cordelia, the gods themselves throw incense.
• 32:13
  Speaker 1: The concluding events are sad, painfully sad, but the pathos
• 32:18
  Speaker 1: is extreme. The oppression of the feelings is relieved by
• 32:22
  Speaker 1: the very interest we take in the misfortunes of others,
• 32:25
  Speaker 1: and by the reflections to which they give birth. Cordelia's
• 32:30
  Speaker 1: hanged in prison by the orders of the bastard Edmund,
• 32:33
  Speaker 1: which are known too late to be countermanded, and leared
• 32:37
  Speaker 1: eyes broken hearted, lamenting over her lear and my poor
• 32:45
  Speaker 1: fool is hanged, no, no, no life. Why should a
• 32:52
  Speaker 1: dog a horse a rat have life, Thou no breath
• 32:57
  Speaker 1: at all? Oh wilt come no more, never, never, never, never, never,
• 33:09
  Speaker 1: pray you undo this button, Thank you, sir. He dies,
• 33:18
  Speaker 1: and indeed we feel the truth of what Kent says
• 33:21
  Speaker 1: on the occasion vex not his ghost, Oh let him pass.
• 33:26
  Speaker 1: He hates him, that would, upon the rack of the
• 33:29
  Speaker 1: rough world, stretch him out longer. Yet a happy ending
• 33:34
  Speaker 1: has been contrived for this play, which is approved of
• 33:38
  Speaker 1: by doctor Johnson and condemned by Schlegel. A better authority
• 33:42
  Speaker 1: than either, on any subject in which poetry and feeling
• 33:46
  Speaker 1: are concerned, has given it in favor of Shakespeare. In
• 33:50
  Speaker 1: some remarks on the acting of Lear, with which we
• 33:53
  Speaker 1: shall conclude this account. The Lear of Shakespeare cannot be acted.
• 34:00
  Speaker 1: The contemptible machinery with which they mimic the storm which
• 34:04
  Speaker 1: he goes out in is not more inadequate to represent
• 34:07
  Speaker 1: the horrors of the real elements than any actor can
• 34:11
  Speaker 1: be to represent Lear. The greatness of Lear is not
• 34:15
  Speaker 1: in corporal dimension, but an intellectual. The explosion of his
• 34:19
  Speaker 1: passions are terrible as of volcano. They are storms turning
• 34:23
  Speaker 1: up and disclosing to the bottom. That rich see his
• 34:26
  Speaker 1: mind with all its fast riches. It is his mind
• 34:30
  Speaker 1: which is laid bare. This case of flesh and blood
• 34:34
  Speaker 1: seems too insignificant to be thought on, even as he
• 34:38
  Speaker 1: himself neglects it. On the stage, we see nothing but
• 34:42
  Speaker 1: corporal infirmities and weaknesses, the impotence of rage. While we
• 34:47
  Speaker 1: read it, we see not lear, But we are lear.
• 34:51
  Speaker 1: We are in his mind. We are sustained by a
• 34:54
  Speaker 1: grangeur which baffles the malice of daughters and storms, and
• 34:58
  Speaker 1: the aberrations of his reason. We discover a mighty irregular
• 35:02
  Speaker 1: power of reasoning in methodized from the ordinary purposes of life,
• 35:07
  Speaker 1: but exerting its powers as the wind blows where it
• 35:10
  Speaker 1: listeth at will on the corruptions and abuses of mankind.
• 35:15
  Speaker 1: What have looks or tones to do with the sublime
• 35:18
  Speaker 1: identification of his age with that of the heavens themselves?
• 35:24
  Speaker 1: When in his reproaches to them for conniving at the
• 35:27
  Speaker 1: injustice of his children, he reminds them that they themselves
• 35:31
  Speaker 1: are old. What gesture shall we appropriate to this? What
• 35:36
  Speaker 1: has the voice or the eye to do with such things?
• 35:40
  Speaker 1: But the play is beyond all art, As the tamperings
• 35:44
  Speaker 1: with its show, it is too hard and stony. It
• 35:48
  Speaker 1: must have love scenes and happy ending. It is not
• 35:51
  Speaker 1: enough that Cordelia is a daughter. She must shine as
• 35:54
  Speaker 1: a lover too. Tate has put his hook in the
• 35:57
  Speaker 1: nostrils of his Levitan, for Garrick and his followers, the
• 36:01
  Speaker 1: showmen of the scene, to draw it out more easily
• 36:04
  Speaker 1: a happy ending, As if the living martyrdom that Lear
• 36:08
  Speaker 1: had gone through the flaying of his feelings alive did
• 36:12
  Speaker 1: not make a fair dismissal from the stage of life.
• 36:15
  Speaker 1: The only decorous thing for him, if he is to
• 36:19
  Speaker 1: live and be happy after, if he could sustain this
• 36:22
  Speaker 1: world's burden. After Why all this putter and preparation, Why
• 36:26
  Speaker 1: torment us with all this unnecessary sympathy, as if the
• 36:31
  Speaker 1: childish pleasure of getting his guilt robes and scepter again
• 36:36
  Speaker 1: could tempt him to act over again his misused station,
• 36:40
  Speaker 1: As if, at his years and with his experience, anything
• 36:44
  Speaker 1: was left but to die. Footnote see an article called
• 36:49
  Speaker 1: Theatrialia in the second volume of The Reflector by Charles Lamb.
• 36:56
  Speaker 1: Four things have struck us in reading Leir One that
• 37:02
  Speaker 1: poetry is an interesting study for this reason that it
• 37:06
  Speaker 1: relates to whatever is most interesting in human life. Whoever
• 37:10
  Speaker 1: therefore has a contempt for poetry, has a contempt for
• 37:14
  Speaker 1: himself and humanity. Two that the language of poetry is
• 37:21
  Speaker 1: superior to the language of painting, because the strongest of
• 37:24
  Speaker 1: our recollections relate to feelings, not to faces. Three that
• 37:32
  Speaker 1: the greatest strength of genius is shown in describing the
• 37:35
  Speaker 1: strongest passions, for the power of the imagination in works
• 37:40
  Speaker 1: of invention must be in proportion to the force of
• 37:44
  Speaker 1: the natural impressions which are the subject of them. Four
• 37:50
  Speaker 1: That the circumstance which balances the pleasure against the pain
• 37:54
  Speaker 1: and tragedy is that, in proportion to the greatness of
• 37:58
  Speaker 1: the evil, is our sense and desire of the opposite
• 38:02
  Speaker 1: good excited. And that our sympathy with actual suffering is
• 38:06
  Speaker 1: lost in the strong impulse given to our natural affections,
• 38:11
  Speaker 1: and carried away with a swelling tide of passion that
• 38:15
  Speaker 1: gushes from and relieves the heart. End of lear Richard
• 38:23
  Speaker 1: the Second, Richard the Second is a play little known
• 38:28
  Speaker 1: compared with Richard the Third, which last is a play
• 38:32
  Speaker 1: that every unfledged candidate for theatrical fame chooses to strut
• 38:37
  Speaker 1: and fret his hour upon the station. Yet we confess
• 38:41
  Speaker 1: that we prefer the nature and feeling of the one
• 38:44
  Speaker 1: to the noise and bustle of the other, at least
• 38:48
  Speaker 1: as we are so often forced to see it acted
• 38:51
  Speaker 1: in Richard the Second. The weakness of the king leaves
• 38:54
  Speaker 1: us leisure to take a greater interest in the misfortunes
• 38:57
  Speaker 1: of the man. After the first act, in which the
• 39:01
  Speaker 1: arbitrariness of his behaviour only proves his want of resolution,
• 39:06
  Speaker 1: we see him staggering under the unlooked for blows of fortune,
• 39:10
  Speaker 1: bewailing his loss of kingly power, not preventing it, sinking
• 39:15
  Speaker 1: under the aspiring genius of bollingbroke his authority, trampled on
• 39:20
  Speaker 1: his hopes, failing him and his pride, crushed and broken
• 39:23
  Speaker 1: down under insults and injuries which his own misconduct had provoked,
• 39:29
  Speaker 1: but which he is not courage or manliness to resent
• 39:34
  Speaker 1: the change of tone and behavior in the two competitors
• 39:37
  Speaker 1: for the throne, according to their change of fortune. From
• 39:41
  Speaker 1: the capricious sentence of banishment passed by Richard upon Bohlingburg,
• 39:46
  Speaker 1: the suppliant offers and modest pretensions of the latter on
• 39:49
  Speaker 1: his return to the high and haughty tone with which
• 39:53
  Speaker 1: he accepts Richard's resignation of the crown after the loss
• 39:57
  Speaker 1: of all his power, the use which he makes of
• 40:00
  Speaker 1: the deposed king to grace his triumphal progress through the
• 40:03
  Speaker 1: streets of London, and the final intimation of his wish
• 40:07
  Speaker 1: for his death, which immediately finds a servile executioner, is
• 40:12
  Speaker 1: marked throughout with complete effect and without the slightest appearance
• 40:16
  Speaker 1: of effort. The steps by which Bolingbroke mounts the throne
• 40:21
  Speaker 1: are those by which Richard sinks into the grave. We
• 40:25
  Speaker 1: feel neither respect nor love for the deposed monarch, for
• 40:29
  Speaker 1: he is as wanting an energy as in principle. But
• 40:33
  Speaker 1: we pity him, for he pities himself. His heart is
• 40:37
  Speaker 1: by no means hardened against himself, but bleeds afresh at
• 40:41
  Speaker 1: every new stroke of mischance, and his sensibility, absorbed in
• 40:45
  Speaker 1: his own person and unused to misfortune, is not only
• 40:50
  Speaker 1: tenderly alive to its own sufferings, but without the fortitude
• 40:54
  Speaker 1: to bear them. He is, however, human in his distresses.
• 41:00
  Speaker 1: To feel pain and sorrow, weakness, disappointment, remorse, and anguish
• 41:05
  Speaker 1: is the lot of humanity, and we sympathize with him accordingly.
• 41:10
  Speaker 1: The sufferings of the man make us forget that he
• 41:13
  Speaker 1: ever was a king. The right assumed by sovereign power
• 41:17
  Speaker 1: to trifle at its will with the happiness of others
• 41:20
  Speaker 1: as a matter of course, or to remit its exercise
• 41:24
  Speaker 1: as a matter of favor, is strikingly shown in the
• 41:28
  Speaker 1: sentence of banishment so unjustly pronounced on Bolingbrooke and Mowbray.
• 41:34
  Speaker 1: And and what Bolingbroke says, when four years of his
• 41:38
  Speaker 1: banishment are taken off, with his little reason, how long
• 41:42
  Speaker 1: a time lies in one little word, four legging winters
• 41:48
  Speaker 1: and four wanton springs end in a word such is
• 41:53
  Speaker 1: the breath of kings. A more affecting image of the
• 41:58
  Speaker 1: loneliness of a state of vas style can hardly be
• 42:01
  Speaker 1: given than by what Bolingbrook afterwards observes of his having
• 42:06
  Speaker 1: sighed his English breadth and foreign clouds, Or then that
• 42:10
  Speaker 1: conveyed in Milbury's complaint of being banished for life the
• 42:15
  Speaker 1: language I've learned these forty years, my native English, now
• 42:20
  Speaker 1: I must forego. And now my tongue's use is to
• 42:24
  Speaker 1: me no more than an unstringed vile, or a harp,
• 42:28
  Speaker 1: or like a cunning instrument cased up or being open
• 42:33
  Speaker 1: put into his hands that knows no touch to tune
• 42:36
  Speaker 1: the harmony. I am too old to fawn upon a nurse,
• 42:41
  Speaker 1: too foreign years to be a pupil. Now, how very
• 42:46
  Speaker 1: beautiful is all this, and at the same time, how
• 42:50
  Speaker 1: very English too. Richard the second may be considered as
• 42:55
  Speaker 1: the first of that series of English historical plays, in
• 42:59
  Speaker 1: which is armor of the invincible knights of old, in
• 43:03
  Speaker 1: which their hearts seem to strike against the coats of mail,
• 43:07
  Speaker 1: where their blood tingles for the fight and words are
• 43:10
  Speaker 1: but the harbingers of blows of this state of accomplished barbarism.
• 43:15
  Speaker 1: The appeal of Bolingbroke and Mowbray is an admirable specimen.
• 43:20
  Speaker 1: Another of these keen encounters of their wits, which serve
• 43:24
  Speaker 1: to wet the talker's swords, is where Almurle answers, in
• 43:29
  Speaker 1: the presence of Bolingbroke, to the charge which Bagott brings
• 43:32
  Speaker 1: against him, of being an accessory in Gloucester's death. Fitzwater,
• 43:40
  Speaker 1: if that thy valor stand on sympathies, there is my gauge, Almorle,
• 43:45
  Speaker 1: engaged to thine by that fair son, that shows me
• 43:49
  Speaker 1: where thou stand'st I hear thee say, and vauntingly thou
• 43:53
  Speaker 1: speakest it that thou wert cause of Noble Gloucester's death.
• 43:58
  Speaker 1: If thou deniest it twenty times thou liest, and I
• 44:02
  Speaker 1: will turn thy falsehood to thy heart where it was
• 44:06
  Speaker 1: forged with my rape yer's point, allmorrow, thou darest not
• 44:13
  Speaker 1: coward live to see the day, Fitzwater. Now by my soul,
• 44:21
  Speaker 1: I would it were this hour amorrow, Fitzwater, thou art
• 44:28
  Speaker 1: damn to hell for this percy amoral thou liest, his
• 44:35
  Speaker 1: honor is as true, and this appeal as thou art
• 44:39
  Speaker 1: all unjust, and that thou art so there, I throw
• 44:43
  Speaker 1: my gauge to prove it on thee to the extremest
• 44:47
  Speaker 1: point of mortal breathing. Seize it if thou darst allmorrow,
• 44:55
  Speaker 1: and if I do not, may my hands wrought off
• 44:59
  Speaker 1: and never brandish more revengeful steel over the glittering helmet
• 45:03
  Speaker 1: of my foe who sets me out thy heaven. I'll
• 45:08
  Speaker 1: throw it all. I have a thousand spirits in my
• 45:11
  Speaker 1: breast to answer twenty thousands, such as you, Surrey, my
• 45:19
  Speaker 1: lord Fitzwater. I remember well the very time all Marrow,
• 45:23
  Speaker 1: and you to talk, Fitzwater, my Lord, tis true. You
• 45:29
  Speaker 1: are in presence then, and you can witness with me.
• 45:32
  Speaker 1: This is true, Surrey, as false by heaven, as Heaven
• 45:38
  Speaker 1: itself is true. Fitzwater, Surrey, thou liest, Surrey, dishonorable boy,
• 45:49
  Speaker 1: that lie shall lie so heavy on my sword, that
• 45:53
  Speaker 1: it shall render vengeance and revenge till thou the lie giver,
• 45:58
  Speaker 1: and that lie rest and earth as quiet as thy
• 46:01
  Speaker 1: father's skull, and proof whereof there is mine honors pawn,
• 46:07
  Speaker 1: engage it to the trial. If thou darest, fitz Water,
• 46:13
  Speaker 1: how fondly dost thou spur a forward horse? If I
• 46:17
  Speaker 1: dare eat, or drink, or breathe or live, I dare
• 46:21
  Speaker 1: meet Surrey in a wilderness and spit upon him whilst
• 46:25
  Speaker 1: I say ye, lies and lies and lies. There is
• 46:30
  Speaker 1: my bond of faith to tie thee to thy strong correction.
• 46:35
  Speaker 1: As I do hope to thrive in this new world.
• 46:38
  Speaker 1: All merle is guilty of my true appeal. The truth
• 46:43
  Speaker 1: is that there is neither truth nor honor in all
• 46:46
  Speaker 1: these noble persons. They answer words with words, as they
• 46:50
  Speaker 1: do blows with blows in mere self defense. Nor have
• 46:54
  Speaker 1: they any principle whatever but that of courage in maintaining
• 46:58
  Speaker 1: any wrong they dare commit, or any falsehood which they
• 47:02
  Speaker 1: find it useful to assert. How different were these noble
• 47:06
  Speaker 1: knights and barons bold from their more refined descendants in
• 47:10
  Speaker 1: the present day, who, instead of deciding questions of right
• 47:14
  Speaker 1: by brute force, refer everything to convenience, fashion, and good
• 47:19
  Speaker 1: breeding in point of any abstract love of truth or justice.
• 47:24
  Speaker 1: They are just the same now that they were then.
• 47:28
  Speaker 1: The characters of old John of Gaunt and his brother
• 47:31
  Speaker 1: yorke uncles to the King, the one stern and foreboding,
• 47:36
  Speaker 1: the other honest, good natured, doing all for the best,
• 47:40
  Speaker 1: and therefore doing nothing, are well kept up. The speech
• 47:44
  Speaker 1: of the former in praise of England is one of
• 47:47
  Speaker 1: the most eloquent that ever was penned. We should perhaps
• 47:51
  Speaker 1: hardly be disposed to feed the pampered egotism of our
• 47:55
  Speaker 1: countrymen by quoting this description, were it to not that
• 48:00
  Speaker 1: the conclusion of it, which looks prophetic, may qualify any
• 48:05
  Speaker 1: improper degree of exultation. This royal throne of kings, this
• 48:12
  Speaker 1: sceptred isle, this earth of majesty, this seat of Mars,
• 48:18
  Speaker 1: this other Eden demi paradise, this fortress built by nature
• 48:23
  Speaker 1: for herself against infection in the hand of war, This
• 48:28
  Speaker 1: happy breed of men, this little world, this precious stone
• 48:32
  Speaker 1: set in the silver sea, which serves it in the
• 48:35
  Speaker 1: office of a wall, or as a moat defensive to
• 48:39
  Speaker 1: a house, against the envy of less happy lands, This nurse,
• 48:44
  Speaker 1: this teeming womb of royal kings, feared for their breed
• 48:48
  Speaker 1: and famous for their birth, renowned for their deeds, as
• 48:52
  Speaker 1: far from home, for Christian service and true chivalry as
• 48:56
  Speaker 1: in the suppulcher and stubborn jewry, the world's ransom blessed
• 49:02
  Speaker 1: mary Son, This land of such dear souls, this dear
• 49:07
  Speaker 1: dear land, dear for her reputation through the world, is
• 49:12
  Speaker 1: now leased out. I die, pronouncing it like to a
• 49:16
  Speaker 1: tenement or pelting farm. England, bound in with the triumphant sea,
• 49:22
  Speaker 1: whose rocky shore beats back the envious surge of watery Neptune,
• 49:27
  Speaker 1: is bound in with shame, with inky blots and wrought
• 49:31
  Speaker 1: and parchment bonds. That England that was wont to conquer
• 49:36
  Speaker 1: others hath made a shameful conquest of itself, the character
• 49:42
  Speaker 1: of bolingbroke. Afterwards, Henry the fourth is drawn with a
• 49:47
  Speaker 1: masterly hand, patient for occasion, and then steadily availing himself
• 49:52
  Speaker 1: of it, seeing his advantage afar off, but only seizing
• 49:56
  Speaker 1: on it when he has it within his reach. Humble, crafty,
• 50:01
  Speaker 1: bold and aspiring, encroaching by regular but slow degrees, building
• 50:07
  Speaker 1: power on opinion, and cementing opinion by power. His disposition
• 50:12
  Speaker 1: is first unfolded by Richard himself, who, however, is too
• 50:17
  Speaker 1: self willed and secure to make a proper use of
• 50:20
  Speaker 1: his knowledge. Ourself in bushy Bagataran Green observed his courtship
• 50:28
  Speaker 1: of the common people. How he did seem to dive
• 50:31
  Speaker 1: into their hearts with humble and familiar courtesy. What reverence
• 50:37
  Speaker 1: he did throw away on slaves, wooing poor craftsmen with
• 50:41
  Speaker 1: a craft of smiles, and patient underbearing of his fortune,
• 50:46
  Speaker 1: as twarre to banish their affections with him. Off goes
• 50:50
  Speaker 1: his bondet to an oyster wench, a brace of draymen.
• 50:54
  Speaker 1: Bid God speat him well, and had the tribute of
• 50:57
  Speaker 1: his supple knee. With thanks, my countryman, my loving friends,
• 51:02
  Speaker 1: as were our England. In reversion his and he our
• 51:07
  Speaker 1: subjects next degree and hope afterwards he gives his own
• 51:12
  Speaker 1: character to percy. In these words, I thank thee gentle percy.
• 51:18
  Speaker 1: And be sure I count myself and nothing else, so
• 51:21
  Speaker 1: happy as in a soul, remembering my good friends. And
• 51:26
  Speaker 1: as my fortune ripens with thy love, it shall be
• 51:29
  Speaker 1: still thy true love's recompense. We know how he afterwards
• 51:35
  Speaker 1: kept his promise. His bold ascertation of his own rights,
• 51:39
  Speaker 1: his pretended submission to the king, and the ascendancy which
• 51:43
  Speaker 1: he tactically assumes over him without openly claiming it as
• 51:47
  Speaker 1: soon as he has him in his power are characteristic
• 51:50
  Speaker 1: traits of this ambitious and politic azurper. But the part
• 51:55
  Speaker 1: of Richard himself gives the chief interest to the play Dolly.
• 52:00
  Speaker 1: His vices, his misfortunes, his reluctance to part with a crown,
• 52:05
  Speaker 1: his fear to keep it, his weak and womanish regrets,
• 52:10
  Speaker 1: his starting tears, his fits of hectic passion, his smothered majesty,
• 52:16
  Speaker 1: pass and succession before us, and make a picture as
• 52:19
  Speaker 1: natural as it is affecting. Among the most striking touches
• 52:24
  Speaker 1: of Pathos are his wish, oh, that I were a
• 52:28
  Speaker 1: mockery king of snow, to melt away before the sun
• 52:32
  Speaker 1: of bolingbroke, And the incident of the poor groom who
• 52:37
  Speaker 1: comes to visit him in prison, and tells him how
• 52:40
  Speaker 1: it yearned his heart that Bolingbroke, upon his coronation day,
• 52:45
  Speaker 1: rode on the Rhone Barbary. We shall have occasion to
• 52:49
  Speaker 1: return hereafter to the character of Richard the second. In
• 52:53
  Speaker 1: speaking of Henry the sixth, there is only one passage more,
• 52:58
  Speaker 1: the description of his entrance in to London with Bolingbroke,
• 53:01
  Speaker 1: which we should like to quote here if it had
• 53:04
  Speaker 1: not been so used and worn out, so thumbed and
• 53:08
  Speaker 1: got by, wrote, so praised and painted. But its beauty
• 53:12
  Speaker 1: surmounts all these considerations. Duchess, my Lord, you told me
• 53:20
  Speaker 1: you would tell the rest when weeping made you break
• 53:23
  Speaker 1: the story off of our two cousins coming into London York.
• 53:29
  Speaker 1: Whirre did I leave, Duchess at that sad stop, my Lord,
• 53:35
  Speaker 1: where rude misgoverned hands from windowtops threw dust and rubbish
• 53:40
  Speaker 1: on King Richard's head York. Then, as I said, the
• 53:46
  Speaker 1: Duke Great Bolingbroke, mounted upon a hot and fiery steed,
• 53:52
  Speaker 1: which his aspiring writer seemed to know, with slow but
• 53:56
  Speaker 1: stately pace, kept on his course, while all tongues cried God,
• 54:01
  Speaker 1: save thee Bolingbroke. You would have thought the very windows
• 54:05
  Speaker 1: spake so many greedy looks of young and old, through
• 54:08
  Speaker 1: casements darted their desiring eyes upon his visage, and that
• 54:13
  Speaker 1: all the walls with painted imagery had set at once
• 54:18
  Speaker 1: Jesus preserved thee welcome bolingbroke, whilst he from one side
• 54:24
  Speaker 1: to the other, turning bareheaded, lower than his proud steed's neck,
• 54:29
  Speaker 1: bespaked them. Thus I thank you, countrymen, And thus still
• 54:34
  Speaker 1: doing thus he passed along duchess alas poor Richard, where
• 54:42
  Speaker 1: rides he the while yorke. As in a theater, the
• 54:48
  Speaker 1: eyes of men, after a well graced actor leaves the
• 54:51
  Speaker 1: stage are idly bent on him that enters next, thinking
• 54:56
  Speaker 1: his prattle to be tedious, even so, or with much contempt,
• 55:02
  Speaker 1: men's eyes did scowlon Richard. No man cried God save him,
• 55:08
  Speaker 1: No joyful tongue gave him his welcome home. But dust
• 55:12
  Speaker 1: was thrown upon his sacred head, which with such gentle
• 55:17
  Speaker 1: sorrow he shook off his face, still combating with tears
• 55:22
  Speaker 1: and smiles the badges of his grief and patience. That
• 55:26
  Speaker 1: had not God for some strong purpose steeled the hearts
• 55:31
  Speaker 1: of men, they must perforce have melted and barbarism itself
• 55:36
  Speaker 1: have pitied him, and of Richard the second Henry the
• 55:43
  Speaker 1: fourth in two parts. If Shakespeare's fondness for the ludicrous
• 55:50
  Speaker 1: sometimes led to faults in his tragedies, which was not
• 55:53
  Speaker 1: often the case, he is made of amends by the
• 55:56
  Speaker 1: character of Falstaff. This is perhaps the substantial comic character
• 56:02
  Speaker 1: that ever was invented. Sir John carries a most portly
• 56:05
  Speaker 1: presence in the mind's eye, and in him, not to
• 56:09
  Speaker 1: speak it profanely, we behold the fullness of the spirit
• 56:13
  Speaker 1: of wit and humor Bodily we are as well acquainted
• 56:16
  Speaker 1: with his person as his mine, and his jokes come
• 56:20
  Speaker 1: upon us of double force, and relish from the quantity
• 56:24
  Speaker 1: of flesh through which they make their way. As he
• 56:26
  Speaker 1: shakes his fat sides of laughter, or lards the lean
• 56:30
  Speaker 1: earth as he walks along. Other comic characters seem, if
• 56:34
  Speaker 1: we approach and handle them, to resolve themselves into air,
• 56:38
  Speaker 1: and to then air. But this is embodied, impalpable to
• 56:42
  Speaker 1: the grossest apprehension. It lies three fingers deep upon the ribs,
• 56:47
  Speaker 1: It plays about the lungs and the diaphragm, of all
• 56:51
  Speaker 1: the force of animal enjoyment. His body is like a
• 56:54
  Speaker 1: good estate to his mind, from which he receives rents
• 56:57
  Speaker 1: and revenues of profit and pleasure and kind according to
• 57:01
  Speaker 1: its extent and the richness of the soil. Wit is
• 57:05
  Speaker 1: often a meager substitute for pleasurable sensation, an effusion of
• 57:10
  Speaker 1: spleen and petty spite at the comforts of other from
• 57:13
  Speaker 1: feeling none in itself. Falstaff's wit is an emanation of
• 57:18
  Speaker 1: a fine constitution, an exuberance of good humor and good nature,
• 57:23
  Speaker 1: an overflowing of his love of laughter and good fellowship,
• 57:27
  Speaker 1: a giving vent to his heart's ease, and over contentment
• 57:31
  Speaker 1: with himself and others. He would not be in character
• 57:34
  Speaker 1: if he are not so fat as he is, For
• 57:37
  Speaker 1: there is the greatest keeping in the boundless luxury of
• 57:40
  Speaker 1: his imagination and the pampered self indulgence of his physical appetites.
• 57:46
  Speaker 1: He manures and nourishes his mind with jests, as he
• 57:50
  Speaker 1: does his body with sack and sugar. He carves out
• 57:53
  Speaker 1: his jokes as he would a capon or a haunch
• 57:56
  Speaker 1: of ennison, where there is cut and come again, and
• 57:59
  Speaker 1: pours out upon them the oil of gladness. His tongue
• 58:03
  Speaker 1: drops fatness, and in the chambers of his brain. It
• 58:07
  Speaker 1: snows of meat and drink. He keeps up perpetual holiday
• 58:12
  Speaker 1: and open house, and we live with him in a
• 58:15
  Speaker 1: round of invitations to a rump and dozen. Yet we
• 58:20
  Speaker 1: are not to suppose that he was a mere sensualist.
• 58:24
  Speaker 1: All this is as much in imagination as in reality.
• 58:28
  Speaker 1: His sensuality does not engross and stupefies other faculties, but
• 58:33
  Speaker 1: ascends me into the brain, clears away all the dull,
• 58:36
  Speaker 1: crude vapors that environ it, and makes it full of nimble,
• 58:40
  Speaker 1: fiery and delectable shapes. His imagination keeps up the ball
• 58:46
  Speaker 1: after his senses have done with it. He seems to
• 58:49
  Speaker 1: have even a greater enjoyment of the freedom from restraint,
• 58:53
  Speaker 1: of good, cheer of disease, of his vanity in the ideal,
• 58:57
  Speaker 1: exaggerated descriptions which he gives them them. Then, in fact,
• 59:02
  Speaker 1: he never fails to enrich his discourses with allusions to
• 59:06
  Speaker 1: eating and drinking. But we never see him at table.
• 59:10
  Speaker 1: He carries his own larder about with him, and he
• 59:13
  Speaker 1: is himself a ton of man. His pulling out the
• 59:17
  Speaker 1: bottle in the field of battle is a joke to
• 59:19
  Speaker 1: show's contempt for glory accompanied with danger his systematic adherence
• 59:25
  Speaker 1: to his Epicurean philosophy in the most trying circumstances. Again,
• 59:31
  Speaker 1: such is his deliberate exaggeration of his own vices, that
• 59:34
  Speaker 1: it does not seem quite certain whether the account of
• 59:38
  Speaker 1: his hostess's bill, found in his pocket, with such an
• 59:42
  Speaker 1: out of the way charge for capons and sack with
• 59:45
  Speaker 1: only one halfpenny worth of bread, was not put there
• 59:48
  Speaker 1: by himself as a trick to hum with a jest
• 59:51
  Speaker 1: upon his favorite propensities, and as a conscious characterature of himself.
• 59:57
  Speaker 1: He is represented as a liar, a coward, a glutton,
• 1:00:02
  Speaker 1: et cetera. And yet we are not defended but delighted
• 1:00:06
  Speaker 1: with him, for he is all these as much to
• 1:00:10
  Speaker 1: amuse others as to gratify himself. He openly assumes all
• 1:00:15
  Speaker 1: these characters to show the humorous part of them. The
• 1:00:18
  Speaker 1: unrestrained indulgence of his own ease, appetites, and convenience has
• 1:00:24
  Speaker 1: neither malice nor hypocrisy in it. In a word, he
• 1:00:28
  Speaker 1: is an actor in himself, almost as much as upon
• 1:00:31
  Speaker 1: the stage. We no more object to the character of
• 1:00:35
  Speaker 1: Falstaff in a moral point of view than we should
• 1:00:38
  Speaker 1: think of bringing an excellent comedian, who should represent him
• 1:00:42
  Speaker 1: to the life before one of the police officers. We
• 1:00:46
  Speaker 1: only consider the number of pleasant lights in which he
• 1:00:49
  Speaker 1: puts certain foiables, the more pleasant as they are opposed
• 1:00:54
  Speaker 1: to the received rules and necessary restraints of society, and
• 1:00:58
  Speaker 1: do not trouble ourselves, but the consequences resulting from them,
• 1:01:02
  Speaker 1: for no mischievous consequences to result. Sir John is old
• 1:01:07
  Speaker 1: as well as fat, which gives a melancholy retrospective tinge
• 1:01:11
  Speaker 1: to the character, and by the disparity between his inclinations
• 1:01:16
  Speaker 1: and his capacity for enjoyment, makes it still more ludicrous
• 1:01:20
  Speaker 1: and fantastical. The secret of Falstaff's wit is, for the
• 1:01:25
  Speaker 1: most part, a masterly presence of mind, an absolute self
• 1:01:29
  Speaker 1: possession which nothing can disturb. His repartees are involuntary suggestions
• 1:01:35
  Speaker 1: of his self love, instinctive evasions of everything that threatens
• 1:01:40
  Speaker 1: to interrupt the career of his triumphant jollity, and self complacency.
• 1:01:46
  Speaker 1: His very size floats him out of all his difficulties
• 1:01:50
  Speaker 1: in a sea of rich conceits, and he turns round
• 1:01:54
  Speaker 1: on the pivot of his convenience. With every occasion, and
• 1:01:58
  Speaker 1: at a moment's warning, hiss natural repugnance to every unpleasant
• 1:02:02
  Speaker 1: thought or circumstance of itself, makes light of objections, and
• 1:02:07
  Speaker 1: provokes the most extravagant and licentious answers in his own justification.
• 1:02:14
  Speaker 1: His indifference to truth puts no check upon his invention,
• 1:02:18
  Speaker 1: and the more improbable and unexpected his contrivances are the
• 1:02:23
  Speaker 1: more happily because he seemed to be delivered them, the
• 1:02:26
  Speaker 1: anticipation of their effect acting as a stimulus to the
• 1:02:31
  Speaker 1: gaiety of his fancy. The success of one adventurous sally
• 1:02:35
  Speaker 1: gives him spirits to undertake another. He deals always in
• 1:02:39
  Speaker 1: round numbers, and his exaggeration excuses are open palpable, monstrous
• 1:02:46
  Speaker 1: as the father that begets them. His dissolute carelessness of
• 1:02:50
  Speaker 1: what he says discovers itself in the first dialog with
• 1:02:54
  Speaker 1: the Prince Falstaff, by the Lord, if thou sayest true lad,
• 1:03:02
  Speaker 1: and is not mine hostess of the tavern, a most
• 1:03:04
  Speaker 1: sweet wench, Prince Henry, as the honey of Hibbla, my
• 1:03:10
  Speaker 1: old lad of the castle, and is not a buff jerkin,
• 1:03:13
  Speaker 1: a most sweet robe of Durrance Falstaff. How now, how now,
• 1:03:20
  Speaker 1: mad wag what in thy quips and thy quidities, what
• 1:03:24
  Speaker 1: a plague have I to do with a buff jerkin,
• 1:03:28
  Speaker 1: Prince Henry, Why what a pox have I to do
• 1:03:32
  Speaker 1: with mine, hostess of the tavern. In the same scene,
• 1:03:36
  Speaker 1: he afterwards affects melancholy from pure satisfaction of heart, and
• 1:03:41
  Speaker 1: professes reform because it is the farthest thing in the
• 1:03:45
  Speaker 1: world from his thoughts. He is no qualms of conscience,
• 1:03:48
  Speaker 1: and therefore would as soon talk of them as of
• 1:03:51
  Speaker 1: anything else when the humor takes him. Falstaff, But how
• 1:03:58
  Speaker 1: I prithee will be no more vanity, I would to
• 1:04:02
  Speaker 1: God thou and I knew where a commodity of good
• 1:04:05
  Speaker 1: names were to be bought. And an old lord of
• 1:04:08
  Speaker 1: counsel rated me the other day in the street about you, sir.
• 1:04:13
  Speaker 1: But I marked him not, And yet he talked very wisely,
• 1:04:16
  Speaker 1: and in the street too, Prince Henry, thou didst well,
• 1:04:22
  Speaker 1: for wisdom cries out in the street, and no man
• 1:04:26
  Speaker 1: regards it. Falstaff, Oh, thou hast damnable iteration and art,
• 1:04:33
  Speaker 1: indeed able to corrupt a saint. Thou hast done much
• 1:04:38
  Speaker 1: harm unto me. How God forgive THEE for it. Before
• 1:04:42
  Speaker 1: I knew THEE, how I knew nothing. And now I
• 1:04:45
  Speaker 1: am if a man should speak truly little better than
• 1:04:49
  Speaker 1: one of the wicked, I must give over this life,
• 1:04:52
  Speaker 1: and I will give it over by the Lord. And
• 1:04:55
  Speaker 1: I do not I am a villain. I'll be damned
• 1:04:59
  Speaker 1: for never a king, son and Christendom. Prince Henry, where
• 1:05:05
  Speaker 1: shall we take a purse tomorrow? Jack Falstaff? Where thou
• 1:05:11
  Speaker 1: wilt lad, I'll make one, And I do not call
• 1:05:15
  Speaker 1: me villainum baffle me, Prince Henry. I see a good
• 1:05:20
  Speaker 1: amendment of life in thee from praying to purse taking Falstaff?
• 1:05:26
  Speaker 1: Why how tis my vocation? Hal tis no sin for
• 1:05:31
  Speaker 1: a man to labor in his vocation. Of the other
• 1:05:36
  Speaker 1: prominent passages, his account of his pretended resistance to the
• 1:05:41
  Speaker 1: robbers who grew from four men in Buckram into eleven
• 1:05:46
  Speaker 1: as the imagination of his own valor increased with his
• 1:05:50
  Speaker 1: relating it, his getting off when the truth is discovered
• 1:05:54
  Speaker 1: by pretending he knew the Prince. The scene in which
• 1:05:57
  Speaker 1: in the person of the old king he rutches the
• 1:06:00
  Speaker 1: prince and gives himself a good character. The soliloquy on
• 1:06:04
  Speaker 1: honor and description of his new raised recruits, his meeting
• 1:06:09
  Speaker 1: with the Chief Justice, his abuse of the Prince and poins,
• 1:06:13
  Speaker 1: who overhear him to doll tearsheet his reconciliation of Missus Quickly,
• 1:06:18
  Speaker 1: who has arrested him for an old debt, in whom
• 1:06:22
  Speaker 1: he persuades to pawn her plate to lend him ten
• 1:06:25
  Speaker 1: pounds more. In the scenes which shallow and silence are
• 1:06:29
  Speaker 1: all inimitable. Of all of them, the scene in which
• 1:06:34
  Speaker 1: Falstaff plays the part first of the king and then
• 1:06:38
  Speaker 1: of Prince Henry is the one that has been the
• 1:06:41
  Speaker 1: most often quoted. We must quote it once more in
• 1:06:45
  Speaker 1: illustration of our remarks. Falstaff, Harry, I do not only
• 1:06:53
  Speaker 1: marvel where thou spendest thy time, but also how thou
• 1:06:57
  Speaker 1: art accompanied. For thou o the calomel. The more it
• 1:07:02
  Speaker 1: is trodden on, the faster it grows yet youth, the
• 1:07:06
  Speaker 1: more it is wasted, the sooner it wears that thou
• 1:07:09
  Speaker 1: art my son. I have partly thy mother's word, partly
• 1:07:14
  Speaker 1: my own opinion, but chiefly a villainous trick of thine eye,
• 1:07:19
  Speaker 1: and a foolish hanging of thy nether lip, that doth
• 1:07:22
  Speaker 1: warnt me. If then thou be ye son to me,
• 1:07:27
  Speaker 1: here lies the point why being son to me art
• 1:07:32
  Speaker 1: thou so pointed at shaft. The blessed son of Heaven
• 1:07:37
  Speaker 1: prove a miker in each Blackberr's A question not to
• 1:07:42
  Speaker 1: be asked. Shall the son of England proveth thief and
• 1:07:47
  Speaker 1: take purses? A question not to be asked. There is
• 1:07:51
  Speaker 1: a thing, Harry, which thou hast often heard of, and
• 1:07:56
  Speaker 1: it is known to many in our land by the
• 1:07:58
  Speaker 1: name of Pitch. This pitch, as ancient writers do report,
• 1:08:04
  Speaker 1: doth defile, so doth the company thou keepest for Harry.
• 1:08:10
  Speaker 1: Now I do not speak to thee in drink, but
• 1:08:13
  Speaker 1: in tears, not in pleasure but in passion, not in
• 1:08:18
  Speaker 1: words only, but in woes also. And yet there is
• 1:08:23
  Speaker 1: a virtuous man whom I have often noted in thy company,
• 1:08:28
  Speaker 1: but I know not his name, Prince Henry. What manner
• 1:08:34
  Speaker 1: of man? An it like your majesty Falsnaff, a good
• 1:08:41
  Speaker 1: portly man in faith and a corpulent of a cheerful look,
• 1:08:46
  Speaker 1: a pleasing eye, and a most noble carriage. And as
• 1:08:52
  Speaker 1: I think, is age some fifty or by your lady
• 1:08:57
  Speaker 1: inclining to threescore. And now I do remember me, his
• 1:09:02
  Speaker 1: name is Falstaff. If that man should be ludely given
• 1:09:07
  Speaker 1: he deceiveth me. For Harry, I see virtue in his looks.
• 1:09:12
  Speaker 1: If then the fruit may be known by the tree
• 1:09:15
  Speaker 1: as the tree by the fruit, then peremptorily I speak it.
• 1:09:20
  Speaker 1: There is virtue in that Falstaff him. Keep with the
• 1:09:24
  Speaker 1: rest Spanish and tell me now thou not Varlet tell
• 1:09:30
  Speaker 1: me where hast thou been this month? Prince Henry, dost
• 1:09:37
  Speaker 1: thou speak like a king? Do thou stand for me?
• 1:09:41
  Speaker 1: And I'll play my father, Falstaff, depose me if thou
• 1:09:48
  Speaker 1: dost at half so gravely, so majestically, both in word
• 1:09:53
  Speaker 1: and matter, hang me up by the heels for a
• 1:09:56
  Speaker 1: rabbit sucker or a poulterer's hair. Prince Henry, Well, here
• 1:10:04
  Speaker 1: I am set, Falstaff, and here I stand judge my masters,
• 1:10:12
  Speaker 1: Prince Henry. Now Harry, whence come you Falstaff, my noble
• 1:10:20
  Speaker 1: lord from east cheap, Prince Henry. The complaints I hear
• 1:10:26
  Speaker 1: of thee are grievous, Falstaff. It's the blood, my lord,
• 1:10:32
  Speaker 1: they are false. Nay, I'll tickle ye for a young
• 1:10:37
  Speaker 1: prince in faith. Prince Henry, swearest thou, ungracious boy. Henceforth,
• 1:10:45
  Speaker 1: ne'er look on me. Thou art violently carried away from grace.
• 1:10:49
  Speaker 1: There's a devil haunts thee in the likeness of a
• 1:10:52
  Speaker 1: fat old man. A ton of man is thy companion?
• 1:10:57
  Speaker 1: Why dost thou converse with that trunk of humor, that
• 1:11:00
  Speaker 1: bolting hutch of beastliness, that swong parcel of dropsies, that
• 1:11:06
  Speaker 1: huge bombard of sack, that stuffed cloak, bag of guts,
• 1:11:11
  Speaker 1: that roasted manning tree ox with a pudding in his belly,
• 1:11:15
  Speaker 1: That reverend Vice, that gray iniquity, that father Ruffian, that
• 1:11:20
  Speaker 1: vanity in years, wherein is he good? But to taste
• 1:11:25
  Speaker 1: sack and drink it, wear in neat and cleanly, But
• 1:11:29
  Speaker 1: to carve a capon and he eat it. Were in cunning,
• 1:11:33
  Speaker 1: but in craft, were in crafty, but in villainy, were
• 1:11:37
  Speaker 1: in villainous, But in all things wearin worthy, but in nothing. Falstaff.
• 1:11:46
  Speaker 1: I would your grace would take me with you who
• 1:11:49
  Speaker 1: means your grace, Prince Henry, that villainous, abominable misleader of youth, Falstaff,
• 1:11:58
  Speaker 1: that old white did satan Falstaff, my lord the man.
• 1:12:06
  Speaker 1: I know, Prince Henry. I know thou dost Falstaff, But
• 1:12:14
  Speaker 1: say I know more harm in him than in myself.
• 1:12:19
  Speaker 1: Were to say more than I know that he is old,
• 1:12:24
  Speaker 1: the more the pity his white hairs do witness it,
• 1:12:28
  Speaker 1: but that he is saving your reference a horror master
• 1:12:32
  Speaker 1: that I utterly deny. If sac and sugar be a fault,
• 1:12:38
  Speaker 1: God help the wicked. If to be old and Mary
• 1:12:42
  Speaker 1: be a sin, then many an old host that I
• 1:12:46
  Speaker 1: know is damned. If to be fat be to be hated,
• 1:12:50
  Speaker 1: than Pharaoh's lean kind are to be loved. No, my
• 1:12:55
  Speaker 1: good lord, banish Pito, Banish Bardolph, banish points, but for
• 1:13:02
  Speaker 1: sweet Jack Falstaff, kind Jack Falstaff, true Jack Falstaff, valiant
• 1:13:10
  Speaker 1: Jack Falstaff, and therefore more valiant, being as he is
• 1:13:16
  Speaker 1: old Jack Falstaff. Banish not him thy Harry's company, Banish
• 1:13:22
  Speaker 1: plump Jack, and banish all the world. Prince Henry, I do.
• 1:13:29
  Speaker 1: I will knocking, and Hostess and Bardolf go out re
• 1:13:35
  Speaker 1: enter Baldoff running Bardolph. Oh, my lord, my lord, the
• 1:13:42
  Speaker 1: sheriff with a most monstrous watch is at the door. Falstaff,
• 1:13:49
  Speaker 1: out you robe, play out the play. I have much
• 1:13:53
  Speaker 1: to say in the behalf of that Falstaff. One of
• 1:13:57
  Speaker 1: the most characteristic descriptions of Sir John is that which
• 1:14:01
  Speaker 1: Missus quickly gives of him when he asks her what
• 1:14:05
  Speaker 1: is the gross sun that I owe thee.
• 1:14:09
  Speaker 2: Hostess I marry if thou wert an honest man, and
• 1:14:15
  Speaker 2: thyself and the money too. Thou didst swear to me
• 1:14:18
  Speaker 2: upon a parcel gilt garplet, sitting in my dolphin chamber
• 1:14:23
  Speaker 2: at the round table by sea call fire on Wednesday
• 1:14:26
  Speaker 2: in the wits in week when the prince broke thy
• 1:14:28
  Speaker 2: head for likening his father to a singing man of
• 1:14:31
  Speaker 2: Windsor thou didst swear to me then, as I was
• 1:14:34
  Speaker 2: washing thy wound to marry me and to make me
• 1:14:37
  Speaker 2: my lady? Thy wife can so deny it? Did my
• 1:14:41
  Speaker 2: good wife Keech, the butcher's wife, come in then and
• 1:14:44
  Speaker 2: call me gossip, quickly coming into our a messer vinegar,
• 1:14:48
  Speaker 2: telling us she had a good dish of prance. Whereby
• 1:14:51
  Speaker 2: thou didst desire to eat some Whereby I told thee
• 1:14:54
  Speaker 2: they were ill for a green wound. And didst thou not,
• 1:14:58
  Speaker 2: when she was gone downstairs, desire me to be no
• 1:15:01
  Speaker 2: more so familiarity with such poor people, saying that ere
• 1:15:05
  Speaker 2: long they should call me madam? And didst thou not
• 1:15:08
  Speaker 2: kiss me and bid me fetch thee thirty shillings? I
• 1:15:12
  Speaker 2: put thee now to my book, growth deny it if
• 1:15:15
  Speaker 2: thou canst.
• 1:15:18
  Speaker 1: This scene is to us the most convincing proof of
• 1:15:21
  Speaker 1: Falseph's power of gaining over the good will of those
• 1:15:24
  Speaker 1: he was familiar with, except indeed Bardolph's somewhat profane exclamation
• 1:15:30
  Speaker 1: and hearing the account of his death, would I were
• 1:15:33
  Speaker 1: with him worsoever he is, whether in heaven or in hell.
• 1:15:40
  Speaker 1: One of the topics of exulting superiority over others, most
• 1:15:44
  Speaker 1: common in Sir John's mouth is this coipelence and the
• 1:15:48
  Speaker 1: exterior marks of good living which he carries about him,
• 1:15:52
  Speaker 1: thus turning his vices into commodity. He accounts for the
• 1:15:57
  Speaker 1: friendship between the Prince and points from their legs, being
• 1:16:02
  Speaker 1: both of bigness, and compares justice shallow too a man
• 1:16:07
  Speaker 1: made after supper of a cheese pairing. There cannot be
• 1:16:11
  Speaker 1: a more striking gradation of character than that between Falstaff
• 1:16:15
  Speaker 1: and Shallow and shallow in silence. It seems difficult at
• 1:16:19
  Speaker 1: first to fall lower than the Squire, But this fool,
• 1:16:24
  Speaker 1: great as he is, finds an admirer in humble foil
• 1:16:28
  Speaker 1: in his cousin's silence. Vain of his acquaintance with Sir John,
• 1:16:32
  Speaker 1: who makes abut of him. He exclaims, would cousin Silence,
• 1:16:37
  Speaker 1: that thou hast seen that which this knight and I
• 1:16:40
  Speaker 1: have seen a master shallow. We have heard the chimes
• 1:16:44
  Speaker 1: at midnight, says Sir John to Falstaff's observation, I did
• 1:16:49
  Speaker 1: not think Master Silence had been a man of this metal.
• 1:16:53
  Speaker 1: Silence answers who I? I have been married twice and
• 1:16:57
  Speaker 1: once ere now what an idea is here conveyed of
• 1:17:01
  Speaker 1: a prodigality of living, What good husbandry and economical self
• 1:17:06
  Speaker 1: denial in his pleasures? What a stock of lively recollections.
• 1:17:11
  Speaker 1: It is curious that Shakespeare has ridiculed in justice Shallow,
• 1:17:17
  Speaker 1: who was in some authority under the king, that disposition
• 1:17:22
  Speaker 1: to unmeaning tautology, which is the regal infirmity of later times,
• 1:17:27
  Speaker 1: and which it may be supposed, he acquired from talking
• 1:17:31
  Speaker 1: to his cousin's Silence and receiving no answers, Falstaff, you
• 1:17:39
  Speaker 1: have here a goodly dwelling and a rich shallow baron,
• 1:17:46
  Speaker 1: baron baron beggars, all beggars all, Sir John, marry good air,
• 1:17:52
  Speaker 1: spread davy, spread davy well, said davy Falstaff. This he
• 1:18:00
  Speaker 1: serves you for good uses Shallow, a good Varlet a
• 1:18:05
  Speaker 1: good Varlet a very good Varlet by the mass, I
• 1:18:08
  Speaker 1: have drank too much sucket supper, a good Varlet Now
• 1:18:12
  Speaker 1: sit down, Now sit down, come cousin the true spirit
• 1:18:17
  Speaker 1: of humanity, the thorough knowledge of the stuff we are
• 1:18:21
  Speaker 1: made of, the practical wisdom. With the seeming fooleries in
• 1:18:25
  Speaker 1: the whole of the garden scene at Shallow's country seat,
• 1:18:29
  Speaker 1: and just before in the exquisite dialog between him and
• 1:18:32
  Speaker 1: Silence on the death of old Double, have no parallel
• 1:18:36
  Speaker 1: anywhere else. In one point of view, they are laughable
• 1:18:40
  Speaker 1: in the extreme. In another, they are equally affecting. If
• 1:18:45
  Speaker 1: it is affecting to show what a little thing is
• 1:18:48
  Speaker 1: human life, what a poor forked creature man is. The
• 1:18:54
  Speaker 1: heroic and serious part of these two plays, founded on
• 1:18:57
  Speaker 1: the story of Henry the fourth, is not to inferior
• 1:19:00
  Speaker 1: to the comic and farcical. The characters of Hotspur and
• 1:19:04
  Speaker 1: Prince Henry are two of the most beautiful and dramatic,
• 1:19:07
  Speaker 1: both in themselves and from contrast that ever were drawn.
• 1:19:12
  Speaker 1: They are the essence of chivalry. We like Hotspur the
• 1:19:15
  Speaker 1: best upon the whole, perhaps because he was unfortunate. The
• 1:19:20
  Speaker 1: characters of their fathers. Henry the Fourth and Old Northumberland
• 1:19:25
  Speaker 1: are kept up equally well. Henry naturally succeeds, by his
• 1:19:29
  Speaker 1: prudence and caution in keeping what he has got. Northumberland
• 1:19:33
  Speaker 1: fails in his enterprise from an excess of the same quality,
• 1:19:37
  Speaker 1: and is caught in the web of his own cold
• 1:19:40
  Speaker 1: dilatory policy. Owen Glendower is a masterly character. It is
• 1:19:45
  Speaker 1: as bold and original as it is intelligible and thoroughly natural.
• 1:19:51
  Speaker 1: The disputes between him and Hotspur are managed with infinite
• 1:19:55
  Speaker 1: address and insight into nature. We cannot help pointing out
• 1:19:59
  Speaker 1: here some very beautiful lines where Hotspur describes the fight
• 1:20:04
  Speaker 1: between Glendower and Mortimer, when on the gentle sovereign sedgy Bank,
• 1:20:10
  Speaker 1: in single opposition, hand to hand, he did confound the
• 1:20:14
  Speaker 1: best part of an hour in changing parliament to a
• 1:20:17
  Speaker 1: great Glendower. Three times they breathed, and three times did
• 1:20:21
  Speaker 1: they drink. Upon agreement of swift Severn's flood, who then
• 1:20:26
  Speaker 1: affrighted with their bloody looks, ran fearfully among the trembling reeds,
• 1:20:31
  Speaker 1: and hid his crisp head in the hollow bank. Blood
• 1:20:35
  Speaker 1: stained with these valiant combatants, the peculiarity and the excellence
• 1:20:42
  Speaker 1: of Shakespeare's poetry is that it seems as if he
• 1:20:46
  Speaker 1: made his imagination the hand made of nature, and nature
• 1:20:50
  Speaker 1: the plaything of his imagination. He appears to have been
• 1:20:54
  Speaker 1: all the characters, and in all the situations he describes.
• 1:20:58
  Speaker 1: It is as if either he had had all their
• 1:21:01
  Speaker 1: feelings or had lent them all his genius to express themselves.
• 1:21:06
  Speaker 1: There cannot be stronger instances of this than Hotspur's rage
• 1:21:11
  Speaker 1: when Henry the fourth forbids him to speak of Mortimer,
• 1:21:14
  Speaker 1: his insensibility to all that his father and uncle urged
• 1:21:17
  Speaker 1: to calm him, and his fine abstracted apostrophe to honor
• 1:21:22
  Speaker 1: by Heaven. Methinks they were an easy leap to pluck
• 1:21:26
  Speaker 1: bright honor from the moon, et cetera. After all, notwithstanding
• 1:21:31
  Speaker 1: the gallantry, generosity, good temper in idle freaks of the
• 1:21:36
  Speaker 1: mad cap Prince of Wales, we should not have been
• 1:21:39
  Speaker 1: sorry if Northumberland's force had come up in time to
• 1:21:44
  Speaker 1: decide the fate of the battle at Shrewsbury. At least,
• 1:21:48
  Speaker 1: we always heartily sympathize with Lady Percy's grief when she exclaims,
• 1:21:54
  Speaker 1: had my sweet Harry had but half their numbers. Today,
• 1:21:59
  Speaker 1: might I, hanging on Hotspur's neck, have talked of Monmouth's grave.
• 1:22:07
  Speaker 1: The truth is that we never could forgive the Prince's
• 1:22:10
  Speaker 1: treatment of Falstaff, though perhaps Shakespeare knew what was best.
• 1:22:15
  Speaker 1: According to the history, the nature of the times, and
• 1:22:19
  Speaker 1: of the man. We speak only as dramatic critics. Whatever
• 1:22:24
  Speaker 1: terror the French in those days might have of Henry
• 1:22:28
  Speaker 1: the Fifth, yet to the readers of poetry at present,
• 1:22:32
  Speaker 1: Falstaff is the better man of the two. We think
• 1:22:35
  Speaker 1: of him him oftener end of Henry the Fourth in
• 1:22:43
  Speaker 1: two parts, Henry the Fifth. Henry the Fifth is a
• 1:22:49
  Speaker 1: very favorite monarch with the English nation, and he appears
• 1:22:53
  Speaker 1: to have been also a favorite with Shakespeare, who labors
• 1:22:57
  Speaker 1: hard to apologize for the actions of the case by
• 1:23:01
  Speaker 1: showing us the character of the man as the king
• 1:23:04
  Speaker 1: of good fellows. He scarcely deserves this honor. He was
• 1:23:09
  Speaker 1: fond of war and low company. We know little else
• 1:23:13
  Speaker 1: of him. He was careless, dissolute and ambitious, idle or
• 1:23:18
  Speaker 1: doing mischief in private. He seemed to have no idea
• 1:23:23
  Speaker 1: of the common decencies of life, which he subjected to
• 1:23:27
  Speaker 1: a kind of regal license. And public affairs he seemed
• 1:23:31
  Speaker 1: to have no idea of any rule of right or wrong,
• 1:23:35
  Speaker 1: but brute force glossed over with a little religious hypocrisy
• 1:23:40
  Speaker 1: and archepiscopal advice. His principles did not change with the
• 1:23:46
  Speaker 1: situation and professions. His adventure on Gadzill was a prelude
• 1:23:52
  Speaker 1: to the affair of Angincourt, only a bloodless one. Falstaff
• 1:23:57
  Speaker 1: was a puny prompter of violence and outrage, compared with
• 1:24:01
  Speaker 1: the pious and politic Archbishop of Canterbury, who gave the
• 1:24:06
  Speaker 1: king carte blanc in a genealogical tree of his family
• 1:24:10
  Speaker 1: to rob and murder in circles of latitude and longitude
• 1:24:13
  Speaker 1: abroad to save the possessions of the church at home.
• 1:24:18
  Speaker 1: This appears in the speeches in Shakespeare, where the hidden
• 1:24:21
  Speaker 1: motives that actuate princes and their advisers in Warren policy
• 1:24:27
  Speaker 1: are better laid open than in speeches from the Throne
• 1:24:30
  Speaker 1: or Wolsack. Henry, because he did not know how to
• 1:24:34
  Speaker 1: govern his own kingdom, determined to make war upon his neighbors.
• 1:24:38
  Speaker 1: Because his own title to the crown was doubtful, he
• 1:24:41
  Speaker 1: laid claim to that of France. Because he did not
• 1:24:44
  Speaker 1: know how to exercise the enormous power which had just
• 1:24:47
  Speaker 1: dropped into his hands to any one good purpose. He
• 1:24:51
  Speaker 1: immediately undertook a cheap and obvious resource of sovereigntity to
• 1:24:56
  Speaker 1: do all the mischief he could. Even absolute monarchs had
• 1:25:01
  Speaker 1: the wit to find out objects of laudable ambition, they
• 1:25:05
  Speaker 1: could only plume up their wills in adhering to the
• 1:25:09
  Speaker 1: more sacred formula of the royal prerogative, the right divine
• 1:25:13
  Speaker 1: of kings to govern wrong, because will is only then
• 1:25:17
  Speaker 1: triumphant when it is opposed to the will of others.
• 1:25:21
  Speaker 1: Because the pride of power is only then shown not
• 1:25:25
  Speaker 1: when it consults the rights and interest for others, but
• 1:25:28
  Speaker 1: when it insults and tramples on all justice and all humanity.
• 1:25:33
  Speaker 1: Henry declares his resolution, when France is his, to bend
• 1:25:37
  Speaker 1: it to his awe or break it all to pieces,
• 1:25:41
  Speaker 1: a resolution worthy of a conqueror, to destroy all that
• 1:25:45
  Speaker 1: he cannot enslave. And what adds to the joke, he
• 1:25:49
  Speaker 1: lays all the blame of the consequences of his ambition
• 1:25:53
  Speaker 1: on those who will not submit tamely to his tyranny.
• 1:25:56
  Speaker 1: Such is the history of kingly power from the beginning
• 1:26:00
  Speaker 1: to the end of the world, with this difference that
• 1:26:04
  Speaker 1: the object of war formerly, when the people adhered to
• 1:26:07
  Speaker 1: their allegiance, was to depose kings. The object latterly, since
• 1:26:12
  Speaker 1: the people swerved from their allegiance, has been to restore
• 1:26:16
  Speaker 1: kings and to make common cause against mankind. The object
• 1:26:21
  Speaker 1: of our late invasion and conquest of France was to
• 1:26:25
  Speaker 1: restore the legitimate monarch, the descendant of Hugh Capet, to
• 1:26:29
  Speaker 1: the throne. Henry the Fifth, in his time made war
• 1:26:33
  Speaker 1: on and deposed the descendant of this very Hugh Capet,
• 1:26:38
  Speaker 1: on the plea that he was a usurper and illegitimate.
• 1:26:43
  Speaker 1: What would the great modern catspaw of legitimacy and restore
• 1:26:47
  Speaker 1: of divine right have said to the claim of Henry
• 1:26:51
  Speaker 1: and the title of the descendants of Hugh Capet. Henry
• 1:26:55
  Speaker 1: the Fifth, it is true, was a hero, a king
• 1:26:58
  Speaker 1: of England and the conqueror of the King of France.
• 1:27:01
  Speaker 1: Yet we feel little love or admiration for him. He
• 1:27:05
  Speaker 1: was a hero, that is, he was ready to sacrifice
• 1:27:08
  Speaker 1: his own life for the pleasure of destroying thousands of
• 1:27:10
  Speaker 1: other lives. He is a king of England, but not
• 1:27:14
  Speaker 1: a constitutional one, and we only like kings according to
• 1:27:17
  Speaker 1: the law Lastly, he is a conqueror of the French king,
• 1:27:21
  Speaker 1: and for this we dislike him less than if he
• 1:27:24
  Speaker 1: had conquered the French people. How then do we like him?
• 1:27:29
  Speaker 1: We like him in the play there he is a
• 1:27:31
  Speaker 1: very amiable monster, a very splendid pageant. As we like
• 1:27:36
  Speaker 1: to gaze at a panther or a young lion in
• 1:27:38
  Speaker 1: their cages in the power and catch a pleasing horror
• 1:27:41
  Speaker 1: from their glistening eyes, their velvet pause and dreadless roar.
• 1:27:46
  Speaker 1: So we take a very romantic, heroic, patriotic, and poetical
• 1:27:51
  Speaker 1: delight in the boasting feats of our younger harry as
• 1:27:55
  Speaker 1: they appear on the stage and are confined to lines
• 1:27:58
  Speaker 1: of ten syllables. Where no blood follows the stroke that
• 1:28:02
  Speaker 1: wounds our ears, Where no harvest bends beneath horses hoofs,
• 1:28:07
  Speaker 1: no city flames, no little child is butchered, No dead
• 1:28:11
  Speaker 1: men's bodies are found piled on heaps and festering the
• 1:28:15
  Speaker 1: next morning in the orchestra. So much for the politics
• 1:28:20
  Speaker 1: of this play, Now for the poetry. Perhaps one of
• 1:28:23
  Speaker 1: the most striking images in all Shakespeare is that given
• 1:28:28
  Speaker 1: of war in the first lines of the prolog o
• 1:28:33
  Speaker 1: for a muse of fire that would ascend the brightest
• 1:28:37
  Speaker 1: heaven of invention. A kingdom first age, princes to act,
• 1:28:42
  Speaker 1: and monarchs to behold the swelling scene. Then should the
• 1:28:47
  Speaker 1: warlike Harry, like himself, assume the port of Mars, and
• 1:28:53
  Speaker 1: at his heels leashed in like hounds, should famine sword
• 1:28:58
  Speaker 1: and fire rouch for employment reubens. If he had painted,
• 1:29:05
  Speaker 1: it would not have improved upon the simile. The conversation
• 1:29:09
  Speaker 1: between the Archbishop of Canterbury and the Bishop of Ely,
• 1:29:14
  Speaker 1: relating to the sudden change in the manners of Henry
• 1:29:17
  Speaker 1: the fifth, is among the well known beauties of Shakespeare.
• 1:29:21
  Speaker 1: It is indeed admirable, both for strength and grace. It
• 1:29:25
  Speaker 1: has sometimes occurred to us that Shakespeare, in describing the
• 1:29:29
  Speaker 1: reformation of the Prince, might have had an eye to himself,
• 1:29:35
  Speaker 1: which is a wonder how his grace should glean it,
• 1:29:38
  Speaker 1: since his addiction was to courses vain, his companies unlettered, rude,
• 1:29:43
  Speaker 1: and shallow, his hours filled up with riots, banquets, sports,
• 1:29:48
  Speaker 1: and never noted in him any study, any retirement, any
• 1:29:52
  Speaker 1: sequestration from open haunts and popularity. Eli the strawberry grows
• 1:29:59
  Speaker 1: underneath the nettle and wholesome berries thrive and ripen, best
• 1:30:03
  Speaker 1: enabored by fruit of baser quality. And so the Prince
• 1:30:07
  Speaker 1: obscured his contemplation under the veil of wildness, which no
• 1:30:12
  Speaker 1: doubt grew like the summer grass, fastest by night, unseen
• 1:30:17
  Speaker 1: yet cressive in his faculty. This at least is as
• 1:30:22
  Speaker 1: probable an account of the progress of the poet's mind
• 1:30:26
  Speaker 1: as we have met with in any of the essays
• 1:30:28
  Speaker 1: on the Learning of Shakespeare. Nothing can be better managed
• 1:30:33
  Speaker 1: than the caution which the King gives the meddling archbishop
• 1:30:38
  Speaker 1: not to advise him rashly to engage in the war
• 1:30:40
  Speaker 1: with France, his scrupulous dread of the consequences of that advice,
• 1:30:45
  Speaker 1: and his eager desire to hear and follow it. And
• 1:30:51
  Speaker 1: God forbid, my dear and faithful Lord, that you should
• 1:30:55
  Speaker 1: fashion rest or bow your reading, or nicely charge your
• 1:30:58
  Speaker 1: understanding soul with opening titles miscreant whose right suits not
• 1:31:04
  Speaker 1: a native colors with a truth, For God doth know
• 1:31:09
  Speaker 1: how many now in health shall drop their blood an
• 1:31:12
  Speaker 1: approbation of what your reverence shall incite us to therefore
• 1:31:17
  Speaker 1: take heed. How you impawn your person, how you awake
• 1:31:21
  Speaker 1: our sleeping sword of war. We charge you in the
• 1:31:24
  Speaker 1: name of God, take heed, For never two such kingdoms
• 1:31:28
  Speaker 1: did contend without much fall of blood. Whose guiltless drops
• 1:31:33
  Speaker 1: are every one a woe, a sore complaint against him
• 1:31:39
  Speaker 1: whose wrong gives edge unto the swords that make such
• 1:31:43
  Speaker 1: waste in brief mortality. Under this conjuration, speak my Lord,
• 1:31:49
  Speaker 1: for we will hear, note and believe in heart that
• 1:31:53
  Speaker 1: what you speak is in your conscious washed as pure
• 1:31:57
  Speaker 1: as sin with baptism. Another characteristic instance of the blindness
• 1:32:03
  Speaker 1: of human nature to everything but its own interests is
• 1:32:07
  Speaker 1: the complaint made by the king of the ill neighbourhood
• 1:32:11
  Speaker 1: of the scot in attacking England when she was attacking France.
• 1:32:18
  Speaker 1: For once, the eagle England, being in prey to her
• 1:32:22
  Speaker 1: unguarded nest, the weasel Scot comes sneaking and so sucks
• 1:32:28
  Speaker 1: her princely eggs. It is worth observing that in all
• 1:32:33
  Speaker 1: these plays, which give an admirable picture of the spirit
• 1:32:36
  Speaker 1: of the good old times, the moral inference does not
• 1:32:40
  Speaker 1: at all depend upon the nature of the actions, but
• 1:32:43
  Speaker 1: on the dignity or meanness of the persons committing them.
• 1:32:48
  Speaker 1: The eagle England has a right to be in prey,
• 1:32:52
  Speaker 1: but the weasel scot has none to come sneaking to
• 1:32:56
  Speaker 1: her nest, which she has left to pounce upon others.
• 1:33:00
  Speaker 1: Might was right without equivocation or disguise, And that heroic
• 1:33:06
  Speaker 1: and chivalrous age, the substitution of right for might, even
• 1:33:10
  Speaker 1: in theory, is among the refinements and abuses of modern philosophy.
• 1:33:17
  Speaker 1: A more beautiful rhetorical delineation of the effects of subordination
• 1:33:21
  Speaker 1: in a commonwealth can hardly be conceived than the following.
• 1:33:27
  Speaker 1: For government, though high and low and lower put into parts,
• 1:33:33
  Speaker 1: doth keep in one consent, congruing in a full and
• 1:33:37
  Speaker 1: natural close like music. Therefore Heaven doth divide the state
• 1:33:43
  Speaker 1: of man in diverse functions, setting endeavour in continual motion,
• 1:33:49
  Speaker 1: to which is fixed as an aim, or but obedience
• 1:33:53
  Speaker 1: for so work. The honeybees creatures that by a rule
• 1:33:57
  Speaker 1: and nature teach the art of order to a peopled kingdom.
• 1:34:02
  Speaker 1: They have a king and officers of sorts, where some
• 1:34:06
  Speaker 1: like magistrates, correct at home, others, like merchants, venture trade abroad, Others,
• 1:34:14
  Speaker 1: like soldiers, armed in their stings, make boot upon the
• 1:34:18
  Speaker 1: summer's velvet buds, which pillage they with mery march bring
• 1:34:22
  Speaker 1: home to the tent royal of their emperor, who busied
• 1:34:27
  Speaker 1: in his majesty surveys the singing mason building roofs of gold,
• 1:34:33
  Speaker 1: the civil citizens kneading up the honey, the poor mechanic
• 1:34:37
  Speaker 1: porters crowding in their heavy burthens at his narrow gate,
• 1:34:42
  Speaker 1: the sad eyed Justice, with his surly hum delivering oar
• 1:34:46
  Speaker 1: to executors, pale the lazy, yawning drone. I this infer
• 1:34:53
  Speaker 1: that many things, having full reference to one consent may
• 1:34:57
  Speaker 1: work contrariously. As many arrows loosened several ways fly to
• 1:35:03
  Speaker 1: one mark, as many several ways meet in one town,
• 1:35:08
  Speaker 1: as many fresh streams meet in one salt sea, as
• 1:35:11
  Speaker 1: many lines close in the dial center. So may a
• 1:35:16
  Speaker 1: thousand actions once afoot and in one purpose, and be
• 1:35:21
  Speaker 1: all well born without defeat. Henry the Fifth is but
• 1:35:27
  Speaker 1: one of Shakespeare's second rate plays. Yet by quoting passages
• 1:35:32
  Speaker 1: like this from his second rate plays alone, we might
• 1:35:35
  Speaker 1: make a volume rich with his praise, as is the
• 1:35:40
  Speaker 1: Ouzi Bottom of the Sea, with sunken rack and sumless.
• 1:35:45
  Speaker 1: Treasuries of this sort are the King's remonstrance to Scroop,
• 1:35:51
  Speaker 1: Gray and Cambridge on the detection of their treason, his
• 1:35:55
  Speaker 1: address to the soldiers at the Siege of Harfleur, and
• 1:35:59
  Speaker 1: the still finer one before the Battle of Agincourt, the
• 1:36:03
  Speaker 1: description of the night before the battle, and the reflections
• 1:36:07
  Speaker 1: on ceremony put into the mouth of the king O
• 1:36:13
  Speaker 1: hard condition twin born with greatness, subjected to the breath
• 1:36:17
  Speaker 1: of every fool, whose sense no more can feel but
• 1:36:21
  Speaker 1: his own ringing? What infinite hearts? Ease must kings neglect
• 1:36:27
  Speaker 1: that private men enjoy? And what have kings that privates
• 1:36:32
  Speaker 1: have not too? Save ceremony, save general ceremony. And what
• 1:36:37
  Speaker 1: art thou thou idle ceremony? What kind of god art
• 1:36:42
  Speaker 1: thou that suffere'st more of mortal griefs than do thy worshippers?
• 1:36:47
  Speaker 1: What are thy rents? What are thy comings in o ceremony?
• 1:36:52
  Speaker 1: Show me but thy worth? What is thy soul? O adoration?
• 1:36:58
  Speaker 1: Art thou aught else but place, degree and form, creating
• 1:37:04
  Speaker 1: awe in fear in other men? Wherein thou art less
• 1:37:09
  Speaker 1: happy being feared than they in fearing? What drinkest thou
• 1:37:14
  Speaker 1: oft instead of homage, sweet but poisoned flattery? Oh be
• 1:37:20
  Speaker 1: sick great greatness, and bid thy ceremony, give thee cure,
• 1:37:26
  Speaker 1: thinkest thou the fiery fever will go out with titles
• 1:37:30
  Speaker 1: blown from adulation, Will it give place to flecture and
• 1:37:34
  Speaker 1: low bending? Canst thou, when thou commandest the beggar's knee,
• 1:37:40
  Speaker 1: command the health of it. No, thou proud dream that
• 1:37:45
  Speaker 1: playest so subtly with the king's repose. I am a
• 1:37:48
  Speaker 1: king that find thee, and I know tis not the balm,
• 1:37:53
  Speaker 1: the scepter, and the ball, the sword, the mace, the crown,
• 1:37:57
  Speaker 1: imperial en tissued robe of golden pearl, the farcet tidal
• 1:38:04
  Speaker 1: running for the king, the throny sits on, nor the
• 1:38:07
  Speaker 1: tide of pomp that beats upon the high shore of
• 1:38:10
  Speaker 1: this world. No, not all these thrice gorgeous ceremony, Not
• 1:38:16
  Speaker 1: all these laid in bed, majesticle, can sleep so soundly
• 1:38:21
  Speaker 1: as the wretched slave, who, with a body filled and
• 1:38:25
  Speaker 1: vacant mind gets him to rest crammed with distressful bread,
• 1:38:31
  Speaker 1: never sees horrid night the child of hell, but like
• 1:38:36
  Speaker 1: a lackey, from rise to set sweats and the eye
• 1:38:39
  Speaker 1: of Phoebus, and all night sleeps in elysium. Next day
• 1:38:44
  Speaker 1: after dawn doth rise and help Hyperion to his horse,
• 1:38:48
  Speaker 1: and follows so the ever running year, with profitable labor,
• 1:38:52
  Speaker 1: to his grave. And but for ceremony, such a wretch
• 1:38:57
  Speaker 1: winding up days with toil, in knights with sleep. As
• 1:39:02
  Speaker 1: the forehand and vantage of a king, the slave, a
• 1:39:06
  Speaker 1: member of the country's peace, enjoys it. But in gross brain,
• 1:39:10
  Speaker 1: little watts, what watch the king keeps to maintain the peace,
• 1:39:15
  Speaker 1: whose hours the peasant best advantages. Most of these passages
• 1:39:21
  Speaker 1: are well known. There is one which we do not
• 1:39:25
  Speaker 1: remember to have seen noticed, and yet it is no
• 1:39:28
  Speaker 1: wit inferior to the rest in heroic beauty. It is
• 1:39:32
  Speaker 1: the account of the deaths of York and Suffolk. Exeter,
• 1:39:39
  Speaker 1: the Duke of York commends him to your Majesty, King
• 1:39:43
  Speaker 1: Henry lives here, good uncle thrice within this hour I
• 1:39:47
  Speaker 1: saw him down, thrice up again, and fighting from helmet
• 1:39:52
  Speaker 1: to the spur, all blood he was Exeter, in which array,
• 1:39:58
  Speaker 1: brave soldier doth he lie larding the plain, and by
• 1:40:02
  Speaker 1: his bloody side yoke fellow to his honor, owning wounds.
• 1:40:06
  Speaker 1: The noble Earl of Suffolk also lies. Suffolk first died,
• 1:40:11
  Speaker 1: and Yorke all haggld Ore comes to him wherein gore
• 1:40:16
  Speaker 1: he lay and steeped, and takes him by the beard,
• 1:40:19
  Speaker 1: kisses the gashes that bloodily did, yawn upon his face,
• 1:40:23
  Speaker 1: and cries aloud, Tarry, dear cousin, Suffolk, my soul shall
• 1:40:29
  Speaker 1: thine keep company to heaven. Tarry sweet soul from mine.
• 1:40:34
  Speaker 1: Then fly abreast, as in this glorious and well foughten
• 1:40:38
  Speaker 1: field we kept together in our chivalry. Upon these words,
• 1:40:43
  Speaker 1: I came and cheered him up. He smiled me in
• 1:40:47
  Speaker 1: the face, wrought me his hand, and with a feeble gripe, says,
• 1:40:52
  Speaker 1: dear my lord, commend my service to my sovereign. So
• 1:40:56
  Speaker 1: did he turn, and over Suffolk's neck, he threw his
• 1:41:00
  Speaker 1: wounded arm, and kissed his lips, and so espoused to
• 1:41:04
  Speaker 1: death with blood. He sealed a testament of noble ending love.
• 1:41:11
  Speaker 1: But we must have done with splendid quotations. Behavior of
• 1:41:15
  Speaker 1: the King in the difficult and doubtful circumstances in which
• 1:41:19
  Speaker 1: he is placed is as patient and modest as it
• 1:41:23
  Speaker 1: is spirited lofty in his prosperous fortune. The character of
• 1:41:28
  Speaker 1: the French nobles is also very admirably depicted, and the
• 1:41:32
  Speaker 1: Dauphin's praise of his horse shows the vanity of that
• 1:41:36
  Speaker 1: class of persons in a very striking point of view.
• 1:41:40
  Speaker 1: Shakespeare always accompanies a foolish prince with a satirical courtier,
• 1:41:45
  Speaker 1: as we see in this instance, the comic parts of
• 1:41:48
  Speaker 1: Henry the Fifth are very inferior to those of Henry
• 1:41:51
  Speaker 1: the fourth. Falstaff is dead, and without him, Pistol, Nim
• 1:41:56
  Speaker 1: and Bardolph are satellites without a son. Fluellen, the Welshman,
• 1:42:02
  Speaker 1: is the most entertaining character in the piece. He is
• 1:42:05
  Speaker 1: good natured, brave, colarc and pedantic. His parallel between Alexander
• 1:42:11
  Speaker 1: and Harry of Mammouth and his desire to have some
• 1:42:16
  Speaker 1: disputations with Captain mac Morris on the discipline of the
• 1:42:20
  Speaker 1: Roman wars in the heat of the battle are never
• 1:42:23
  Speaker 1: to be forgotten. His treatment of Pistol is as good
• 1:42:27
  Speaker 1: as Pistol's treatment of his French prisoner. There are two
• 1:42:32
  Speaker 1: other remarkable prose passages in this play, the conversation of
• 1:42:36
  Speaker 1: Henry in disguise with the three Sentinels on the duties
• 1:42:39
  Speaker 1: of a soldier, and his courtship of Catherine in Broken French.
• 1:42:45
  Speaker 1: We like them both exceedingly. Though the first Savors perhaps
• 1:42:49
  Speaker 1: too much of the king, and the last too little
• 1:42:52
  Speaker 1: of the lover and of Henry the Fifth. Henry the sixth,
• 1:43:00
  Speaker 1: in three parts, during the time of the civil wars
• 1:43:05
  Speaker 1: of York and Lancaster, England, was a perfect bear garden,
• 1:43:10
  Speaker 1: and Shakespeare has given us a very lively picture the scene.
• 1:43:14
  Speaker 1: The three parts of Henry the Sixth convey a picture
• 1:43:17
  Speaker 1: of very little else and are inferior to the other
• 1:43:20
  Speaker 1: historical plays. They have brilliant passages, but the general groundwork
• 1:43:25
  Speaker 1: is comparatively poor and meager. The style flat and unraised.
• 1:43:31
  Speaker 1: There are few lines like the following. Glory is like
• 1:43:35
  Speaker 1: a circle in the water, which never ceaseth to enlarge itself,
• 1:43:39
  Speaker 1: till by broad spreading it disperses to nought. The first
• 1:43:44
  Speaker 1: part relates to the wars in France after the death
• 1:43:47
  Speaker 1: of Henry the Fifth, and the story of the Maid
• 1:43:50
  Speaker 1: of Orleans. She is here almost as scurvily treated as
• 1:43:54
  Speaker 1: in Voltaire's Pucelles. Talbot is a very magnificent sketch. There
• 1:44:00
  Speaker 1: is something as formidable in this portrait of him as
• 1:44:03
  Speaker 1: there would be in a monumental figure of him, or
• 1:44:06
  Speaker 1: in the sight of the armor which he wore. The
• 1:44:10
  Speaker 1: scene in which he visits the Countess of Auverne, who
• 1:44:14
  Speaker 1: seeks to entrap him, is a very spirited one, and
• 1:44:18
  Speaker 1: his description of his own treatment while a prisoner to
• 1:44:21
  Speaker 1: the French not less remarkable. Salisbury yet tell'st thou not
• 1:44:28
  Speaker 1: how thou wert entertained Talbot with scoffs and scorns and
• 1:44:35
  Speaker 1: contemptuous taunts in open market place, produced thamy to be
• 1:44:39
  Speaker 1: a public spectacle to all. Here, said they is the
• 1:44:44
  Speaker 1: terror of the French, the scarecrow that affrights our children.
• 1:44:47
  Speaker 1: So then broke I from the officers that led me,
• 1:44:51
  Speaker 1: and with my nails dig stones out of the ground
• 1:44:54
  Speaker 1: to hurl at the beholders of my shame. My grisly
• 1:44:58
  Speaker 1: countenance made others fly non durst come nearer, for fear
• 1:45:03
  Speaker 1: of sudden death in iron walls. They deemed to me
• 1:45:07
  Speaker 1: not secure, so great a fear my name amongst them
• 1:45:11
  Speaker 1: spread that they supposed I could rend bars of steel
• 1:45:15
  Speaker 1: and spurn in pieces post of adamant. Wherefore a guard
• 1:45:20
  Speaker 1: of chosen shot I had. They walked about me every
• 1:45:24
  Speaker 1: minute while, and if I did but stir out of
• 1:45:27
  Speaker 1: my bed, ready they were to shoot me to the heart.
• 1:45:33
  Speaker 1: The second part relates chiefly to the contest between the
• 1:45:36
  Speaker 1: nobles during the minority of Henry and the death of Gloucester.
• 1:45:40
  Speaker 1: The good Duke Comfrey, the character of Cardinal Beaufort is
• 1:45:45
  Speaker 1: the most prominent in the group. The count of his
• 1:45:48
  Speaker 1: death is one of our author's masterpieces. So is the
• 1:45:52
  Speaker 1: speech of Gloucester to the nobles on the loss of
• 1:45:55
  Speaker 1: the provinces of France by the king's marriage with Margaret
• 1:45:58
  Speaker 1: of Anjou. The pretensions and growing ambition of the Duke
• 1:46:03
  Speaker 1: of York, the father of Richard the Third, are also
• 1:46:06
  Speaker 1: very ably developed. Among the episodes, the tragic comedy of
• 1:46:11
  Speaker 1: jack Cade and the detection of the impostor Symcox are
• 1:46:15
  Speaker 1: truly edifyed the third part describes Henry's loss of his crown.
• 1:46:22
  Speaker 1: His death takes place in the last act, which is
• 1:46:25
  Speaker 1: usually thrust into the common acting play of Richard the Third.
• 1:46:29
  Speaker 1: The character of Gloucester afterwards, King Richard is here very
• 1:46:34
  Speaker 1: powerfully commenced, and his dangerous designs and long reaching ambition
• 1:46:39
  Speaker 1: are fully described in a soliloquy in the third act
• 1:46:43
  Speaker 1: beginning ay Edward will use woman honorably. Henry the sixth
• 1:46:49
  Speaker 1: is drawn as distinctly as his high spirited queen, and
• 1:46:53
  Speaker 1: notwithstanding the very mean figure which Henry makes as a king,
• 1:46:58
  Speaker 1: we still feel more respectful him than for his wife.
• 1:47:03
  Speaker 1: We have already observed that Shakespeare was scarcely more remarkable
• 1:47:06
  Speaker 1: for the force and marked contrast of his characters than
• 1:47:09
  Speaker 1: for the truth and subtlety which he has distinguished those
• 1:47:13
  Speaker 1: which approach the nearest to each other. For instance, the
• 1:47:17
  Speaker 1: soul of Othello is hardly more distinct from that of
• 1:47:20
  Speaker 1: Iago than that of Desdemona is shown to be from Emilias.
• 1:47:25
  Speaker 1: The ambition of Macbeth is as distinct from the ambition
• 1:47:29
  Speaker 1: to the third as it is from the meekness of Duncan.
• 1:47:34
  Speaker 1: The real madness of Lear is as different from the
• 1:47:37
  Speaker 1: feign madness of Edgar as from the babbling of the fool. Footnote.
• 1:47:44
  Speaker 1: There is another instance of the name distinction in Hamlet
• 1:47:47
  Speaker 1: and Ophelia. Hamlet's pretended madness would make a very good
• 1:47:52
  Speaker 1: real madness in any other author. End footnote. The contrast
• 1:47:58
  Speaker 1: between wit and folly and false deaf in shallow is
• 1:48:01
  Speaker 1: not more characteristic, though more obvious, than the gradations of folly, loquaciousness,
• 1:48:07
  Speaker 1: or reserved in shallow, in silence, and again the gallantry
• 1:48:12
  Speaker 1: of Prince Henry is as little confounded with that of Hotspur,
• 1:48:17
  Speaker 1: as with the cowardice of Falstaff, or as the sensual
• 1:48:21
  Speaker 1: and philosophic cowardice of the Night is with the pitiful,
• 1:48:24
  Speaker 1: in cringing cowardice of Paroles. All these several personages were
• 1:48:30
  Speaker 1: as different in Shakespeare as they would have been in themselves.
• 1:48:34
  Speaker 1: His imagination borrowed from the life. In every circumstance, object,
• 1:48:38
  Speaker 1: motive passion operated there as it would in reality, and
• 1:48:43
  Speaker 1: produce a world of men and women as distinct, as true,
• 1:48:47
  Speaker 1: and as various as those that exist in nature. The
• 1:48:51
  Speaker 1: peculiar property of Shakespeare's imagination was this truth, accompanied with
• 1:48:56
  Speaker 1: the unconsciousness of nature. Indeed, imagining, to be perfect, must
• 1:49:01
  Speaker 1: be unconscious, at least in production, for nature is so.
• 1:49:06
  Speaker 1: We shall attempt one example more in the characters of
• 1:49:10
  Speaker 1: Richard the Second and Henry the sixth. The characters and
• 1:49:14
  Speaker 1: situations of both these persons were so nearly alike that
• 1:49:18
  Speaker 1: they would have been completely confounded by a commonplace poet.
• 1:49:22
  Speaker 1: Yet they are kept quite distinct in Shakespeare. Both were kings,
• 1:49:26
  Speaker 1: and both unfortunate, both lost to the crowns owing to
• 1:49:30
  Speaker 1: their mismanagement and imbecility, the one from a thoughtless, wilful
• 1:49:35
  Speaker 1: abuse of power, the other from an indifference to it.
• 1:49:39
  Speaker 1: The manner in which they bear their misfortunes corresponds exactly
• 1:49:43
  Speaker 1: to the causes which led to them. The one is
• 1:49:46
  Speaker 1: always lamenting the loss of his power, which he is
• 1:49:49
  Speaker 1: not the spirit to regain. The other seems only to
• 1:49:53
  Speaker 1: regret that he had ever been king, and is glad
• 1:49:56
  Speaker 1: to be rid of the power with the trouble. The
• 1:49:59
  Speaker 1: effeminacy of the one as that of a vultuary, proud, revengeful,
• 1:50:04
  Speaker 1: impatient of contradiction, and inconsolable in his misfortunes. The effeminacy
• 1:50:10
  Speaker 1: of the other is that of an indolent, good natured mind,
• 1:50:14
  Speaker 1: naturally averse to the turmoils of ambition and the cares
• 1:50:17
  Speaker 1: of greatness, and who wishes to pass his time in
• 1:50:21
  Speaker 1: monkish indolence and contemplation. Richard bewails the loss of the
• 1:50:26
  Speaker 1: kingly power only as it was the means of gratifying
• 1:50:30
  Speaker 1: his pride and luxury. Henry regards it only as a
• 1:50:33
  Speaker 1: means of doing right, and is less desirous of the
• 1:50:36
  Speaker 1: advantages to be derived from possessing it than afraid of
• 1:50:40
  Speaker 1: exercising it wrong and uniting a young soldier, he gives
• 1:50:44
  Speaker 1: him ghostly advice Edward Plantagenet arise a knight, and learned
• 1:50:51
  Speaker 1: this lesson, draw thy sword and right. Richard the Second,
• 1:50:57
  Speaker 1: in the first speeches of the play, portrays his rous character.
• 1:51:01
  Speaker 1: In the first alarm of his pride. On hearing of
• 1:51:04
  Speaker 1: Bolombroke's rebellion, before his presumption has met with any check,
• 1:51:08
  Speaker 1: he exclaims, mock not my senseless conjuration lords, this earth
• 1:51:14
  Speaker 1: shall have a feeling, and these stones prove armed soldiers
• 1:51:18
  Speaker 1: ere her native king shall falter under proud rebellious arms.
• 1:51:24
  Speaker 1: Not all the water in the rough, rude sea can
• 1:51:27
  Speaker 1: wash the balm from an anointed king. The breath of
• 1:51:30
  Speaker 1: worldly man cannot oppose the deputy elected by the Lord.
• 1:51:34
  Speaker 1: For every man the Bolingbroke hath pressed to lift sharp
• 1:51:38
  Speaker 1: steel against our golden crown. Heaven for his Richard hath
• 1:51:42
  Speaker 1: in heavenly pay a glorious angel. Then if angels fight,
• 1:51:47
  Speaker 1: weak men must fall, for Heaven still guards the right. Yet,
• 1:51:53
  Speaker 1: notwithstanding this royal confession of faith, on the very first
• 1:51:56
  Speaker 1: news of actual disaster, all his conceit of himself as
• 1:52:00
  Speaker 1: the peculiar favorite of providence vanishes into air. But now
• 1:52:06
  Speaker 1: the blood of twenty thousand men did triumph in my face,
• 1:52:10
  Speaker 1: and they are fled. All souls that will be saved
• 1:52:14
  Speaker 1: fly from my side for time. Hath settle blot upon
• 1:52:18
  Speaker 1: my pride. Immediately after, however, recollecting that cheap defense of
• 1:52:25
  Speaker 1: the divinity of kings which is to be found in opinion,
• 1:52:29
  Speaker 1: he is for arming his name against his enemies. Oh
• 1:52:34
  Speaker 1: wake thou coward, majesty, thou sleepest is not the King's name.
• 1:52:38
  Speaker 1: Forty thousand names arm arm my name. A puny subject
• 1:52:43
  Speaker 1: strikes at thy great glory. King Henry does not make
• 1:52:48
  Speaker 1: any such vaporing resistance to the loss of his crown,
• 1:52:52
  Speaker 1: but lets it slip from off his head as a
• 1:52:54
  Speaker 1: weight which he is neither able nor willing to bear.
• 1:52:58
  Speaker 1: Stands quietly by, to say, see the issue of the
• 1:53:01
  Speaker 1: contest for his kingdom as if it were a game
• 1:53:03
  Speaker 1: at pushpin, and is pleased when the odds prove against him.
• 1:53:08
  Speaker 1: When Richard first hears of the death of his favorites, Bushy,
• 1:53:12
  Speaker 1: Baggott and the rest, he indignantly rejects all idea of
• 1:53:16
  Speaker 1: any further efforts, and only indulges in the extravagant impatience
• 1:53:21
  Speaker 1: of his grief and his despair, in that fine speech
• 1:53:24
  Speaker 1: which has been so often quoted, All mule, where's the Duke,
• 1:53:31
  Speaker 1: my father, with his power, King Richard, no matter where
• 1:53:36
  Speaker 1: of comfort, no man speak. Let's talk of graves of
• 1:53:40
  Speaker 1: worms and epithets, make dust our paper, and with rainy
• 1:53:45
  Speaker 1: eyes right sorrow in the bosom of the earth. Let's
• 1:53:48
  Speaker 1: choose executors and talk of wills. And yet not so,
• 1:53:53
  Speaker 1: for what can we bequeath save our deposed bodies to
• 1:53:56
  Speaker 1: the ground, Our lands, our lives in awe are bowling brooks.
• 1:54:01
  Speaker 1: And nothing can we call our own but death, and
• 1:54:05
  Speaker 1: that small model of the barren earth, which serves as
• 1:54:09
  Speaker 1: paste and covered to our bones. For Heaven's sake, let
• 1:54:13
  Speaker 1: us sit upon the ground and tell sad stories of
• 1:54:16
  Speaker 1: the death of kings. How some have been deposed, some
• 1:54:21
  Speaker 1: slain in war, some haunted by the ghosts they dispossessed,
• 1:54:25
  Speaker 1: some poisoned by their wives, some sleeping, killed, all murdered.
• 1:54:31
  Speaker 1: For within the holy crown that rounds the mortal temples
• 1:54:34
  Speaker 1: of a king keeps death as court. And there the
• 1:54:38
  Speaker 1: antic sits, scoffing his state, and grinning at his pomp,
• 1:54:44
  Speaker 1: allowing him a breath, a little scene to monarchize, be feared,
• 1:54:49
  Speaker 1: and kill with looks, infusing him with self and vain conceit,
• 1:54:55
  Speaker 1: as if this flesh which walls about our life were bred,
• 1:55:00
  Speaker 1: impregnable and humored. Thus comes at the last, and with
• 1:55:05
  Speaker 1: a little pin bores through his castle wall and farewell King,
• 1:55:13
  Speaker 1: Cover your heads and mock not flesh and blood, with
• 1:55:17
  Speaker 1: solemn reverence, throw away respect, tradition, form, and ceremonious duty,
• 1:55:24
  Speaker 1: For you have but mistook me all this while I
• 1:55:27
  Speaker 1: live on bread like you, feel, want taste grief, need
• 1:55:31
  Speaker 1: friends like you. Subjected? Thus, how can you say to
• 1:55:35
  Speaker 1: me I am King? There is as little sincerity afterwards
• 1:55:41
  Speaker 1: in his affected resignation to his fate as there is
• 1:55:45
  Speaker 1: fortitude in this exaggerated picture of his misfortunes before they
• 1:55:49
  Speaker 1: have happened. When Northumberland comes back with a message from Bolingbroke,
• 1:55:54
  Speaker 1: he exclaims, anticipating the result, What must the king do? Now?
• 1:56:01
  Speaker 1: Must he submit? The king shall do it? Must he
• 1:56:05
  Speaker 1: be deposed? The king shall be contented? Must he lose
• 1:56:09
  Speaker 1: the name of king? Oh, God's name, let it go.
• 1:56:13
  Speaker 1: I'll give my jewels for a set of beads, my
• 1:56:16
  Speaker 1: gorgeous palace for a hermitage, my gay apparel for an
• 1:56:19
  Speaker 1: almsman's gown, I figured goblets for a dish of wood,
• 1:56:24
  Speaker 1: my scepter for palmer's walking staff, my subjects for a
• 1:56:28
  Speaker 1: pair of carved saints, and my large kingdom for a
• 1:56:32
  Speaker 1: little grave, a little little grave, and an obscure grave.
• 1:56:39
  Speaker 1: How differently is all this expressed in King Henry's soliloquy
• 1:56:44
  Speaker 1: during the battle with Edward's party. This battle fares like
• 1:56:50
  Speaker 1: to the morning's war, when dying clouds contend with growing light.
• 1:56:55
  Speaker 1: What time the shepherd, blowing of his nails, can either
• 1:56:58
  Speaker 1: call it perfect day or night? Here on this mole hill,
• 1:57:02
  Speaker 1: will I sit me down to whom God will there
• 1:57:06
  Speaker 1: be victory? There be the victory for Margaret, my queen,
• 1:57:11
  Speaker 1: and Clifford too, have chid me from the battle, swearing
• 1:57:15
  Speaker 1: both they prosper best of all. When I am, thence
• 1:57:18
  Speaker 1: what I were dead? If God's good will were so?
• 1:57:22
  Speaker 1: For what is in this world but grief and woe?
• 1:57:26
  Speaker 1: O God, methinks it were a happy life to be
• 1:57:29
  Speaker 1: no better than a homely swain. To sit upon a hills,
• 1:57:33
  Speaker 1: I do now to carve out dials quaintly, point by
• 1:57:37
  Speaker 1: point thereby to see the minutes, how they run, How
• 1:57:42
  Speaker 1: many make the hour full complete? How many hours bring
• 1:57:45
  Speaker 1: about the day? How many days will finish up the year?
• 1:57:49
  Speaker 1: How many years a mortal man may live? When this
• 1:57:54
  Speaker 1: is known, then to divide the times. So many hours
• 1:57:58
  Speaker 1: must I tend my flock? So many hours must I
• 1:58:01
  Speaker 1: take my rest? So many hours must I contemplate. So
• 1:58:06
  Speaker 1: many hours must I sport to myself? So many days
• 1:58:09
  Speaker 1: my ewes have been with young? So many weeks e'er
• 1:58:13
  Speaker 1: the poor fools will yeen so many months? Ere I
• 1:58:17
  Speaker 1: shall shear the fleece. So many minutes, hours, weeks, months,
• 1:58:22
  Speaker 1: and years passed over to the end they were created,
• 1:58:27
  Speaker 1: would bring white hairs unto a quiet grave. Ah, what
• 1:58:32
  Speaker 1: a life were this? How sweet? How lovely? Gives not
• 1:58:37
  Speaker 1: the hawthorn bush a sweeter shade to shepherds looking on
• 1:58:41
  Speaker 1: their silly sheep, than doth a rich embroidered canopy to
• 1:58:45
  Speaker 1: kings that fear their subject's treachery. Oh yes, it doth
• 1:58:50
  Speaker 1: a thousand fold it doth. And to conclude the shepherd's
• 1:58:55
  Speaker 1: homely kourds, his cold thin drink out of his little
• 1:58:58
  Speaker 1: leather bottle, his wonted sleep under a fresh tree shade,
• 1:59:03
  Speaker 1: all which secure and sweetly he enjoys as far beyond
• 1:59:08
  Speaker 1: a prince's delicates, his viand sparkling in a golden cup,
• 1:59:12
  Speaker 1: his body couched in a curious bed, when care, mistrust,
• 1:59:18
  Speaker 1: and treasons weigh on him. This is a true and
• 1:59:23
  Speaker 1: beautiful description of a naturally quiet and contented disposition, and
• 1:59:29
  Speaker 1: not like the former the splenetic effusion of disappointed ambition.
• 1:59:35
  Speaker 1: In the last scene of Richard Second, his despair lends
• 1:59:39
  Speaker 1: him courage. He beats the keeper, slays two of his assassins,
• 1:59:43
  Speaker 1: and dies with imprecations in his mouth against Sir Pierce Exton,
• 1:59:48
  Speaker 1: who has staggered his royal person Henry, when he is
• 1:59:53
  Speaker 1: seized by the deer stealers, only reads them a moral
• 1:59:57
  Speaker 1: lecture on the duty of allegiance and the sanctuary of
• 2:00:00
  Speaker 1: an oath, And when stabbed by Gloucester in the tower,
• 2:00:04
  Speaker 1: reproaches him with his crimes, but pardons him his own
• 2:00:08
  Speaker 1: death and dev Henry the sixth Richard the Third Richard
• 2:00:16
  Speaker 1: the Third may be considered as properly a stage play.
• 2:00:20
  Speaker 1: It belongs to the theater rather than to the closet.
• 2:00:24
  Speaker 1: We shall therefore criticize it chiefly with a reference to
• 2:00:28
  Speaker 1: the manner in which we have seen it performed. It
• 2:00:31
  Speaker 1: is the character in which Garrick came out. It was
• 2:00:35
  Speaker 1: the second character in which mister Keene appeared, and in
• 2:00:39
  Speaker 1: which he acquired his fame. Shakespeare, we have always with
• 2:00:43
  Speaker 1: us actors we have only for a few seasons, and
• 2:00:47
  Speaker 1: therefore some account of them may be acceptable, if not
• 2:00:51
  Speaker 1: to our contemporaries, to those who come after us, if
• 2:00:55
  Speaker 1: that rich and idle personage posterity should deign to look
• 2:00:59
  Speaker 1: in to our writings. It is possible to form a
• 2:01:03
  Speaker 1: higher conception of the character of Richard than that given
• 2:01:07
  Speaker 1: by mister Keane. But we cannot imagine any character represented
• 2:01:11
  Speaker 1: with greater distinctness and precision, more perfectly articulated in every part. Perhaps, indeed,
• 2:01:19
  Speaker 1: there is too much of what is technically called execution.
• 2:01:23
  Speaker 1: When we first saw the celebrated actor in the part,
• 2:01:26
  Speaker 1: we thought he sometimes failed from an exuberance of manner
• 2:01:30
  Speaker 1: and dissipated the impression of the general character by the
• 2:01:33
  Speaker 1: variety of his resources. To be complete, his delineation of
• 2:01:38
  Speaker 1: it should have more solidity, depth, sustained and impassioned feeling,
• 2:01:44
  Speaker 1: with somewhat less brilliancy, with fewer glancing lights, pointed transitions
• 2:01:50
  Speaker 1: and pantomimic evolutions. The Richard of Shakespeare is towering and lofty,
• 2:01:57
  Speaker 1: equally impetuous and commanding, haughty, violent and subtle, bold and treacherous,
• 2:02:04
  Speaker 1: confident in his strength as well as in his cunning,
• 2:02:09
  Speaker 1: raised high by his birth and higher by his talents
• 2:02:12
  Speaker 1: and his crimes. A royal usurper, a princely hypocrite, a tyrant,
• 2:02:18
  Speaker 1: and a murderer of the house, a plantagenet. But I
• 2:02:23
  Speaker 1: was born so high. Our airy buildeth in the cedar's top,
• 2:02:29
  Speaker 1: and dallies with the wind and scorns the sun. The
• 2:02:34
  Speaker 1: idea conveyed in these lines, which are indeed omitted in
• 2:02:38
  Speaker 1: the Miserable Medley acted for Richard Third, is never lost
• 2:02:41
  Speaker 1: sight of by Shakespeare, and should not be out of
• 2:02:44
  Speaker 1: the actor's mind for a moment. The restless and sanguinary
• 2:02:48
  Speaker 1: Richard is not a man striving to be great, but
• 2:02:51
  Speaker 1: to be greater than he is, conscious of his strength
• 2:02:54
  Speaker 1: of will, his power of intellect, his daring courage, his
• 2:02:58
  Speaker 1: elevated station, and making use of these advantages to commit
• 2:03:03
  Speaker 1: unheard of crimes, and to shield himself from remorse and infamy.
• 2:03:09
  Speaker 1: If mister Keene does not entirely succeed in concentrating all
• 2:03:13
  Speaker 1: the lines of the character as drawn by Shakespeare, he
• 2:03:16
  Speaker 1: gives an animation, vigor, and relief to the part which
• 2:03:19
  Speaker 1: we have not seen equaled. He is more refined than Cook,
• 2:03:23
  Speaker 1: more bold, varied and original than Kemble in the same character.
• 2:03:28
  Speaker 1: In some parts he is deficient in dignity, and particularly
• 2:03:32
  Speaker 1: in the scenes of state business, he has by no
• 2:03:35
  Speaker 1: means an air of artificial authority. There is at times
• 2:03:40
  Speaker 1: an aspiring elevation, an enthusiastic rapture in his expectations of
• 2:03:45
  Speaker 1: attaining the crown, and at others a gloating expression of
• 2:03:49
  Speaker 1: sullen delight, as if he already clenched the bauble and
• 2:03:53
  Speaker 1: held it in his grasp. The courtship scene with Lady
• 2:03:57
  Speaker 1: Anne is an admirable exhibition of smooth and smiling villainy.
• 2:04:02
  Speaker 1: The progress of wily adulation of encroaching humility is finally
• 2:04:08
  Speaker 1: marked by his action, voice and eye. He seems like
• 2:04:12
  Speaker 1: the first tempter to approach his prey, secure the event,
• 2:04:17
  Speaker 1: and as if success had smoothed his way before him.
• 2:04:22
  Speaker 1: The late mister Cook's manner of representing the scene was
• 2:04:25
  Speaker 1: more vehement, hurried, and full of anxious uncertainty. This, though
• 2:04:30
  Speaker 1: more natural in general, was less in character. In this
• 2:04:33
  Speaker 1: particular instance. Richard should woo less as a lover than
• 2:04:38
  Speaker 1: as an actor, to show his mental superiority and power
• 2:04:42
  Speaker 1: of making others the playthings of his purposes. Mister Keyne's
• 2:04:46
  Speaker 1: attitude in leaning against the side of the stage before
• 2:04:50
  Speaker 1: he comes forward to address Lady Anne, is one of
• 2:04:52
  Speaker 1: the most graceful and striking ever witnessed on the stage.
• 2:04:56
  Speaker 1: It would do Fertitian to paint the freaqu quint In
• 2:05:00
  Speaker 1: rapid transition of his voice from the expression of the
• 2:05:03
  Speaker 1: fiercest passion to the most familiar tones of conversation was
• 2:05:08
  Speaker 1: that which gave a peculiar grace of novelty to his
• 2:05:11
  Speaker 1: acting on his first appearance. This has been since imitated
• 2:05:15
  Speaker 1: and caricatured by others, and he himself uses the artifice
• 2:05:19
  Speaker 1: more sparingly than he did his by play is excellent.
• 2:05:24
  Speaker 1: His manner of bidding his friends good night, after pausing,
• 2:05:27
  Speaker 1: with a point of his sword drawn slowly backward and
• 2:05:30
  Speaker 1: forward on the ground, as if considering the plan of
• 2:05:33
  Speaker 1: the battle next day is a particularly happy and natural thought.
• 2:05:38
  Speaker 1: He gives to the two last acts of the play
• 2:05:40
  Speaker 1: the greatest animation and effect. He feels every part of
• 2:05:44
  Speaker 1: the stage and makes up for the deficiency of his
• 2:05:47
  Speaker 1: person by what he has been sometimes objected to as
• 2:05:51
  Speaker 1: an excess of action. The concluding scene in which he
• 2:05:55
  Speaker 1: is killed by Richmond is the most brilliant of the whole.
• 2:05:59
  Speaker 1: He fight at last like one drunk with wounds, and
• 2:06:02
  Speaker 1: the attitude in which he stands with his hands stretched
• 2:06:05
  Speaker 1: out after his sword is wrested from him has a
• 2:06:09
  Speaker 1: preternatural and terrific grandeur, as if his will could not
• 2:06:13
  Speaker 1: be disarmed, and the very phantoms of his despair had
• 2:06:17
  Speaker 1: power to kill. Mister Keene has since, in a great measure,
• 2:06:21
  Speaker 1: effaced the impression of his Richard the Third by the
• 2:06:25
  Speaker 1: superior efforts of his genius and Othello, his masterpiece in
• 2:06:29
  Speaker 1: the murder scene in Macbeth, in Richard the Second and
• 2:06:33
  Speaker 1: Sir Giles's Overreach, and lastly in Arunica. But we still
• 2:06:39
  Speaker 1: like to look back to his first performance of this part,
• 2:06:41
  Speaker 1: both because at first assured his admirers of his future
• 2:06:45
  Speaker 1: success and because we bore our feeble butt at that
• 2:06:49
  Speaker 1: time not useless testimony to the merits of this very
• 2:06:54
  Speaker 1: original actor, on which the town was considerably divided for
• 2:06:58
  Speaker 1: no other reason than because they were original. The manner
• 2:07:03
  Speaker 1: in which Shakespeare's plays have been generally altered, or rather mangled,
• 2:07:07
  Speaker 1: by modern mechanists is a disgrace to the English stage.
• 2:07:11
  Speaker 1: The patchwork Richard the Third, which is acted under the
• 2:07:15
  Speaker 1: sanction of his name, and which was manufactured by Kibber,
• 2:07:19
  Speaker 1: is a striking example of this remark. The play itself
• 2:07:23
  Speaker 1: is undoubtedly a very powerful effusion of Shakespeare's genius. The
• 2:07:28
  Speaker 1: groundwork of the character of Richard, the mixture of intellectual
• 2:07:31
  Speaker 1: vigor with moral depravity, in which Shakespeare delighted to show
• 2:07:35
  Speaker 1: his strength, gave full scope as well as temptation, to
• 2:07:39
  Speaker 1: the exercise of his imagination. The character of his hero
• 2:07:44
  Speaker 1: is almost everywhere predominant and marks its lurid track throughout.
• 2:07:49
  Speaker 1: The original play is, however, too long for representation, and
• 2:07:53
  Speaker 1: there are some few scenes which might be better spared
• 2:07:56
  Speaker 1: than preserved, and by omitting which it would remain a
• 2:08:00
  Speaker 1: complete whole. The only rule, indeed, for alter in Shakespeare
• 2:08:04
  Speaker 1: is to retrench certain passages which may be considered either
• 2:08:08
  Speaker 1: superfluous or obsolete, but not to add or transpose anything.
• 2:08:14
  Speaker 1: The arrangement and development of this story, and the mutual
• 2:08:18
  Speaker 1: contrast and combination of the dramatis personae are, in general
• 2:08:23
  Speaker 1: is finally managed as the development of the characters or
• 2:08:27
  Speaker 1: the expression of the passions. This rule has not been
• 2:08:32
  Speaker 1: adhered to in the present instance. Some of the most
• 2:08:35
  Speaker 1: important and striking passages in the principal character have been
• 2:08:38
  Speaker 1: omitted to make room for idle and misplaced extracts from
• 2:08:42
  Speaker 1: other plays, the only intention of which seems to have
• 2:08:46
  Speaker 1: been to make the character of Richard as odious and
• 2:08:48
  Speaker 1: disgusting as possible. It is, apparently for no other purpose
• 2:08:52
  Speaker 1: than to make Gloucester's debt King Henry on the stage
• 2:08:56
  Speaker 1: that the fine, abrupt introduction of the character in the
• 2:08:59
  Speaker 1: opening of the place is lost in the tedious whining
• 2:09:02
  Speaker 1: morality of the uxorious King taken from another play. We
• 2:09:08
  Speaker 1: say tedious because it interrupts the business of the scene
• 2:09:12
  Speaker 1: and loses its beauty and effect by having no intelligible
• 2:09:15
  Speaker 1: connection with the previous character of the mild, well meaning monarch.
• 2:09:20
  Speaker 1: The passages which the unfortunate Henry has to recite our
• 2:09:24
  Speaker 1: beautiful and pathetic in themselves, but they have nothing to
• 2:09:28
  Speaker 1: do with the world that Richard has to bustling. And
• 2:09:32
  Speaker 1: the same spirit of vulgar caricature is the scene between
• 2:09:35
  Speaker 1: Richard and Lady Anne, when his wife interpolated without any authority,
• 2:09:41
  Speaker 1: merely to gratify this favorite propensity to discust and loathing
• 2:09:45
  Speaker 1: with the sane, perverse consistency. Richard, after his last fatal struggle,
• 2:09:50
  Speaker 1: is raised up by some galvanic process to utter the
• 2:09:54
  Speaker 1: imprecation without any motive but pure malignity, which Shakespeare has
• 2:09:59
  Speaker 1: so properly put into the mouth of Northumberland on hearing
• 2:10:03
  Speaker 1: of Percy's death. To make room for these worse than
• 2:10:07
  Speaker 1: needless editions, many of the most striking passages in the
• 2:10:10
  Speaker 1: real play have been omitted by the foppery and ignorance
• 2:10:14
  Speaker 1: of the prompt book critics. We do not mean to
• 2:10:17
  Speaker 1: insist merely on passages which are fine as poetry and
• 2:10:21
  Speaker 1: to the reader, such as Clarence's Dream et cetera, but
• 2:10:25
  Speaker 1: on those which are important to the understanding of the
• 2:10:27
  Speaker 1: character and peculiarly adapted for stage effect. We will give
• 2:10:32
  Speaker 1: the following as instances, among several others. The first is
• 2:10:36
  Speaker 1: the scene where Richard enters abruptly to the Queen and
• 2:10:40
  Speaker 1: her friends to defend himself. Gloucester, they do me wrong,
• 2:10:47
  Speaker 1: and I will not endure it. Who are they that
• 2:10:50
  Speaker 1: complain unto the King, that I forsooth am stern and
• 2:10:54
  Speaker 1: love them not by Holy paul thy love his grace,
• 2:10:58
  Speaker 1: but lightly that fill his ears with such dissensuous rumors.
• 2:11:04
  Speaker 1: Because I cannot flatter and look fair, smile in men's faces, smooth,
• 2:11:09
  Speaker 1: deceive and cog duck with French nods in apish courtesy,
• 2:11:15
  Speaker 1: I must be held a rancorous enemy. Cannot a plain
• 2:11:19
  Speaker 1: man live and think no harm? But thus his simple
• 2:11:22
  Speaker 1: truth must be abused with silken sly insinuating Jack's gray,
• 2:11:31
  Speaker 1: to whom in all this present speaks your grace, Gloucester,
• 2:11:37
  Speaker 1: to THEE that hast nor honesty nor grace? When have
• 2:11:41
  Speaker 1: I injured thee? When done THEE wrong? Or THEE or
• 2:11:45
  Speaker 1: THEE or any of your faction, a plague upon you all.
• 2:11:51
  Speaker 1: Nothing can be more characteristic than the turbulent pretensions to
• 2:11:55
  Speaker 1: meekness and simplicity in this address. Again, the versatility and
• 2:12:00
  Speaker 1: adroitness of Richard is admirably described in the following ironical
• 2:12:05
  Speaker 1: conversation with Break and Berry. Break and Berry, I beseech
• 2:12:11
  Speaker 1: your graces both to pardon me. His majesty hath straightly
• 2:12:15
  Speaker 1: given in charge that no man shall have private conference
• 2:12:19
  Speaker 1: of what degrees soever with your brother Gloucester Ean. So an,
• 2:12:27
  Speaker 1: please your worship, Break and Berry, you may partake of
• 2:12:30
  Speaker 1: anything we say. We speak no treason man. We say
• 2:12:33
  Speaker 1: the king is wise and virtuous, and his noble Queen
• 2:12:37
  Speaker 1: well struck in years, fair, not jealous. We say that
• 2:12:41
  Speaker 1: Shore's wife hath a pretty foot, a cherry lip, a
• 2:12:45
  Speaker 1: bonnie eye, a passing, pleasing tongue, that the Queen's kindred
• 2:12:50
  Speaker 1: are made. Gentlefolks, how say you, sir? Can you deny
• 2:12:54
  Speaker 1: all this? Break and Berry? With this, my lord myself
• 2:13:00
  Speaker 1: have naught to do Gloucester what fellow nought to do
• 2:13:07
  Speaker 1: with Mistress Shore? I tell you, sir, he that doth
• 2:13:11
  Speaker 1: not with her, excepting one were best to do it
• 2:13:15
  Speaker 1: secretly alone, Brakenbury, what one, my Lord Gloucester her husband knave,
• 2:13:26
  Speaker 1: wouldst thou betray me? The feigned reconciliation of Gloucester with
• 2:13:31
  Speaker 1: the Queen's Kinsman is also a masterpiece, one of the
• 2:13:35
  Speaker 1: finest strokes in the play, and which serves to show
• 2:13:38
  Speaker 1: as much as anything the deep plausible manners of Richard
• 2:13:42
  Speaker 1: is the unsuspecting security of Hastings at the very time
• 2:13:46
  Speaker 1: when the former is plotting his death, and when the
• 2:13:49
  Speaker 1: very appearance of cordiality and good humor on which Hastings
• 2:13:54
  Speaker 1: builds his confidence arises from Richard's consciousness of having betrayed
• 2:13:59
  Speaker 1: him to his room. This, with the whole character of Hastings,
• 2:14:04
  Speaker 1: is omitted. Perhaps the two most beautiful passages in the
• 2:14:08
  Speaker 1: original play are the farewell apostrophe of the Queen to
• 2:14:12
  Speaker 1: the tower, where the children are shut up from her.
• 2:14:15
  Speaker 1: In Tyrrell's description of their death, we will finish our
• 2:14:19
  Speaker 1: quotations with them, Queen, stay yet look back with me
• 2:14:26
  Speaker 1: unto the tower. Pity you, ancient stones, those tender babes
• 2:14:31
  Speaker 1: whom Envy hath immured within your walls. Rough cradle for
• 2:14:36
  Speaker 1: such little pretty ones, rude, rugged nurse, old sullen playfellow
• 2:14:41
  Speaker 1: for tender princes. The other passage is the account of
• 2:14:46
  Speaker 1: their death by Terrell Dton and Forrest, whom I did
• 2:14:52
  Speaker 1: suborn to do this piece of ruthless butchery. Albeit there
• 2:14:57
  Speaker 1: were flushed villains bloody dogs wept like to children in
• 2:15:02
  Speaker 1: their deaths. Sad story. Oh, thus quoth Dighton lay the
• 2:15:07
  Speaker 1: gentle babes, thus thus quoth force, girdling one another within
• 2:15:13
  Speaker 1: their innocent alabaster arms. Their lips were four red roses
• 2:15:17
  Speaker 1: on a stalk, and in that summer beauty kissed each
• 2:15:21
  Speaker 1: other a book of prayers on their pillow lay, which
• 2:15:25
  Speaker 1: one quoth Forest almost changed my mind. But oh the
• 2:15:30
  Speaker 1: devil there the villains stopped when Dighton thus told on
• 2:15:35
  Speaker 1: we smothered the most replenished, sweet work of nature that
• 2:15:40
  Speaker 1: from the prime creation air she framed. These are some
• 2:15:44
  Speaker 1: of those wonderful bursts of feeling done to the life,
• 2:15:48
  Speaker 1: to the very height of fancy and nature, which our
• 2:15:51
  Speaker 1: Shakespeare alone could give. We do not insist on the
• 2:15:55
  Speaker 1: repetition of these last passages as proper for the stage.
• 2:16:00
  Speaker 1: We should indeed be loath to trust them in the
• 2:16:02
  Speaker 1: mouth of almost any actor. But we should wish them
• 2:16:05
  Speaker 1: to be retained in preference, at least to the Fanticini
• 2:16:09
  Speaker 1: exhibition of the young Princess Edward New York, bandying childish
• 2:16:14
  Speaker 1: wit with her uncle, and of Richard I Henry the Eighth.
• 2:16:23
  Speaker 1: This play contains little action or violence of passion, yet
• 2:16:28
  Speaker 1: it has considerable interest of a more mild and thoughtful cast,
• 2:16:33
  Speaker 1: and some of the most striking passages in the author's works.
• 2:16:37
  Speaker 1: The character of Queen Catherine is the most perfect delineation
• 2:16:42
  Speaker 1: of matronly dignity, sweetness, and resignation that can be conceived.
• 2:16:47
  Speaker 1: Her appeals to the protection of the King, her remonstrances
• 2:16:52
  Speaker 1: to the Cardinal, her conversations with her women show a
• 2:16:56
  Speaker 1: noble and generous spirit accompanied with the ut most gentleness
• 2:17:01
  Speaker 1: of nature. What can be more affecting than her answer
• 2:17:05
  Speaker 1: to Campius and Wolsey, who come to visit her as
• 2:17:09
  Speaker 1: pretended friends. Nay, forsooth my friends, They that must weigh
• 2:17:16
  Speaker 1: out my afflictions, They that my trust must grow to live.
• 2:17:21
  Speaker 1: Not here they are, as all my comforts are far
• 2:17:26
  Speaker 1: hence in mine own country.
• 2:17:29
  Speaker 3: Lords.
• 2:17:31
  Speaker 1: Doctor Johnson observes of this play that the meek sorrows
• 2:17:36
  Speaker 1: and virtuous distress of Catherine have furnished some scenes which
• 2:17:40
  Speaker 1: may be justly numbered among the greatest efforts of tragedy.
• 2:17:45
  Speaker 1: But the genius of Shakespeare comes in and goes out
• 2:17:49
  Speaker 1: with Catherine. Every other part may be easily conceived and
• 2:17:53
  Speaker 1: easily written. This is easily said, but with all due
• 2:17:57
  Speaker 1: deference to so great a repute authority as that of Johnson,
• 2:18:02
  Speaker 1: it is not true. For instance, the scene of Buckingham
• 2:18:07
  Speaker 1: led to execution is one of the most affecting and
• 2:18:10
  Speaker 1: natural in Shakespeare, and one to which there is hardly
• 2:18:14
  Speaker 1: an approach in any other author Again, the character of Wolsey,
• 2:18:20
  Speaker 1: the description of his pride and of his fall, are
• 2:18:23
  Speaker 1: inevitable and have, besides their gorgeousness of effect, a pathos
• 2:18:30
  Speaker 1: which only the genius of Shakespeare could lend. To the
• 2:18:33
  Speaker 1: distresses of a proud bad man like Wolsey. There is
• 2:18:38
  Speaker 1: a sort of childlike simplicity in the very helplessness of
• 2:18:41
  Speaker 1: his situation, arising from the recollection of his past overbearing ambition.
• 2:18:48
  Speaker 1: After the cutting sarcasms of his enemies on his disgrace,
• 2:18:53
  Speaker 1: against which he bears up with a spirit conscious of
• 2:18:56
  Speaker 1: his own superiority, he breaks out into that fine apostrophe farewell,
• 2:19:04
  Speaker 1: a long farewell to all my greatness. This is the
• 2:19:09
  Speaker 1: state of man to day. He puts forth the tender
• 2:19:13
  Speaker 1: leaves of hope tomorrow blossoms and bears his blushing honors
• 2:19:18
  Speaker 1: thick upon him. The third day comes afrost, a killing frost.
• 2:19:25
  Speaker 1: And when he thinks good, easy man full surely his
• 2:19:30
  Speaker 1: greatness is a ripening nips his root, and then he
• 2:19:34
  Speaker 1: falls as I do. I have ventured like little wanton
• 2:19:39
  Speaker 1: boys that swim on bladders these many summers in a
• 2:19:43
  Speaker 1: sea of glory, but far beyond my depth. My high
• 2:19:48
  Speaker 1: blown pride at length broke under me, and now has
• 2:19:52
  Speaker 1: left me weary and old, with service to the mercy
• 2:19:57
  Speaker 1: of a rude stream that must forever hide me. Vain
• 2:20:03
  Speaker 1: pomp and glory of the world. I hate ye, I
• 2:20:07
  Speaker 1: feel my heart new opened. Oh how wretched is that
• 2:20:11
  Speaker 1: poor man that hangs on prince's favors. There's betwixt that smile.
• 2:20:18
  Speaker 1: We would aspire to that sweet aspect of princes and
• 2:20:24
  Speaker 1: our ruin more pangs and fears than warn women have.
• 2:20:29
  Speaker 1: And when he falls, he falls like Lucifer, never to
• 2:20:34
  Speaker 1: hope again. There is in this passage, as well as
• 2:20:39
  Speaker 1: in the well known dialogue of Cromwell, which follows, something
• 2:20:43
  Speaker 1: which stretches beyondcommonplace. Nor is the account which Griffiths gives
• 2:20:48
  Speaker 1: of Wolsey's death less Shakespearean, and the candor with which
• 2:20:54
  Speaker 1: Queen Catherine listens to the praise of him whom of
• 2:20:57
  Speaker 1: all men while living she hated most adds the last
• 2:21:02
  Speaker 1: graceful finishing to her character. Among other images of great
• 2:21:08
  Speaker 1: individual beauty might be mentioned the description of the effect
• 2:21:12
  Speaker 1: of Anne Boleyn's presenting herself to the crowd at her coronation,
• 2:21:18
  Speaker 1: while her grace sat down to rest a while, some
• 2:21:22
  Speaker 1: half an hour or so in a rich chair of state,
• 2:21:26
  Speaker 1: opposing freely the beauty of her person to the people.
• 2:21:30
  Speaker 1: Believe me, sir, she's the goodliest of women that ever
• 2:21:34
  Speaker 1: lay by man, which when the people had the full
• 2:21:38
  Speaker 1: view of such a noise arose as the shrouds make
• 2:21:43
  Speaker 1: it see in a stiff tempest, as loud, and as
• 2:21:48
  Speaker 1: many tunes. The character of Henry the eighth is drawn
• 2:21:53
  Speaker 1: with great truth and spirit. It is like a very
• 2:21:56
  Speaker 1: disagreeable portrait sketched by the hand of a mass. His
• 2:22:01
  Speaker 1: gross appearance, his blustering demeanor, his vulgarity, his ignorance, his sensuality,
• 2:22:07
  Speaker 1: his cruelty, his hypocrisy, his want of common decency and
• 2:22:12
  Speaker 1: common humanity are marked in strong lines. His traditional peculiarities
• 2:22:18
  Speaker 1: of expression complete the reality of the picture. The authoritative,
• 2:22:24
  Speaker 1: explative ha with which he intimates. His indignation or surprise
• 2:22:31
  Speaker 1: has an effect like the first startling sound that breaks
• 2:22:34
  Speaker 1: from a thundercloud. He is, of all the monarchs in
• 2:22:38
  Speaker 1: our history, the most disgusting, for he unites in himself
• 2:22:42
  Speaker 1: all the vices of barbarism and refinement, without their virtues.
• 2:22:47
  Speaker 1: Other kings before him, such as Richard the Third, were
• 2:22:51
  Speaker 1: tyrants and murderers out of ambition or necessity. They gained
• 2:22:56
  Speaker 1: or established on just power by violent means. They destroyed
• 2:23:00
  Speaker 1: there or made its tenure insecure. But Henry the Yates
• 2:23:05
  Speaker 1: power is most fatal to those whom he loves. He
• 2:23:09
  Speaker 1: is cruel and remorseless to pamper his luxurious appetites, bloody
• 2:23:14
  Speaker 1: and voluptuous, an amorous murderer and uxorious debauchi. His hardened
• 2:23:21
  Speaker 1: insensibility to the feelings of others is strengthened by the
• 2:23:25
  Speaker 1: most profligate self indulgence. The religious hypocrisy under which he
• 2:23:30
  Speaker 1: masks cruelly and his lust is admirably displayed in the
• 2:23:35
  Speaker 1: speech in which he describes the first misgivings of his
• 2:23:39
  Speaker 1: conscience and its increasing throes and terrors, which have induced
• 2:23:43
  Speaker 1: him to divorce his queen. The only thing in His
• 2:23:46
  Speaker 1: favor in this play is his treatment of Cranmer. There
• 2:23:50
  Speaker 1: is also another circumstance in his favor, which is his
• 2:23:53
  Speaker 1: patronage of Hans Holblen. It has been said of Shakespeare,
• 2:23:58
  Speaker 1: no maid could live near such a man. It might,
• 2:24:02
  Speaker 1: with his good reason, be said no king could live
• 2:24:05
  Speaker 1: near such a man. His eye would have penetrated through
• 2:24:09
  Speaker 1: the pomp of circumstance in the veil of opinion. As
• 2:24:13
  Speaker 1: it is, he has represented such persons to the life.
• 2:24:16
  Speaker 1: His plays are in this respect the glass of history.
• 2:24:20
  Speaker 1: He has done them the same justice as if he
• 2:24:23
  Speaker 1: had been a privy councilor a's life. And in each
• 2:24:27
  Speaker 1: successive reign kings ought never to be seen upon the stage.
• 2:24:32
  Speaker 1: In the abstract they are very disagreeable characters. It is
• 2:24:37
  Speaker 1: only while living that they are the best of kings.
• 2:24:41
  Speaker 1: It is their power, their splendor. It is the apprehension
• 2:24:45
  Speaker 1: of the personal consequences of their favor or their hatred
• 2:24:49
  Speaker 1: that dazzles the imagination and suspends the judgment of their
• 2:24:53
  Speaker 1: favorites or their vassals. But death cancels the bond of
• 2:24:58
  Speaker 1: allegiance and of injury. In seen as they were, their
• 2:25:03
  Speaker 1: power and their pretensions look monstrous and ridiculous. The charge
• 2:25:09
  Speaker 1: brought against modern philosophy as inimical to loyalty is unjust,
• 2:25:15
  Speaker 1: because it might as well be brought lover of kings.
• 2:25:20
  Speaker 1: We have often wondered that Henry the Eighth, as he
• 2:25:23
  Speaker 1: is drawn by Shakespeare, and as we have seen him
• 2:25:26
  Speaker 1: represented in all the bloated deformity of mind and person,
• 2:25:31
  Speaker 1: is not hooted from the English stage. End of Henry
• 2:25:38
  Speaker 1: the Eighth, King John King John is the last of
• 2:25:43
  Speaker 1: the historical plays we shall have to speak of, and
• 2:25:47
  Speaker 1: we are not sorry that it is. If we are
• 2:25:50
  Speaker 1: to indulge our imaginations, we had rather do it upon
• 2:25:54
  Speaker 1: an imaginary theme. If we are to find subjects for
• 2:25:58
  Speaker 1: the exercise of our pity in terror, we prefer seeking
• 2:26:02
  Speaker 1: them in fictitious danger and fictitious distress. It gives a
• 2:26:09
  Speaker 1: soreness to our feelings of indignation or sympathy when we
• 2:26:13
  Speaker 1: know that in tracing the progress of sufferings and crimes
• 2:26:17
  Speaker 1: we are treading upon real ground, and recollect that the
• 2:26:21
  Speaker 1: poet's dream denoted a foregone conclusion, their revocable ills not
• 2:26:28
  Speaker 1: conjured up by fancy, but placed beyond the reach of
• 2:26:32
  Speaker 1: poetical justice, that the treachery of King John, the death
• 2:26:37
  Speaker 1: of Arthur, the grief of constance at a real truth
• 2:26:40
  Speaker 1: in history sharpens the sense of pain while it hangs
• 2:26:45
  Speaker 1: a leaden weight on the heart and the imagination. Something
• 2:26:49
  Speaker 1: whispers us that we have no right to make a
• 2:26:52
  Speaker 1: mock of calamities like these, or to turn the truth
• 2:26:56
  Speaker 1: of things into the puppet and plaything of our fancies.
• 2:27:00
  Speaker 1: To consider thus may be to consider too curiously. But
• 2:27:06
  Speaker 1: still we think that the actual truth of the particular events,
• 2:27:10
  Speaker 1: in proportion as we are conscious of it, is a
• 2:27:14
  Speaker 1: drawback on the pleasure as well as the dignity of tragedy.
• 2:27:20
  Speaker 1: King John has all the beauties of language and all
• 2:27:23
  Speaker 1: the richness of the imagination to relieve the painfulness of
• 2:27:27
  Speaker 1: the subject. The character of King John himself is kept
• 2:27:32
  Speaker 1: pretty much in the background. It is only marked in
• 2:27:35
  Speaker 1: by comparatively slight indications. The crimes he is tempted to
• 2:27:39
  Speaker 1: commit are such as are thrust upon him, rather by
• 2:27:43
  Speaker 1: circumstances and opportunity, than of his own seeking. He is
• 2:27:50
  Speaker 1: here represented as more cowardly than cruel, and is more
• 2:27:54
  Speaker 1: contemptible than odious. The play embraces only a part of
• 2:27:58
  Speaker 1: his history. There are, however, few characters on the stage
• 2:28:03
  Speaker 1: that excite more disgust and loathing. He has no intellectual
• 2:28:08
  Speaker 1: grandeur or strength of character to shield him from the
• 2:28:12
  Speaker 1: indignation which his immediate conduct provokes. He stands naked and
• 2:28:18
  Speaker 1: defenseless in that respect to the worst we can think
• 2:28:21
  Speaker 1: of him. And besides, we are impelled to put the
• 2:28:25
  Speaker 1: very worst construction on his meanness and cruelty by the
• 2:28:29
  Speaker 1: tender picture of the beauty and helplessness of the object
• 2:28:33
  Speaker 1: of it, as well as by the frantic and heart
• 2:28:36
  Speaker 1: rending pleadings of maternal despair. We do not forgive him
• 2:28:42
  Speaker 1: the death of Arthur. Because he had too late revoked
• 2:28:45
  Speaker 1: his doom and tried to prevent it, and perhaps because
• 2:28:49
  Speaker 1: he has himself repented of his black design, our moral
• 2:28:55
  Speaker 1: sense gains courage to hate him the more for it.
• 2:29:00
  Speaker 1: We take him at his word and think his purposes
• 2:29:03
  Speaker 1: must be odious, indeed, when he himself shrinks back from them.
• 2:29:09
  Speaker 1: The scene in which King John suggests to Hubert the
• 2:29:13
  Speaker 1: design of murdering his nephew is a masterpiece of dramatic skill,
• 2:29:18
  Speaker 1: but it is still inferior, very inferior, to the scene
• 2:29:23
  Speaker 1: between Hubert and Arthur, when the latter learns the orders
• 2:29:28
  Speaker 1: to put out his eyes. If anything ever was penned
• 2:29:32
  Speaker 1: heart piercing, mixing the extremes of terror and pity, of
• 2:29:37
  Speaker 1: that which shocks and that which soothes the mind, it
• 2:29:42
  Speaker 1: is this scene. We will give it entire, though perhaps
• 2:29:47
  Speaker 1: it is tasking the reader's sympathy too much. Enter Hubert,
• 2:29:53
  Speaker 1: an executioner, Hubert, hate me those irons hot, and look
• 2:29:59
  Speaker 1: you stand and within the arrass when I strike my
• 2:30:02
  Speaker 1: foot upon the bosom of the ground, rush forth and
• 2:30:06
  Speaker 1: bind the boy which you shall find with me, fast
• 2:30:10
  Speaker 1: to the chair. Be heedful, hence and watch, Executioner. I
• 2:30:17
  Speaker 1: hope your warrant will bear out the deed, Hubert, uncleanly scruples.
• 2:30:25
  Speaker 1: Fear not you look to it, young lad come forth,
• 2:30:30
  Speaker 1: I have to say with you, Enter Arthur, Arthur, good morrow, Hubert,
• 2:30:39
  Speaker 1: Hubert Morrow, little Prince Arthur, as little prince, having so
• 2:30:47
  Speaker 1: great a title, to be more prince as may be.
• 2:30:51
  Speaker 1: You are sad, Hubert, indeed I have been merrier.
• 2:30:58
  Speaker 3: Arthur.
• 2:31:00
  Speaker 1: Mercy on me. Methinks nobody should be sad. But I
• 2:31:04
  Speaker 1: yet I remember when I was in France, young gentlemen
• 2:31:08
  Speaker 1: would be as sad as knight only for wantonness by
• 2:31:12
  Speaker 1: my christiendom. So were I out of prison and kept sheep,
• 2:31:17
  Speaker 1: I should be merry as a day is long, and
• 2:31:20
  Speaker 1: so I would be here. But that I doubt my
• 2:31:23
  Speaker 1: uncle practice is more harm to me. He is afraid
• 2:31:26
  Speaker 1: of me and I of him. Is it my fault
• 2:31:30
  Speaker 1: that I was Geoffrey's son? Indeed it is not, And
• 2:31:34
  Speaker 1: I would to heaven I were your son, so you
• 2:31:38
  Speaker 1: would love me, Hubert, Hubert, if I talked to him
• 2:31:44
  Speaker 1: with his innocent prate, he will await my mercy, which
• 2:31:48
  Speaker 1: lies dead. Therefore I will be sudden and dispatch aside, Arthur,
• 2:31:57
  Speaker 1: are you said, Hubert? You look pale to day and sooth?
• 2:32:02
  Speaker 1: I would you were a little sick, that I might
• 2:32:04
  Speaker 1: sit all night and watch with you, alas I love
• 2:32:08
  Speaker 1: you more than you do me, Hubert, His words do
• 2:32:14
  Speaker 1: take possession of my bosom. Read here, young Arthur, showing
• 2:32:19
  Speaker 1: a paper, how now foolish room aside? Turning this ideous
• 2:32:26
  Speaker 1: torture out of door. I must be brief lest resolution
• 2:32:31
  Speaker 1: drop out at mine eyes and tender womanish tears? Can
• 2:32:37
  Speaker 1: you not read it? Is it not fair? Writ Arthur?
• 2:32:44
  Speaker 1: Too fairly Hubert, for so foul a fact, must you,
• 2:32:49
  Speaker 1: with irons burn out both mine eyes? Hubert, young boy,
• 2:32:55
  Speaker 1: I must, Arthur, and will you, Hubert, and I will,
• 2:33:07
  Speaker 1: Arthur have you the heart when your head did? But ache,
• 2:33:13
  Speaker 1: I knit my handkerchief about your brows the best I had.
• 2:33:17
  Speaker 1: A princess wrought it to me, and I did never
• 2:33:20
  Speaker 1: ask at you again, and with my hand at midnight
• 2:33:24
  Speaker 1: held your head, and like the watchful minutes to the
• 2:33:28
  Speaker 1: hour still and Anon cheered up the heavy time, saying,
• 2:33:33
  Speaker 1: won't lack you? And where lies your grief? Or what
• 2:33:38
  Speaker 1: good love may I perform for you? Many a poor
• 2:33:42
  Speaker 1: man's son would have lain still, and ne'er have spoke
• 2:33:45
  Speaker 1: a loving word to you, But you, at your sick service,
• 2:33:49
  Speaker 1: had a prince. Nay, you may think my love was
• 2:33:52
  Speaker 1: a crafty love and call it to cunning do And
• 2:33:56
  Speaker 1: if you will, if Heaven be pleased that you must
• 2:33:59
  Speaker 1: use me ill, why then you must? Will you put
• 2:34:04
  Speaker 1: out mine eyes, these eyes that never did and never
• 2:34:08
  Speaker 1: shall so much as frown on you, Hubert? I've sworn
• 2:34:13
  Speaker 1: to do it. And with hot irons must I burn
• 2:34:16
  Speaker 1: them out?
• 2:34:19
  Speaker 3: Arthur?
• 2:34:20
  Speaker 1: Oh, if an angel should have come to me and
• 2:34:23
  Speaker 1: told me, Hubert should put out mine eyes. I would
• 2:34:27
  Speaker 1: not have believed a tongue, but Hubert's. Hubert, come forth,
• 2:34:33
  Speaker 1: do as I bid you. Stamps, and the men enter.
• 2:34:38
  Speaker 3: Arthur.
• 2:34:40
  Speaker 1: Oh, save me, Hubert, save me. My eyes are out
• 2:34:45
  Speaker 1: even with the fierce looks of these bloody men. Hubert,
• 2:34:51
  Speaker 1: give me the iron, I say, and bind him here Arthur, Alas,
• 2:34:57
  Speaker 1: what need you be so boisterous? Rough? I will not struggle.
• 2:35:01
  Speaker 1: I will stand stone still for heaven. Say, Hubert, let
• 2:35:06
  Speaker 1: me not be bound. Nay, hear me, Hubert, drive these
• 2:35:10
  Speaker 1: men away, and I will sit as quiet as a lamb.
• 2:35:14
  Speaker 1: I will not stir, nor WinCE, nor speak a word,
• 2:35:17
  Speaker 1: nor look upon iron angrily thrust. But these men away,
• 2:35:22
  Speaker 1: and I'll forgive you whatever torment you do put me to. Hubert,
• 2:35:29
  Speaker 1: go stand within and let me alone with him, Executioner.
• 2:35:35
  Speaker 1: I am best pleased to be from such a deed. Exit, Arthur. Alas,
• 2:35:44
  Speaker 1: I then have chid away. My friend. He hath a
• 2:35:47
  Speaker 1: stern look, but a gentle heart. Let him come back
• 2:35:51
  Speaker 1: that his compassion may give life to yours. Hubert, Come boy,
• 2:35:59
  Speaker 1: prepare yourself.
• 2:36:02
  Speaker 3: Arthur.
• 2:36:04
  Speaker 1: Is there no remedy, Hubert, none but to lose your eyes, Arthur,
• 2:36:13
  Speaker 1: Oh Heaven, that there were but a moat in yours,
• 2:36:18
  Speaker 1: a grain, a dust, a gnat, a wandering hair, Any
• 2:36:23
  Speaker 1: annoyance in that precious sense, then feeling what small things
• 2:36:29
  Speaker 1: are boisterous? There? Your vile intent must needs seem horrible, Hubert.
• 2:36:37
  Speaker 1: Is this your promise? Go to hold your tongue, Arthur.
• 2:36:44
  Speaker 1: Let me not hold my tongue, Let me not, Hubert
• 2:36:48
  Speaker 1: or Hubert, if you will cut out my tongue so
• 2:36:51
  Speaker 1: I may keep mine eyes. Oh, spare mine eyes, though
• 2:36:57
  Speaker 1: to no use, but still to look on you lo
• 2:37:02
  Speaker 1: by my troth. The instrument is cold and would not
• 2:37:05
  Speaker 1: harm me, Hubert. I can heed it, boy Arthur. No,
• 2:37:15
  Speaker 1: in good sooth, the fire is dead, with grief being
• 2:37:20
  Speaker 1: create for comfort to be used in undeserved extremes. See
• 2:37:25
  Speaker 1: else yourself. There is no malice in this burning coal.
• 2:37:30
  Speaker 1: The breath of heaven hath blown its spirit out and
• 2:37:34
  Speaker 1: strewed repentant ashes on its head, Hubert. But with my
• 2:37:41
  Speaker 1: breath I can revive at the boy, Arthur, all things
• 2:37:47
  Speaker 1: that you shall use to do me wrong, deny their office.
• 2:37:51
  Speaker 1: Only you do lack that mercy which fierce fire and
• 2:37:55
  Speaker 1: iron extend creatures of note for mercy lacking uses Hubert, well,
• 2:38:03
  Speaker 1: see to live. I will not touch thine eyes for
• 2:38:06
  Speaker 1: all the treasure that thine uncle owns. Yet I am sworn,
• 2:38:11
  Speaker 1: and I did purpose boy with the same very iron
• 2:38:15
  Speaker 1: to burn them out. Arthur, Oh, now you look like
• 2:38:21
  Speaker 1: Hubert all this while you were disguised. Hubert, peace, no
• 2:38:30
  Speaker 1: more adieu. Your uncle must not know, but you are dead.
• 2:38:35
  Speaker 1: I'll fill these dogs spies with false reports and pretty
• 2:38:39
  Speaker 1: child sleep doubtless and secure that Hubert, for the wealth
• 2:38:43
  Speaker 1: of all the world, will not defend thee. Arthur, Oh, heaven,
• 2:38:49
  Speaker 1: I thank you, Hubert. Hubert, silence, no more go closely
• 2:38:57
  Speaker 1: in with me? Much danger do I undergo? For thee
• 2:39:02
  Speaker 1: excit his death afterwards when he throws himself from his
• 2:39:08
  Speaker 1: prison walls, excites the utmost pity for his innocence and
• 2:39:13
  Speaker 1: friendless situation, and while justifies the exaggerated denunciations of Falconbridge
• 2:39:19
  Speaker 1: to Hubert, whom he suspects wrongfully of the deed. There's
• 2:39:25
  Speaker 1: not yet so ugly a fiend of hell as thou
• 2:39:28
  Speaker 1: shalt be. If thou didst kill this child, If thou
• 2:39:33
  Speaker 1: didst but consent to this most cruel act, do but despare,
• 2:39:38
  Speaker 1: And if thou want'st a cord, the smallest thread that
• 2:39:42
  Speaker 1: ever spider twisted from her womb will strangle thee. A
• 2:39:47
  Speaker 1: rush will be a beam to hang thee on. Or
• 2:39:49
  Speaker 1: wouldst thou drown thyself, But put a little water in
• 2:39:53
  Speaker 1: a spoon, and it shall be as all the ocean
• 2:39:57
  Speaker 1: enough the stifle such a villain up. The excess of
• 2:40:03
  Speaker 1: maternal tenderness, rendered desperate by the fickleness of friends and
• 2:40:08
  Speaker 1: the injustice of fortune, and made stronger in will in
• 2:40:12
  Speaker 1: proportion to the want of all other power, was never
• 2:40:16
  Speaker 1: more finely expressed than in constance the dignity of her
• 2:40:20
  Speaker 1: answer to King Philip, when she refuses to accompany his
• 2:40:23
  Speaker 1: messenger to me and to the state of my great grief.
• 2:40:28
  Speaker 1: Let kings assemble her indignant reproach to Austria for deserting
• 2:40:33
  Speaker 1: her cause, her invocation to death. That love of misery,
• 2:40:38
  Speaker 1: however fine and spirited, all yield to the beauty of
• 2:40:42
  Speaker 1: the passage, where her passion subsiding into tenderness. She addresses
• 2:40:48
  Speaker 1: the Cardinal in these words.
• 2:40:51
  Speaker 2: Oh father Cardinal, I have heard you say that we
• 2:40:56
  Speaker 2: shall see and know our friends in heaven if that
• 2:41:00
  Speaker 2: be true, I shall see my boy again. For since
• 2:41:04
  Speaker 2: the birth of Cain, the first male child to him
• 2:41:08
  Speaker 2: that did. But yesterday Suspire, there was not such a
• 2:41:12
  Speaker 2: gracious creature born. But now will canker sorrow eat my
• 2:41:18
  Speaker 2: bud and chase the native beauty from his cheek, and
• 2:41:23
  Speaker 2: he will look as hollow as a ghost, as dim
• 2:41:26
  Speaker 2: and meager as an egg is fit, And so he'll
• 2:41:31
  Speaker 2: die and rising so again when I shall meet him
• 2:41:35
  Speaker 2: in the court of heaven, I shall not know him. Therefore,
• 2:41:39
  Speaker 2: never never must I behold my pretty are the more.
• 2:41:44
  Speaker 1: King, Philip, you are as fond of grief as of
• 2:41:49
  Speaker 1: your child Constance.
• 2:41:54
  Speaker 2: Grief fills the room up of my absent child lies
• 2:42:01
  Speaker 2: in his bed, walks up and down with me, puts
• 2:42:04
  Speaker 2: on his pretty looks, repeats his words, remembers me of
• 2:42:09
  Speaker 2: all his gracious parts, stuffs out his vacant garments with
• 2:42:13
  Speaker 2: his form. Then have I reason to be fond of grief.
• 2:42:20
  Speaker 1: The contrasts between the mild resignation of Queen Catherine to
• 2:42:24
  Speaker 1: her own wrongs and the wild, uncontrollable affliction of Constance,
• 2:42:29
  Speaker 1: for the wrongs which she sustains as a mother is
• 2:42:32
  Speaker 1: no less naturally conceived than it is ably sustained throughout
• 2:42:37
  Speaker 1: these two wonderful characters. The accompaniment of the comic character
• 2:42:43
  Speaker 1: of the Bastard was well chosen to relieve the poignant
• 2:42:46
  Speaker 1: agony of suffering and the cold, cowardly policy of behavior.
• 2:42:51
  Speaker 1: And the principal characters of this play, its spirit, invention,
• 2:42:56
  Speaker 1: volubility of tongue, and forwardness and action, are unbound. Aleakwando,
• 2:43:02
  Speaker 1: sepphaliminandez errat, says Ben Johnson of Shakespeare. But we should
• 2:43:07
  Speaker 1: be sorry if Ben Johnson had been his licenser. We
• 2:43:11
  Speaker 1: prefer the heedless magnanimity of his wit infinitely to all
• 2:43:15
  Speaker 1: Johnson's laborious caution. The character of the Bastard's comic humor
• 2:43:21
  Speaker 1: is the same in essence as that of other comic
• 2:43:23
  Speaker 1: characters in Shakespeare. They always run on with good things
• 2:43:27
  Speaker 1: and are never exhausted. They are always daring and successful.
• 2:43:32
  Speaker 1: They have words at will, and a flow of wit
• 2:43:35
  Speaker 1: like a flow of animal spirits. The difference between Falconbridge
• 2:43:40
  Speaker 1: and the others is that he is a soldier and
• 2:43:43
  Speaker 1: brings his wit to bear upon action. Is courageous with
• 2:43:47
  Speaker 1: his sword as well as tongue and stimulates his gallantry
• 2:43:51
  Speaker 1: by his jokes, his enemies feeling the sharpness of his
• 2:43:54
  Speaker 1: blows and the sting of his sarcasms. At the same time.
• 2:43:59
  Speaker 1: Among his happiest sallies are as discanting on the composition
• 2:44:03
  Speaker 1: of his own person, is invective against commodity, tickling commodity,
• 2:44:09
  Speaker 1: and his expression of contempt for the Archduke of Austria,
• 2:44:13
  Speaker 1: who had killed his father, which begins in jest but
• 2:44:16
  Speaker 1: ends in serious syarnest. His conduct at the siege of
• 2:44:20
  Speaker 1: Aangiers shows that his resources were not confined to verbal retorts.
• 2:44:26
  Speaker 1: The same exposure of the policy of courts and camps
• 2:44:29
  Speaker 1: of kings, nobles, priests and cardinals takes place here, as
• 2:44:34
  Speaker 1: in the other plays, we have gone through, and we
• 2:44:36
  Speaker 1: shall not go into a disgusting repetition. This, like the
• 2:44:42
  Speaker 1: other plays taken from English history, is written in a
• 2:44:45
  Speaker 1: remarkably smooth and flowing style, very different from some of
• 2:44:50
  Speaker 1: the tragedies Macbeth. For instance, the passages consist of a
• 2:44:55
  Speaker 1: series of single lines, not running into one another. This
• 2:45:00
  Speaker 1: peculiarity in the versification, which is most common in the
• 2:45:04
  Speaker 1: three parts of Henry the sixth, has been assigned as
• 2:45:07
  Speaker 1: a reason why those plays were not written by Shakespeare,
• 2:45:11
  Speaker 1: but the same structure verse occurs in his other undoubted plays,
• 2:45:15
  Speaker 1: as in Rich of the second nd and in King John.
• 2:45:19
  Speaker 1: The following are instances that daughter there of Spain, the
• 2:45:25
  Speaker 1: lady Blanche, is near to England, look upon the years
• 2:45:29
  Speaker 1: of Lewis to the Dauphin, and that lovely maid. If
• 2:45:33
  Speaker 1: lusty love should go in quest of beauty, where should
• 2:45:36
  Speaker 1: he find it fairer than in Blanche? If zealous love
• 2:45:40
  Speaker 1: should go in search of virtue, where should he find
• 2:45:43
  Speaker 1: it purer than in Blanche? If love ambitious sought a
• 2:45:47
  Speaker 1: match of birth, whose veins bound richer blood than Lady Blanche,
• 2:45:52
  Speaker 1: such as she is in beauty, virtue, birth is the
• 2:45:56
  Speaker 1: young dolphin every way complete, if not complete. Of say,
• 2:46:01
  Speaker 1: he is not she, and she again wants nothing to
• 2:46:05
  Speaker 1: name want, if want it be not that she is
• 2:46:09
  Speaker 1: not he. He is the half part of a blessed
• 2:46:12
  Speaker 1: man left to be finished by such as she, and
• 2:46:16
  Speaker 1: she a fair divided excellence whose fullness of perfection lies
• 2:46:19
  Speaker 1: in him. Oh, two such silver currents, when they join,
• 2:46:24
  Speaker 1: do glorify the banks that bound them in, And two
• 2:46:27
  Speaker 1: such shores to two such streams made one two such
• 2:46:32
  Speaker 1: controlling bounds. Shall you be kings to these two princes
• 2:46:37
  Speaker 1: if you marry them. Another instance, which is certainly very happy,
• 2:46:42
  Speaker 1: as an example of the simple enumeration of a number
• 2:46:46
  Speaker 1: of particulars, is Salisbury's remonstrance against the second crowning of
• 2:46:51
  Speaker 1: the king. Therefore to be possessed with double pomp, to
• 2:46:56
  Speaker 1: guard a title that was rich before, to guild reffes,
• 2:47:00
  Speaker 1: find gold, to paint the lily, to throw a perfume
• 2:47:03
  Speaker 1: on the violet, to smooth the ice, to add another
• 2:47:06
  Speaker 1: hue onto the rainbow, or with taper light, to seek
• 2:47:10
  Speaker 1: the beauteous eye of heaven. To garnish is wasteful and
• 2:47:15
  Speaker 1: ridiculous excess end of King John.
• 2:47:22
  Speaker 2: Twelfth Night, or what you will. This is justly considered
• 2:47:27
  Speaker 2: as one of the most delightful of Shakespeare's comedies. It
• 2:47:31
  Speaker 2: is full of sweetness and pleasantry. It is perhaps too
• 2:47:34
  Speaker 2: good natured for comedy. It has little satire and no spleen.
• 2:47:39
  Speaker 2: It aims at the ludicrous rather than the ridiculous. It
• 2:47:42
  Speaker 2: makes us laugh at the follies of mankind, not despise them,
• 2:47:47
  Speaker 2: and still less bear any ill will towards them. Shakespeare's
• 2:47:50
  Speaker 2: comic genius resembles the bee rather in its power of
• 2:47:54
  Speaker 2: extracting sweets from weeds or poisons, than in leaving a
• 2:47:57
  Speaker 2: sting behind it. He gives the most amusing exaggeration of
• 2:48:01
  Speaker 2: the prevailing foibles of his characters, but in a way
• 2:48:05
  Speaker 2: that they themselves, instead of being offended at, would almost
• 2:48:08
  Speaker 2: join in to humor. He rather contrives opportunities for them
• 2:48:12
  Speaker 2: to show themselves off in the happiest lights, than renders
• 2:48:16
  Speaker 2: them contemptible in the perverse construction of the wit or
• 2:48:19
  Speaker 2: malice of others. There is a certain stage of society
• 2:48:23
  Speaker 2: in which people become conscious of their peculiarities and absurdities,
• 2:48:28
  Speaker 2: effect to disguise what they are and set up pretensions
• 2:48:31
  Speaker 2: to what they are not. This gives rise to a
• 2:48:34
  Speaker 2: corresponding style of comedy, the object of which is to
• 2:48:38
  Speaker 2: detect the disguises of self love and to make reprisals
• 2:48:42
  Speaker 2: on those preposterous assumptions of vanity, by marking the contrast
• 2:48:46
  Speaker 2: between the real and the affected character as severely as possible,
• 2:48:51
  Speaker 2: and denying to those who would impose on us for
• 2:48:53
  Speaker 2: what they are not even the merit which they have.
• 2:48:57
  Speaker 2: This is the comedy of artificial life of wads, wit
• 2:49:00
  Speaker 2: and satire, such as we see it in Congrave, Witterly,
• 2:49:04
  Speaker 2: van Brois, et cetera. To this succeeds a state of
• 2:49:08
  Speaker 2: society from which the same sort of affectation and pretense
• 2:49:11
  Speaker 2: are banished by a greater knowledge of the world, or
• 2:49:14
  Speaker 2: by their successful exposure on the stage, and which, by
• 2:49:17
  Speaker 2: neutralizing the materials of comic character, both natural and artificial,
• 2:49:22
  Speaker 2: leaves no comedy at all, but the sentimental, such as
• 2:49:26
  Speaker 2: are modern comedy. There is a period in the progress
• 2:49:29
  Speaker 2: of manners anterior to both these, in which the foibles
• 2:49:33
  Speaker 2: and follies of individuals are of nature's planting, not the
• 2:49:36
  Speaker 2: growth of art or study, in which they are therefore
• 2:49:39
  Speaker 2: unconscious of them themselves, or care not who knows them
• 2:49:43
  Speaker 2: if they can have their whim out, and in which,
• 2:49:46
  Speaker 2: as there is no attempt at imposition, the spectators rather
• 2:49:50
  Speaker 2: receive pleasure from humoring the inclinations of the persons. They
• 2:49:53
  Speaker 2: laugh at them, wish to give them pain by exposing
• 2:49:56
  Speaker 2: their absurdity. This may be called the comedy of nature,
• 2:50:01
  Speaker 2: and it is the comedy which we generally find in Shakespeare.
• 2:50:05
  Speaker 2: Whether the analysis here given be just or not, the
• 2:50:08
  Speaker 2: spirit of his comedies is evidently quite distinct from that
• 2:50:11
  Speaker 2: of the author's above mentioned, as it is in its
• 2:50:14
  Speaker 2: essence the same with that of Cervantes, and also very
• 2:50:18
  Speaker 2: frequently of Moliere, though he was more systematic in his
• 2:50:21
  Speaker 2: extravagance than Shakespeare. Shakespeare's comedy is of a pastoral and
• 2:50:25
  Speaker 2: poetical caste. Folly is indigenous to the soil and shoots
• 2:50:30
  Speaker 2: out with native, happy, unchecked luxuriance. Absurdity has every encouragement
• 2:50:36
  Speaker 2: afforded it, and nonsense has room to flourish in. Nothing
• 2:50:40
  Speaker 2: is stunted by the schurlish, icy hand of indifference or severity.
• 2:50:45
  Speaker 2: The poet runs a riot in the conceit and idolizes
• 2:50:48
  Speaker 2: a quibble. His whole object is to turn the meanest
• 2:50:51
  Speaker 2: or rudest objects to a pleasurable account. The relish which
• 2:50:55
  Speaker 2: he has of a pun or the quaint humor of
• 2:50:57
  Speaker 2: a low character, does not interfere with the delight with
• 2:51:01
  Speaker 2: which he describes a beautiful image or the most refined love.
• 2:51:05
  Speaker 2: The clown's forced jests do not spoil the sweetness of
• 2:51:09
  Speaker 2: the character of Viola. The same house is big enough
• 2:51:11
  Speaker 2: to hold Malvolio. The Countess Maria Sir Toby and Sir
• 2:51:15
  Speaker 2: Andrew eggy cheek, for instance, Nothing can fall much lower
• 2:51:20
  Speaker 2: than this last character in intellect or morals. Yet, how
• 2:51:24
  Speaker 2: are his weaknesses nursed and dandled by Sir Toby into
• 2:51:28
  Speaker 2: something high fantastical? When on Sir Andrew's commendation of himself
• 2:51:33
  Speaker 2: for a dancing and fencing Sir Toby answers, what doest
• 2:51:37
  Speaker 2: thou mean where far these things hit? Wherefore had these
• 2:51:40
  Speaker 2: gifts a curtain before them? Are they like to take
• 2:51:44
  Speaker 2: dust like mister Smole's picture. Why dost thou not go
• 2:51:48
  Speaker 2: to church in a caalliard and come home in a coranto?
• 2:51:52
  Speaker 2: My very walk should be a cheek. I would not
• 2:51:55
  Speaker 2: so much make water, but in a sank pace. What
• 2:51:57
  Speaker 2: dost thou mean? Is this a world died virtues?
• 2:52:01
  Speaker 1: Then?
• 2:52:02
  Speaker 2: I did think by the excellent constitution of the eye
• 2:52:05
  Speaker 2: leg it was framed under the star of a gal yad.
• 2:52:10
  Speaker 2: How Sir Toby, Sir Andrew and the clown afterward chirp
• 2:52:13
  Speaker 2: over their cups, how they rouse the night owl in
• 2:52:16
  Speaker 2: a catch able to draw three souls out of one weaver?
• 2:52:20
  Speaker 2: What can be better than Sir Toby's unanswerable answer to
• 2:52:23
  Speaker 2: Malvolio does not think, because they are virtuous, there shall
• 2:52:27
  Speaker 2: be no more cakes than ale. In a word, the
• 2:52:30
  Speaker 2: best turn is given to everything instead of the worst.
• 2:52:34
  Speaker 2: There is a constant infusion of the romantic and enthusiastic
• 2:52:38
  Speaker 2: in proportion, as the characters are natural and sincere, whereas
• 2:52:42
  Speaker 2: in the more artificial style of comedy, everything gives way
• 2:52:46
  Speaker 2: to ridicule and indifference, there being nothing left but affectation
• 2:52:50
  Speaker 2: on one side and incredulity on the other. Much as
• 2:52:55
  Speaker 2: we like Shakespeare's comedies, we cannot agree with doctor Johnson
• 2:52:58
  Speaker 2: that they are better than his tragedies, nor do we
• 2:53:01
  Speaker 2: like them half so well. If his inclination to comedy
• 2:53:04
  Speaker 2: sometimes led him to trifle with the seriousness of tragedy,
• 2:53:08
  Speaker 2: the poetical and impassioned passages are the best parts of
• 2:53:11
  Speaker 2: his comedies. The great and secret charm of Twelfth Night
• 2:53:15
  Speaker 2: is the character of Viola. Much as we like ketches
• 2:53:18
  Speaker 2: and cakes and ale, there is something that we like better.
• 2:53:21
  Speaker 2: We have a friendship for Sir Toby, we patronize Sir Andrew.
• 2:53:26
  Speaker 2: We have an understanding with the clown, a sneaking kindness
• 2:53:29
  Speaker 2: for Maria and her rogueries. We feel a regard for Malvolio,
• 2:53:34
  Speaker 2: and sympathize with his gravity, his smiles, his cross garters,
• 2:53:38
  Speaker 2: his yellow stockings, and imprisonment in the stocks. But there
• 2:53:42
  Speaker 2: is something that excites in us a stronger feeling than
• 2:53:45
  Speaker 2: all this. It is Viola's confession of her.
• 2:53:48
  Speaker 3: Love, Duke, What's her history?
• 2:53:51
  Speaker 2: Viola a blank? My lord? She never told her love.
• 2:53:56
  Speaker 2: She la concealment like a worm in the bud on
• 2:54:00
  Speaker 2: our damask cheek. She pined in thought, and with a
• 2:54:05
  Speaker 2: green and yellow melancholy, she sat like patience on a monument,
• 2:54:10
  Speaker 2: smiling at grief. Was this not love? Indeed, we men
• 2:54:14
  Speaker 2: may say more, swear more, but indeed our shows are
• 2:54:18
  Speaker 2: more than will. For still we prove much in our vows,
• 2:54:21
  Speaker 2: but little in our love.
• 2:54:24
  Speaker 1: Died thy sister for love, my boy.
• 2:54:27
  Speaker 2: I am all the daughters of my father's house, and
• 2:54:30
  Speaker 2: all the brothers too, And yet I know not Shakespeare
• 2:54:35
  Speaker 2: alone could describe the effect of his own poetry. Oh,
• 2:54:39
  Speaker 2: it came over the ear like the sweet south that
• 2:54:43
  Speaker 2: breathes upon a bank of violets, stealing and giving odor.
• 2:54:48
  Speaker 2: What we so much admire here is not the image
• 2:54:51
  Speaker 2: of patience on a monument which has been generally quoted,
• 2:54:54
  Speaker 2: but the lines before and after it they give a
• 2:54:57
  Speaker 2: very echo to the seat where love is throned. How
• 2:55:01
  Speaker 2: long ago it is since we first learnt to repeat them,
• 2:55:04
  Speaker 2: And still still they vibrate on the heart, like the
• 2:55:07
  Speaker 2: sounds which the passing wind draws from the trembling strings
• 2:55:11
  Speaker 2: of a harp left on some desert shore. There are
• 2:55:14
  Speaker 2: other passages of not less impassioned sweetness, such is Olivia's
• 2:55:18
  Speaker 2: addressed to Sebastian, whom she supposes to have already deceived
• 2:55:23
  Speaker 2: her in a promise of marriage. Blame not this haste
• 2:55:26
  Speaker 2: of mine. If you mean well, now go with me,
• 2:55:29
  Speaker 2: and with this holy Man, and to the chantry by
• 2:55:32
  Speaker 2: there before him and underneath that consecrated roof play me
• 2:55:36
  Speaker 2: the full assurance of your faith that my most jealous
• 2:55:39
  Speaker 2: and too doubtful soul may live at peace. We have
• 2:55:44
  Speaker 2: already said something of Shakespeare's songs, one of the most
• 2:55:47
  Speaker 2: beautiful of them occurs in this play, with a preface
• 2:55:50
  Speaker 2: of his own to it.
• 2:55:52
  Speaker 1: Duke, oh fellow, come the song we had last night
• 2:55:56
  Speaker 1: market Sarah. It is old and plain spinsters, and the
• 2:56:01
  Speaker 1: knitters in the sun, and the free maids that weave
• 2:56:03
  Speaker 1: their threat with bones. Do you used to chant it?
• 2:56:07
  Speaker 1: It is silly sooth and dolly's with innocence of love,
• 2:56:12
  Speaker 1: like the old age.
• 2:56:14
  Speaker 2: Song, come away, come away death, And in sad cypris,
• 2:56:19
  Speaker 2: let me be laid, fly away, fly away breath. I
• 2:56:24
  Speaker 2: am slain by a fair cool maid. My shroud of
• 2:56:29
  Speaker 2: white stuck on with you? Or prepare it my part
• 2:56:34
  Speaker 2: of death? No one so true did share it. Not
• 2:56:39
  Speaker 2: a flower, not a flower, sweet on my black coffin.
• 2:56:43
  Speaker 2: Let there be strown, not a friend, not a friend,
• 2:56:47
  Speaker 2: greet my poor corpse. Where my bones shall be thrown
• 2:56:52
  Speaker 2: a thousand thousand size to save? Lay me, Oh, where
• 2:56:57
  Speaker 2: sad true love never find mine? Grave to weep there?
• 2:57:04
  Speaker 2: Who after this will say that Shakespeare's genius was only
• 2:57:07
  Speaker 2: fitted for comedy. Yet, after reading other parts of this play,
• 2:57:11
  Speaker 2: and particularly the garden scene where Malvolio picks up the letter,
• 2:57:15
  Speaker 2: if we were to say that his genius for comedy
• 2:57:17
  Speaker 2: was less than his genius for tragedy, it would perhaps
• 2:57:21
  Speaker 2: only prove that our own taste in such matters is
• 2:57:23
  Speaker 2: more saturnine than mercurial. Enter Maria, Sir Toby, here comes
• 2:57:29
  Speaker 2: a little villain. How now mine nettle of India, Maria,
• 2:57:34
  Speaker 2: get you all three into the box tree. Malfolo's coming
• 2:57:37
  Speaker 2: down this walk. He has been yonder in the sun,
• 2:57:40
  Speaker 2: practicing behavior to his own shadow this half hour. Observe
• 2:57:44
  Speaker 2: him for the love of mockery, for I know this
• 2:57:47
  Speaker 2: letter will make a contemplative idiot of him close in
• 2:57:51
  Speaker 2: the name of jesting, lie thou there, for here comes
• 2:57:54
  Speaker 2: the trout that must be caught with tickling. They hide themselves.
• 2:57:58
  Speaker 2: Maria throws down a letter an.
• 2:58:00
  Speaker 1: Exit, Melvolio tis but fortune all is fortune. Maria once
• 2:58:06
  Speaker 1: told me she did affect me, and I've heard herself
• 2:58:09
  Speaker 1: come thus near that should she fancy it should be
• 2:58:13
  Speaker 1: one of my complexion. Besides, she uses me with a
• 2:58:17
  Speaker 1: more exalted respect than anyone else that follows her. What
• 2:58:22
  Speaker 1: should I think of it.
• 2:58:23
  Speaker 2: Sir Toby, Here's an overwinning rogue, Fabian Oh Peace, contemplation
• 2:58:29
  Speaker 2: makes a rare turkey cock of him. How he jets
• 2:58:32
  Speaker 2: under his advanced plumes. Sir Andrew Slight, I could so
• 2:58:37
  Speaker 2: be the rogue, Sir Toby Peace, I.
• 2:58:40
  Speaker 1: Say to be Count Melvolio.
• 2:58:44
  Speaker 2: Sir Toby Ah rogue, Sir Andrew pistol m pistol m,
• 2:58:50
  Speaker 2: Sir Toby peace. Peace.
• 2:58:53
  Speaker 1: There is example fort the lady of the start. She
• 2:58:57
  Speaker 1: married the yeoman of the wardrobe, Sir.
• 2:59:00
  Speaker 2: And drew fire on him, Jezebel Fabian, Oh peace. Now
• 2:59:04
  Speaker 2: he's deeply in Look how imagination blows him.
• 2:59:08
  Speaker 1: Having been three months married to her, Sitting in my
• 2:59:13
  Speaker 1: chair of state.
• 2:59:15
  Speaker 2: Sir Toby, Oh for a stone bow to hit him
• 2:59:18
  Speaker 2: in the eye.
• 2:59:19
  Speaker 1: Calling my officers about me in my branched velvet gown,
• 2:59:24
  Speaker 1: having come from a day bed where I've left Olivia's sleeping, Sir.
• 2:59:29
  Speaker 2: Toby, fire and brimstone, Fabian, Oh, piece peace.
• 2:59:35
  Speaker 1: Then to have the humor of state, and after a
• 2:59:39
  Speaker 1: demure travel of regard, telling them I know my place
• 2:59:44
  Speaker 1: as I would, they should do theirs to ask for
• 2:59:47
  Speaker 1: my kinsman Toby, Sir.
• 2:59:49
  Speaker 2: Toby, bulls and shekels Fabian, Oh piece pace Peace.
• 2:59:54
  Speaker 1: Now, Now seven of my people with an obedient start
• 2:59:59
  Speaker 1: to make up for him. I frowned the while, perchance
• 3:00:03
  Speaker 1: wind up my watch or play with some rich jewel.
• 3:00:08
  Speaker 1: Toby approaches curtsys there to me, Sir.
• 3:00:11
  Speaker 2: Toby, shall this fellow live, Fabian, though our silence be
• 3:00:16
  Speaker 2: drawn from us with cares yet peace.
• 3:00:19
  Speaker 1: I extend my hand to him thus quenching my familiar
• 3:00:23
  Speaker 1: smile with an austere regard to control, Sir Toby.
• 3:00:28
  Speaker 2: And does not Toby take you a blow of the lips, then.
• 3:00:32
  Speaker 1: Saying, Cousin Toby, my fortunes having cast me on your niece,
• 3:00:37
  Speaker 1: give me this prerogative of.
• 3:00:40
  Speaker 2: Speech, Sir Toby, what what.
• 3:00:44
  Speaker 1: You must amend your drunkenness, fabian.
• 3:00:48
  Speaker 2: Nay patience, We break this suse of our plot.
• 3:00:53
  Speaker 1: Besides, you waste the treasure of your time with a foolish.
• 3:00:58
  Speaker 2: Night, Sir Andrew. That's me.
• 3:01:01
  Speaker 1: I warrant you one, Sir Andrew.
• 3:01:05
  Speaker 2: Sir Andrew, I knew twas I for many to call
• 3:01:08
  Speaker 2: me fool?
• 3:01:10
  Speaker 1: What employment have we here.
• 3:01:13
  Speaker 2: Ticking up the letter. The letter and his comments on
• 3:01:17
  Speaker 2: it are equally good, if poor Malvolio's treatment afterwards is
• 3:01:22
  Speaker 2: a little hard. Poetical justice is done in the uneasiness
• 3:01:26
  Speaker 2: which Olivia suffers on account of her mistake and attachment
• 3:01:29
  Speaker 2: to Cesario, as her insensibility to the violence of the
• 3:01:33
  Speaker 2: Duke's passion is atoned for by the discovery of Viola's
• 3:01:36
  Speaker 2: concealed love of him. End of Twelfth Night, the two
• 3:01:42
  Speaker 2: Gentlemen of Verona. This is little more than the first
• 3:01:47
  Speaker 2: outlines of a comedy loosely sketched in It is the
• 3:01:50
  Speaker 2: story of a novel dramatized with very little labor or pretension.
• 3:01:55
  Speaker 2: Yet there are passages of high poetical spirit, and of
• 3:01:59
  Speaker 2: inimitable quaintness of humor, which are undoubtedly Shakespeare's. And there
• 3:02:04
  Speaker 2: is throughout the conduct of the fable a careless grace
• 3:02:07
  Speaker 2: and felicity which marks of for his One of the editors,
• 3:02:11
  Speaker 2: we believe, mister Pope remarks in a marginal note to
• 3:02:15
  Speaker 2: the two gentlemen of Verona, it is observable, I know
• 3:02:19
  Speaker 2: not for what cause, that the style of this comedy
• 3:02:21
  Speaker 2: is less figurative and more natural and unaffected than the
• 3:02:25
  Speaker 2: greater part of this authors that supposed to be one
• 3:02:28
  Speaker 2: of the first he wrote. Yet so little does the
• 3:02:31
  Speaker 2: editor appear to have made up his mind upon this subject,
• 3:02:34
  Speaker 2: that we find the following note to the very next
• 3:02:36
  Speaker 2: the second scene quote. This whole scene, like many others
• 3:02:41
  Speaker 2: in these plays, some of which I believe were written
• 3:02:43
  Speaker 2: by Shakespeare, and others interpolated by the players, is composed
• 3:02:47
  Speaker 2: of the lowest and most trifling conceits, to be accounted
• 3:02:51
  Speaker 2: for only by the gross taste of the age he
• 3:02:53
  Speaker 2: lived in papula ute placerant. I wish I had authority
• 3:02:57
  Speaker 2: to leave them out, but I have done all I
• 3:02:59
  Speaker 2: could set a mark of reprobation upon them throughout this edition.
• 3:03:04
  Speaker 2: It is strange that our fastidious critic should fall so
• 3:03:07
  Speaker 2: soon from praising to reprobating. The style of the familiar
• 3:03:11
  Speaker 2: parts of this comedy is indeed made up of conceits
• 3:03:14
  Speaker 2: lo They may be for what we know, but then
• 3:03:17
  Speaker 2: they are not poor but rich ones. The scene of
• 3:03:20
  Speaker 2: Launce with his dog, not that in the second but
• 3:03:23
  Speaker 2: that in the fourth act, is a perfect treat in
• 3:03:26
  Speaker 2: the way of farcical drollery and invention. Nor do we
• 3:03:29
  Speaker 2: think Speed's manner of proving his master to be in
• 3:03:32
  Speaker 2: love deficient in wit or sense, though the style may
• 3:03:36
  Speaker 2: be criticized as not simple enough for the modern taste. Valentine,
• 3:03:41
  Speaker 2: why how know you that I am in love Speed Mary?
• 3:03:46
  Speaker 2: By these special marks? First, you have learned, like sir Podius,
• 3:03:50
  Speaker 2: to wreathe your arms like a malcontent, to relish a
• 3:03:53
  Speaker 2: love song like a robin redbreast, to walk alone like
• 3:03:57
  Speaker 2: when that had the pestilence, to sigh like a schoolboy.
• 3:04:00
  Speaker 2: That I had lost his abc, to weep like a
• 3:04:04
  Speaker 2: young wench that had buried her grandam, to fast like
• 3:04:08
  Speaker 2: one that takes diet, to watch like one that fears robbing,
• 3:04:12
  Speaker 2: to speak puling like a beggar. At Alamos, you were
• 3:04:15
  Speaker 2: wont when you laughed, to crow like a cock, when
• 3:04:18
  Speaker 2: you walked, to walk like one of the lions. When
• 3:04:21
  Speaker 2: you fasted, it was presently after dinner. When you looked sadly,
• 3:04:25
  Speaker 2: it was for want of money. And now you're a
• 3:04:28
  Speaker 2: metamorphosed with a mistress that when I look on you,
• 3:04:30
  Speaker 2: I can hardly thank you, my master. The tender scenes
• 3:04:34
  Speaker 2: in this play, though not so highly wrought as in
• 3:04:37
  Speaker 2: some others, have often much sweetness of sentiment and expression.
• 3:04:42
  Speaker 2: There is something pretty and playful in the conversation of
• 3:04:45
  Speaker 2: Julia with her maid when she shows such a disposition
• 3:04:48
  Speaker 2: to coquetry about receiving the letter from Proteus, and her
• 3:04:52
  Speaker 2: behavior afterwards and her disappointment when she finds him faithless
• 3:04:56
  Speaker 2: to his vows, remind us at a distance of Imagen's
• 3:05:00
  Speaker 2: tender constancy. Her answer to Lucetta, who advises her against
• 3:05:04
  Speaker 2: following her lover in disguise, is a beautiful piece of poetry. Lucetta,
• 3:05:10
  Speaker 2: I do not seek to quench your love's hot fire,
• 3:05:13
  Speaker 2: but qualify the fire's extremest rage, lest it should burn
• 3:05:17
  Speaker 2: above the bounds of reason, Julia. The more that damp
• 3:05:21
  Speaker 2: stead up, the more it burns. The current that with
• 3:05:24
  Speaker 2: gentle murmur glides. Thou knowest being stopped impatiently doth rage.
• 3:05:29
  Speaker 2: But when his fair course is not hindered, he makes
• 3:05:33
  Speaker 2: sweet music with the enameled stones, giving a gentle kiss
• 3:05:37
  Speaker 2: to every sedge he overtaketh in his pilgrimage. And so
• 3:05:41
  Speaker 2: by many winding nooks he strays with willing sport to
• 3:05:45
  Speaker 2: the wild ocean. Footnote, the river wanders at its own
• 3:05:50
  Speaker 2: sweet will Wordsworth. Then let me go and hinder not
• 3:05:55
  Speaker 2: my course. I'll be as patient as a gentle stream,
• 3:05:58
  Speaker 2: and make a pastime of its weary step, till the
• 3:06:02
  Speaker 2: last step have brought me to my love, and they
• 3:06:05
  Speaker 2: are all rest as after much turmoil, A blessed soul
• 3:06:08
  Speaker 2: doth in Elysium. If Shakespeare indeed had written only this
• 3:06:14
  Speaker 2: and other passages, and the two Gentlemen of Verona, he
• 3:06:17
  Speaker 2: would almost have deserved Milton's praise of him. And sweetest
• 3:06:21
  Speaker 2: Shakespeare fancies child warbles in his native wood notes wild.
• 3:06:27
  Speaker 2: But as it is, he deserves rather more praise than this,
• 3:06:31
  Speaker 2: and of the two gentlemen.
• 3:06:32
  Speaker 1: Of Verona the Merchant of Venice. This is a play that,
• 3:06:39
  Speaker 1: in spite of the change of manners and of prejudices,
• 3:06:43
  Speaker 1: still holds undisputed possession of the stage. Shakespeare's Malignant has
• 3:06:49
  Speaker 1: outlived mister Cumberland's benevolent Jew in proportion. As Shylock has
• 3:06:54
  Speaker 1: ceased to be a popular bugbear baited with a rabble's curse,
• 3:06:59
  Speaker 1: he becomes a half with the philosophical part of the audience,
• 3:07:03
  Speaker 1: who are disposed to think that Jewish revenge is at
• 3:07:06
  Speaker 1: least as good as Christian injuries. Shylock is a good hater,
• 3:07:13
  Speaker 1: a man no less sinnediganst than sinning if he carries
• 3:07:17
  Speaker 1: his revenge too far. Yet he has strong grounds for
• 3:07:21
  Speaker 1: the lodged hate he bears Antonio, which he explains with
• 3:07:26
  Speaker 1: equal force of eloquence and reason. He seems the depositary
• 3:07:31
  Speaker 1: of the vengeance of his race. And though the long
• 3:07:34
  Speaker 1: habit of brooding over daily insults and injuries has crusted
• 3:07:38
  Speaker 1: over his temper with inverterate misanthropy and hardened him against
• 3:07:43
  Speaker 1: the contempt of mankind. This adds but little to the
• 3:07:47
  Speaker 1: triumphant pretensions of his enemies. There is a strong, quick
• 3:07:51
  Speaker 1: and deep sense of justice mixed up with the gall
• 3:07:55
  Speaker 1: and bitterness of his resentment. The constant apprehension of being
• 3:08:00
  Speaker 1: burnt alive, plundered, vanished, reviled, and trampled on might be
• 3:08:06
  Speaker 1: supposed to sour the most forbearing nature, and to take
• 3:08:10
  Speaker 1: something from that milk of human kindness with which his
• 3:08:14
  Speaker 1: persecutors contemplated his indignities. The desire of revenge is almost
• 3:08:21
  Speaker 1: inseparable from the sense of wrong, and we can hardly
• 3:08:24
  Speaker 1: help sympathizing with the proud spirit hid beneath his Jewish Gabardine,
• 3:08:30
  Speaker 1: stung to madness by repeated undeserved provocations, and laboring to
• 3:08:36
  Speaker 1: throw off the load of obloquy and oppression heaped upon
• 3:08:40
  Speaker 1: him in all his tribe by one desperate act of
• 3:08:43
  Speaker 1: lawful revenge, till the ferociousness of the means by which
• 3:08:47
  Speaker 1: he is to execute his purpose, and the pertinacity with
• 3:08:51
  Speaker 1: which he adheres to it turn us against him. But
• 3:08:55
  Speaker 1: even at last, when disappointed of the sanguinary revenge with
• 3:08:59
  Speaker 1: which he had blooded, his hopes and exposed to beggary
• 3:09:02
  Speaker 1: and contempt by the letter of the law on which
• 3:09:05
  Speaker 1: he had insisted with so little remorse, We pity him
• 3:09:09
  Speaker 1: and think him hardly dealt with by his judges. In
• 3:09:13
  Speaker 1: all his answers and retorts upon his adversaries, he is
• 3:09:16
  Speaker 1: the best not only of the argument, but of the question,
• 3:09:20
  Speaker 1: reasoning on their own principle and practice there so far
• 3:09:24
  Speaker 1: from allowing of any measure of equal dealing of common
• 3:09:27
  Speaker 1: justice or humanity between themselves and the Jew, that even
• 3:09:32
  Speaker 1: when they come to ask a favor of him, and
• 3:09:34
  Speaker 1: Shylock reminds them that on such a day they spit
• 3:09:37
  Speaker 1: upon him, another spurned him, another called him dog. And
• 3:09:42
  Speaker 1: for these courtesies request he'll lend them so much monies. Antonio,
• 3:09:47
  Speaker 1: his old enemy, instead of any acknowledgment of the shrewdness
• 3:09:51
  Speaker 1: and justice of his remonstrance, which would have been preposterous
• 3:09:55
  Speaker 1: in a respectable Catholic merchant in those times, threatens him
• 3:09:59
  Speaker 1: with a repetition of the same treatment. I am as
• 3:10:03
  Speaker 1: like to call thee so again, to spit on THEE, again,
• 3:10:07
  Speaker 1: to spurn thee too. After this the appeal to the
• 3:10:11
  Speaker 1: Jew's mercy, as if there were any common principle of
• 3:10:15
  Speaker 1: right and wrong between them is the rankest hypocrisy or
• 3:10:19
  Speaker 1: the blindest prejudice. And the Jew's answer to one of
• 3:10:23
  Speaker 1: Antonio's friends who ask him, what is pound of forfeit?
• 3:10:27
  Speaker 1: Flesh is good for is irresistible to bait fish withal?
• 3:10:33
  Speaker 1: If it will feed nothing else, it will feed my revenge.
• 3:10:37
  Speaker 1: He hath disgraced me and hindered me of half a million,
• 3:10:42
  Speaker 1: laughed at my losses, mocked at my gains, scorned my nation,
• 3:10:47
  Speaker 1: thwarted my bargains, cooled my friends, heated mine enemies. And
• 3:10:52
  Speaker 1: what's his reason? I'm a Jew? Hath not a jew? Eyes,
• 3:10:58
  Speaker 1: hath not a jew? Hands? Organs, dimensions, senses, affections, passions
• 3:11:06
  Speaker 1: fed with the same food, hurt with the same weapons,
• 3:11:10
  Speaker 1: subject to the same diseases, healed by the same means,
• 3:11:15
  Speaker 1: warmed and cooled by the same winter in summer. That
• 3:11:18
  Speaker 1: a Christian is. If you prick us, do we not bleed?
• 3:11:24
  Speaker 1: If you tickle us, do we not laugh? If you
• 3:11:27
  Speaker 1: poison us, do we not die? And if you wrong us,
• 3:11:32
  Speaker 1: shall we not revenge? If we are like you and
• 3:11:36
  Speaker 1: the rest we will resemble you in that if a
• 3:11:39
  Speaker 1: Jew wrong a Christian? What is his humility? Revenge? If
• 3:11:44
  Speaker 1: a Christian wrong a Jew, why should his sufferance be
• 3:11:48
  Speaker 1: by Christian example? Why revenge the villainy you teach me,
• 3:11:54
  Speaker 1: I will execute, and it shall go hard, but I
• 3:11:58
  Speaker 1: will better the instruy diruction. The whole of the trial scene,
• 3:12:03
  Speaker 1: both before and after the entrance of Portia, is a
• 3:12:06
  Speaker 1: masterpiece of dramatic skill. The legal acuteness, the passionate declamations,
• 3:12:12
  Speaker 1: the sound maxims of jurisprudence, the wit and irony interspersed
• 3:12:17
  Speaker 1: in it, the fluctuations of hope and fear in the
• 3:12:20
  Speaker 1: different persons, and the completeness and suddenness of the catastrophe
• 3:12:25
  Speaker 1: cannot be surpassed. Shylock, who is his own counsel, defends
• 3:12:30
  Speaker 1: himself well and is triumphant on all the general topics
• 3:12:34
  Speaker 1: that are urged against him, and only fails through a
• 3:12:38
  Speaker 1: legal flaw. Take the following as an instance, Shylock, what
• 3:12:46
  Speaker 1: judgment shall I dread? Doing no wrong? You have among
• 3:12:49
  Speaker 1: you many a purchase slave, which, like your asses and
• 3:12:53
  Speaker 1: your dogs and mules, you use an abject and unslavish
• 3:12:56
  Speaker 1: part because you bought them. Shall I say to you
• 3:13:01
  Speaker 1: let them be free, marry them to your heirs. Why
• 3:13:05
  Speaker 1: sweat they under burdens? Let their beds be made as
• 3:13:08
  Speaker 1: soft as yours, and let their palates be seasoned with
• 3:13:12
  Speaker 1: such vioance. You will answer, the slaves are ours. So
• 3:13:17
  Speaker 1: do I answer you. The pound of flesh which I
• 3:13:20
  Speaker 1: demand of him is dearly bought, is mine, and I
• 3:13:23
  Speaker 1: will have it. If you deny me, fie upon your law.
• 3:13:28
  Speaker 1: There is no force in the decree of venice. I
• 3:13:31
  Speaker 1: stand for judgment. Answer shall I have it? The keenness
• 3:13:37
  Speaker 1: of his revenge awakes all his faculties, and he beats
• 3:13:41
  Speaker 1: back all opposition to his purpose, whether grave or gay,
• 3:13:45
  Speaker 1: whether of wit or argument, with an equal degree of
• 3:13:48
  Speaker 1: earnestness and self possession. His characters displayed as distinctly and
• 3:13:53
  Speaker 1: other less prominent parts of the play, and we may
• 3:13:56
  Speaker 1: collect from a few sentences the history of his life,
• 3:13:58
  Speaker 1: his descent, his thrift and domestic economy, his affection for
• 3:14:04
  Speaker 1: his daughter, whom he loves next to his wealth, his courtship,
• 3:14:08
  Speaker 1: and his first present to Leah, his wife. I would
• 3:14:12
  Speaker 1: not have parted with it, the ring which he first
• 3:14:15
  Speaker 1: gave her for a wilderness of monkeys. What a fine
• 3:14:20
  Speaker 1: hebriism is implied in this expression. Portia is not a
• 3:14:25
  Speaker 1: very great favorite with us, neither are we in love
• 3:14:28
  Speaker 1: with her maid Nerissa. Portia has a certain degree of
• 3:14:31
  Speaker 1: affectation and pedantry about her, which is very unusual in
• 3:14:35
  Speaker 1: Shakespeare's women, but which perhaps was a proper qualification for
• 3:14:40
  Speaker 1: the office of a civil doctor, which she undertakes and
• 3:14:43
  Speaker 1: executes so successfully. The speech about mercy is very well,
• 3:14:48
  Speaker 1: but there are a thousand finer ones in Shakespeare. We
• 3:14:52
  Speaker 1: did not admire the scene of the caskets, and object
• 3:14:55
  Speaker 1: entirely to the black Prince Eurochius. We should like Jessica
• 3:14:59
  Speaker 1: better if she had not deceived and robbed her father,
• 3:15:02
  Speaker 1: and Lorenzo if he had not married a Jewess, though
• 3:15:06
  Speaker 1: he thinks he has a right to wrong a jew.
• 3:15:08
  Speaker 1: The dialogue between this newly married couple by moonlight, beginning
• 3:15:12
  Speaker 1: on such a knight, et cetera, is a collection of
• 3:15:16
  Speaker 1: classical elegancies. Launcelot, the jews Man, is an honest fellow.
• 3:15:21
  Speaker 1: The dilemma in which he describes himself placed between his
• 3:15:25
  Speaker 1: conscience and the fiend, the one of which advises him
• 3:15:28
  Speaker 1: to run away from his master's service, and the other
• 3:15:31
  Speaker 1: to stay in. It is exquisitely humorous. Graciano is a
• 3:15:36
  Speaker 1: very admirable subordinate character. He is the gesture of the piece.
• 3:15:41
  Speaker 1: Yet one speech of his in his own defense contains
• 3:15:45
  Speaker 1: a whole volume of wisdom. Antonio, I hold the world.
• 3:15:51
  Speaker 1: But is the world, Graciano, a stage where every one
• 3:15:55
  Speaker 1: must play his part, and mine a sad one.
• 3:15:59
  Speaker 3: Groushia.
• 3:16:01
  Speaker 1: Let me play the fool with mirth and laughter, Let
• 3:16:05
  Speaker 1: old wrinkles come, and let my liver rather heat with
• 3:16:08
  Speaker 1: wine than my heart cool with mortifying groans. Why should
• 3:16:13
  Speaker 1: a man whose blood is warm within sit like his
• 3:16:17
  Speaker 1: grandsire cut in alabaster sleep when he wakes, and creep
• 3:16:22
  Speaker 1: into the jaundice by being peevish. I tell thee what, Antonio,
• 3:16:27
  Speaker 1: I love thee, and it is my love that speaks.
• 3:16:31
  Speaker 1: There are a sort of men whose visages do cream
• 3:16:34
  Speaker 1: and mantle like a standing pond, and do a woeful stillness,
• 3:16:38
  Speaker 1: entertain with purpose to be dressed in an opinion of wisdom,
• 3:16:43
  Speaker 1: gravity profound conceit as who should say, I am sir oracle,
• 3:16:50
  Speaker 1: And when I open my lips, let no dog bark
• 3:16:53
  Speaker 1: no my antonia. I do know of these that therefore
• 3:16:58
  Speaker 1: only are reputed wise for saying nothing, who I'm very sure,
• 3:17:03
  Speaker 1: if they should speak, would almost damn those ears, which
• 3:17:07
  Speaker 1: hearing them, would call their brothers fools. I'll tell thee
• 3:17:11
  Speaker 1: more of this another time, but fish not with this
• 3:17:14
  Speaker 1: melancholy bait for this fool's gudgeon, this opinion. Grusciano's speech
• 3:17:21
  Speaker 1: on the philosophy of love and the effect of habit
• 3:17:24
  Speaker 1: in taking off the force of passion is as full
• 3:17:28
  Speaker 1: of spirit and good sense. The graceful winding up with
• 3:17:31
  Speaker 1: this play in the fifth act, after the tragic business
• 3:17:34
  Speaker 1: is dispatched, is one of the happiest instances of Shakespeare's
• 3:17:38
  Speaker 1: knowledge of the principles of the drama. We do not
• 3:17:42
  Speaker 1: mean the pretended quarrel between Porsha and Ursa and their
• 3:17:45
  Speaker 1: husbands about the rings, which is amusing enough, but the
• 3:17:48
  Speaker 1: conversation just before and after the return of Portia to
• 3:17:52
  Speaker 1: her own house, beginning how sweet the moonlight sleeps upon
• 3:17:56
  Speaker 1: this bank, and ending peace, how the moon sleeps within
• 3:18:02
  Speaker 1: dominion and would not be awake. There is a number
• 3:18:06
  Speaker 1: of beautiful thoughts crowded into that short space and linked
• 3:18:10
  Speaker 1: together by the most natural transitions. When we first went
• 3:18:15
  Speaker 1: to see mister Keane and Shylock. We expected to see
• 3:18:19
  Speaker 1: what we had been used to see, a decrepit, old man,
• 3:18:22
  Speaker 1: bent with age and ugly with mental deformity, grinning with
• 3:18:26
  Speaker 1: deadly malice, with a venom of his heart congealed in
• 3:18:30
  Speaker 1: the expression of his countenance, sullen, morose, gloomy and flexible,
• 3:18:35
  Speaker 1: brooding over one idea, that of his hatred, and fixed
• 3:18:39
  Speaker 1: on one unalterable purpose, that of his revenge. We were
• 3:18:44
  Speaker 1: disappointed because we had taken our idea from other actors,
• 3:18:48
  Speaker 1: not from the play. There is no proof there that
• 3:18:51
  Speaker 1: Shylock is old, but a single line Masonic and Old
• 3:18:55
  Speaker 1: Shiloc both stand forth, which does not imply that he
• 3:18:59
  Speaker 1: is infirm. Age, and the circumstance that he has a
• 3:19:03
  Speaker 1: daughter marriageable, which does not imply that he is old
• 3:19:07
  Speaker 1: at all. Could be too much to say that his
• 3:19:10
  Speaker 1: body should be made crooked into form to answer to
• 3:19:13
  Speaker 1: his mind, which is bowed down and warped with prejudices
• 3:19:17
  Speaker 1: and passion, that he has but one idea. It is
• 3:19:20
  Speaker 1: not true. He has more ideas than any other person
• 3:19:24
  Speaker 1: in the piece, and if he is intense and inveterate
• 3:19:28
  Speaker 1: in the pursuit of his purpose, he shows the utmost elasticity, vigor,
• 3:19:33
  Speaker 1: and presence of mind, and the means of attaining it.
• 3:19:37
  Speaker 1: But so rooted was our habitual impression of the part
• 3:19:40
  Speaker 1: from seeing it charactertured in the representation that it was
• 3:19:44
  Speaker 1: only from a careful perusal of the play itself, though
• 3:19:47
  Speaker 1: we saw our error. The stage is not, in general
• 3:19:50
  Speaker 1: the best place to study our author's characters, and it
• 3:19:54
  Speaker 1: is too often filled with traditional commonplace conceptions of the part,
• 3:19:59
  Speaker 1: handed down from sire to son, and suited to the
• 3:20:02
  Speaker 1: taste of the great vulgar and the small tis an
• 3:20:06
  Speaker 1: unweeded garden. Things rank and gross do merely gender in it.
• 3:20:13
  Speaker 1: If a man of genius comes once in an age
• 3:20:15
  Speaker 1: to clear away the rubbish, to make it fruitful and wholesome,
• 3:20:19
  Speaker 1: they cry, 'tis a bad school. It may be like nature,
• 3:20:24
  Speaker 1: It may be like Shakespeare, but it is not like us.
• 3:20:29
  Speaker 1: Admirable critics, and of the Merchant of Venice.
• 3:20:36
  Speaker 2: The Winter's Tail, we wonder that mister Pope should have
• 3:20:41
  Speaker 2: entertained doubts as to the genuineness of this play. He was,
• 3:20:45
  Speaker 2: we suppose, shocked, as a certain critic suggests, at the
• 3:20:49
  Speaker 2: chorus time leaping over sixteen years with his crutch between
• 3:20:54
  Speaker 2: the third and fourth act, and at Antigonus is landing
• 3:20:58
  Speaker 2: with the infant Perdita on the sea coast of Bohemia.
• 3:21:02
  Speaker 2: These slips or blemishes, however, do not prove it not
• 3:21:05
  Speaker 2: to be Shakespeare's, for he was as likely to fall
• 3:21:08
  Speaker 2: into them as anybody. But we do not know anybody
• 3:21:11
  Speaker 2: but himself who could produce the beauties the stuff of
• 3:21:16
  Speaker 2: which the tragic passion is composed, The romantic sweetness, the
• 3:21:20
  Speaker 2: comic humor, are evidently his. Even the crabbed and tortuous
• 3:21:25
  Speaker 2: style of the speeches of Leant's reasoning on his own jealousy,
• 3:21:29
  Speaker 2: beset with doubts and fears, and entangled more and more
• 3:21:33
  Speaker 2: in the thorny Labyrinth, bears every mark of Shakespeare's peculiar
• 3:21:37
  Speaker 2: manner of conveying the painful struggle of different thoughts and feelings,
• 3:21:41
  Speaker 2: laboring for utterance, and almost strangled in the birth. For instance,
• 3:21:47
  Speaker 2: how you not seen the camillo, But that's past doubt.
• 3:21:50
  Speaker 2: You have for your eyeglass this sticker on a cuckold's horn,
• 3:21:54
  Speaker 2: or heard for to a vision so apparent rumor cannot
• 3:21:58
  Speaker 2: be mute or thought, For cogitation resides not with a
• 3:22:02
  Speaker 2: man that does not think my wife is slippery, if
• 3:22:08
  Speaker 2: thou wilt confess, or else be impudently negative, to have
• 3:22:12
  Speaker 2: no eyes, nor ears nor thought. Here Leantes is confounded
• 3:22:19
  Speaker 2: with his passion and does not know which way to
• 3:22:21
  Speaker 2: turn himself to give words to the anguish, rage, and
• 3:22:24
  Speaker 2: apprehension which tug at his breast. It is only as
• 3:22:27
  Speaker 2: he is worked up into a clearer conviction of his
• 3:22:31
  Speaker 2: wrongs by insisting on the grounds of his unjust suspicions
• 3:22:34
  Speaker 2: to Camillo, who irritates him by his opposition, that he
• 3:22:38
  Speaker 2: bursts out into the following vehement strain of bitter indignation.
• 3:22:43
  Speaker 2: Yet even here his passion staggers and is, as it were,
• 3:22:47
  Speaker 2: oppressed with its own intensity, is whispering. Nothing is leaning cheeked.
• 3:22:53
  Speaker 2: Its cheek is meeting noses, kissing with inside lip, stopping
• 3:22:58
  Speaker 2: the career of life after with a sigh, a note
• 3:23:02
  Speaker 2: infallible of breaking honesty, horsing foot on foot, skulking in corners,
• 3:23:08
  Speaker 2: wishing clocks were swift hours, minutes, the noon midnight, and
• 3:23:13
  Speaker 2: all eyes blind with the pin and web, but theirs.
• 3:23:16
  Speaker 2: There's only that would unseen be wicked. This is nothing.
• 3:23:21
  Speaker 2: What in the world and all that's in it is nothing.
• 3:23:25
  Speaker 2: The covering sky is nothing. Bohemia is nothing, My wife
• 3:23:28
  Speaker 2: is nothing. The character of Hermione is as much distinguished
• 3:23:34
  Speaker 2: by its saint like resignation and patient forbearance as that
• 3:23:37
  Speaker 2: of Polina is by her zealous and spirited remonstrances against
• 3:23:42
  Speaker 2: the injustice done to the queen, and by her devoted
• 3:23:45
  Speaker 2: attachment to her misfortunes. Hermione's restoration to her husband and
• 3:23:50
  Speaker 2: her child after her long separation from them is as
• 3:23:54
  Speaker 2: affecting in itself as it is striking in the representation.
• 3:23:58
  Speaker 2: Camillo and the old Leuppard and his son are subordinate,
• 3:24:02
  Speaker 2: but not uninteresting instruments in the development of the plot.
• 3:24:06
  Speaker 2: And though last not least comes Autolicus, a very pleasant,
• 3:24:11
  Speaker 2: thriving rogue, and what is the best feather in the
• 3:24:14
  Speaker 2: cap of all knavery, he escapes with impunity in the end.
• 3:24:19
  Speaker 2: The Winter's Tale is one of the best acting of
• 3:24:22
  Speaker 2: our author's plays. We remember seeing it with great pleasure
• 3:24:25
  Speaker 2: many years ago. It was on the night that King
• 3:24:28
  Speaker 2: took leave of the stage, when he and Missus Jordan
• 3:24:31
  Speaker 2: played together in the afterpiece of the Wedding Day. Nothing
• 3:24:35
  Speaker 2: could go off with more colaw, with more spirit and
• 3:24:38
  Speaker 2: grandeur of effect. Missus Siddons played Hermione and in the
• 3:24:43
  Speaker 2: last scene acted the painted statue to the life with
• 3:24:46
  Speaker 2: true monumental dignity and noble passion. Mister Kemble and Leuntes
• 3:24:52
  Speaker 2: worked himself up into a very fine classical frenzy and
• 3:24:56
  Speaker 2: banister as Autolocus roared as loud for pity as a
• 3:24:59
  Speaker 2: ste lady beggar could do who felt none of the
• 3:25:02
  Speaker 2: pain he counterfeited, and with sound of wind and limb.
• 3:25:06
  Speaker 2: We shall never see these parts so acted again, or
• 3:25:09
  Speaker 2: if we did, it would be in vain. Actors grow
• 3:25:12
  Speaker 2: old or no longer surprise us by their novelty. But
• 3:25:16
  Speaker 2: true poetry, like nature, is always young. And we still
• 3:25:19
  Speaker 2: read the courtship of Florizell and Perdata as we welcome
• 3:25:23
  Speaker 2: the return of spring with the same feelings as ever Florizell,
• 3:25:28
  Speaker 2: their dearest Perdator, with these forced thoughts, I prithee darken
• 3:25:33
  Speaker 2: not the mirth of the feast, or I'll be thine,
• 3:25:37
  Speaker 2: my fair or not my father's. For I cannot be
• 3:25:40
  Speaker 2: mine own, nor anything to any if I be not
• 3:25:43
  Speaker 2: thine to this I am most constant their destinies. Say no,
• 3:25:48
  Speaker 2: be merry, gentle, strangle such thoughts as these with anything
• 3:25:52
  Speaker 2: that you behold the while your guests are coming. Lift
• 3:25:55
  Speaker 2: up your countenance, as it were the day of celebration
• 3:25:58
  Speaker 2: of that nuptial which we too have sworn. Will come
• 3:26:02
  Speaker 2: predator O, lady Fortune stand you auspicious and her shepherd
• 3:26:07
  Speaker 2: clown mopsa dogcas servants with polyxenes, and camillo disguised Florizelle.
• 3:26:14
  Speaker 2: See your guests approach, address yourself to entertain them sprightly,
• 3:26:18
  Speaker 2: and must be read with mirth. Shepherd fight daughter. When
• 3:26:23
  Speaker 2: my old wife lived upon this day, she was both
• 3:26:25
  Speaker 2: pantler butler cook, both dame and servant. Welcomed, all served,
• 3:26:30
  Speaker 2: all would sing her song and dance her turn now
• 3:26:34
  Speaker 2: here at the upper end of the table, now in
• 3:26:36
  Speaker 2: the middle on his shoulder, and his her face afire
• 3:26:39
  Speaker 2: with the labor and the things she took to quenchesce,
• 3:26:42
  Speaker 2: she would teach one's sip. You are retired, as if
• 3:26:45
  Speaker 2: you were a feasted one, and not the hostess of
• 3:26:48
  Speaker 2: the meeting. Pray you bid these unknown friends to us welcome,
• 3:26:52
  Speaker 2: for it is a way to make us better friends
• 3:26:54
  Speaker 2: more known. Come quench your blushes and present yourself that
• 3:26:58
  Speaker 2: which you are mistress of the feast. Come on and
• 3:27:01
  Speaker 2: bid us welcome to your sheep sharing, as your good
• 3:27:03
  Speaker 2: flock shall prosper. Predator, Sir. Welcome to Polyxenes and Camillo.
• 3:27:10
  Speaker 2: It is my father's will I should take on me
• 3:27:12
  Speaker 2: the hostess ship of the day. You're welcome, sir. Give
• 3:27:16
  Speaker 2: me those flowers, Sir, Dorcas reverend Sirs for you, there's
• 3:27:20
  Speaker 2: rosemary and rue. These keep seeming and savor all the
• 3:27:24
  Speaker 2: winter long. Grace and remembrance be unto you both, and
• 3:27:28
  Speaker 2: welcome to our sharing Polyxenes. Shepherdess, a fair one, are
• 3:27:33
  Speaker 2: you well? You fit our ages with flowers of winter? Predator, Sir,
• 3:27:39
  Speaker 2: the year growing ancient, not yet on summer's death, nor
• 3:27:43
  Speaker 2: on the birth of trembling winter. The fairest flowers of
• 3:27:46
  Speaker 2: the season are our carnations and streak at gilly flowers,
• 3:27:51
  Speaker 2: which some call nature's bastards. Of that kind our rested
• 3:27:55
  Speaker 2: garden's baron, and I care not to get slips of them, Polyxenes. Wherefore, o,
• 3:28:00
  Speaker 2: gentle maiden, do you neglect them? Predator? For I have
• 3:28:03
  Speaker 2: heard it said there is an art which in their
• 3:28:05
  Speaker 2: pidoness shares with great creating nature, Polyxenes, say there be.
• 3:28:11
  Speaker 2: Yet nature is made better by no mean. But nature
• 3:28:14
  Speaker 2: makes that mean. So all that art which you say
• 3:28:17
  Speaker 2: adds to nature is an art that nature makes you cease.
• 3:28:21
  Speaker 2: We made we marry a gentler scion to the wild
• 3:28:25
  Speaker 2: as stock, and make conceive a bark of baser kind
• 3:28:28
  Speaker 2: by bud of nobler race. This is an art which
• 3:28:31
  Speaker 2: does men to nature change it rather, But the art
• 3:28:35
  Speaker 2: itself is nature predator. So it is footnote. The lady
• 3:28:40
  Speaker 2: we see here gives up the argument, but keeps her mind. Polyxenes,
• 3:28:45
  Speaker 2: they make your garden rich in gilly flowers, and do
• 3:28:48
  Speaker 2: not call them bastards predator. I'll not put the dibble
• 3:28:52
  Speaker 2: in earth to set one's slip of them, no more
• 3:28:54
  Speaker 2: than or I painted. I would wish this youth should
• 3:28:58
  Speaker 2: say it were well, therefore desire to breathe by me.
• 3:29:02
  Speaker 2: Here's flowers for you, hot lavender, mince, savory, marjoram the
• 3:29:08
  Speaker 2: marigle that goes to bed with the sun and with
• 3:29:10
  Speaker 2: him rises weeping. These are flowers of middle summer, and
• 3:29:15
  Speaker 2: I think they are given to men of middle age.
• 3:29:18
  Speaker 2: You are very welcome, Camillo. I should leave grazing where
• 3:29:22
  Speaker 2: I of your flock, and only live by gazing predator
• 3:29:26
  Speaker 2: out alast you'd be so lean that blasts of January
• 3:29:30
  Speaker 2: would blow you through and through. Now, my fairest friends,
• 3:29:34
  Speaker 2: I would I had some flowers of the spring that
• 3:29:36
  Speaker 2: might become your time of day, and yours, and yours
• 3:29:40
  Speaker 2: that whereupon your virgin branches, yet your maiden heads growing, Oh, Proserpina,
• 3:29:46
  Speaker 2: for the flowers now that frighted thou let'st fall from
• 3:29:50
  Speaker 2: Diss's wagon, daffodils that come before the swallow dares and
• 3:29:54
  Speaker 2: take the winds of march with beauty, violets dim but
• 3:29:59
  Speaker 2: sweeter than the lid of Juno's eyes, or Cytherea's breath,
• 3:30:03
  Speaker 2: Pale primroses that I unmarried. Ere they can behold bright
• 3:30:08
  Speaker 2: Phoebus in his strength, a malady most incident to maids,
• 3:30:13
  Speaker 2: bold ox lips, and the crown imperial lilies of all kinds,
• 3:30:17
  Speaker 2: the fleur de li being one. Oh these I lack
• 3:30:21
  Speaker 2: to make you garlands of and my sweet friend to
• 3:30:24
  Speaker 2: strow him or and or Florizelle. What like a course, perdator,
• 3:30:30
  Speaker 2: No like a bank for love to lie and play on,
• 3:30:34
  Speaker 2: Not like a course or if not to be buried,
• 3:30:37
  Speaker 2: but quick and in mine arms. Come take your flowers.
• 3:30:42
  Speaker 2: Methinks I play as I have seen them do in
• 3:30:45
  Speaker 2: whits and pastorals. Sure this robe of mind has changed
• 3:30:48
  Speaker 2: my disposition, Florizelle. What you do still betters what is done.
• 3:30:55
  Speaker 2: When you speak, sweet, i'd have you do it. Ever,
• 3:30:58
  Speaker 2: when you sing, i'd have you buy and sell so,
• 3:31:01
  Speaker 2: so give alms, pray so, and for the ordering your
• 3:31:05
  Speaker 2: affairs to sing them too. When you do dance, I
• 3:31:09
  Speaker 2: wish you a wave of the sea, that you might
• 3:31:11
  Speaker 2: ever do nothing but that move still still so, and
• 3:31:16
  Speaker 2: own no other function. Each. Your doing so singular in
• 3:31:20
  Speaker 2: each particular, crowns what you're doing in the present deeds,
• 3:31:24
  Speaker 2: that all your acts are queens. Predator, Oh torcles, your
• 3:31:29
  Speaker 2: praises are too large, but that your youth and the
• 3:31:32
  Speaker 2: true blood which peeps forth fairly through it, to plainly
• 3:31:36
  Speaker 2: give you out an unstained shepherd with wisdom, I might
• 3:31:40
  Speaker 2: fear my dorocles. You would me the false way, Florizelle.
• 3:31:44
  Speaker 2: I think you have as little skill to fear as
• 3:31:47
  Speaker 2: I have purpose to put you to it. But come
• 3:31:51
  Speaker 2: our dance. I pray your hand, my predator, So turtles,
• 3:31:55
  Speaker 2: pair that never mean the part predator. I'll swear for him, Polyxones,
• 3:32:01
  Speaker 2: this is the prettiest low born lass that ever ran
• 3:32:04
  Speaker 2: on the greensword. Nothing she does or seems but smacks
• 3:32:09
  Speaker 2: of something greater than herself. Too noble for this place, Canilo.
• 3:32:14
  Speaker 2: He tells us something that makes her blood look out
• 3:32:16
  Speaker 2: good truth. She is the queen of curds and cream.
• 3:32:21
  Speaker 2: This delicious scene is interrupted by the father of the
• 3:32:24
  Speaker 2: prince discovering himself to Florizel and haughtily breaking off the
• 3:32:28
  Speaker 2: intended match between his son and Perdita. When Polyxones goes out,
• 3:32:33
  Speaker 2: Perdata says, even here undone, I was not much afraid,
• 3:32:39
  Speaker 2: for once or twice I was about to speak and
• 3:32:41
  Speaker 2: tell him plainly the self same sun that shines upon
• 3:32:45
  Speaker 2: his court hides not his visage from our cottage, but
• 3:32:48
  Speaker 2: looks on to like wilt. Please you, sir, begone to Florizel.
• 3:32:53
  Speaker 2: I told you what would come of this. Beseech you
• 3:32:56
  Speaker 2: of your own state. Take care this dream of being
• 3:33:00
  Speaker 2: now awake a queen at no inch further but milk
• 3:33:04
  Speaker 2: my use and weep as Predata, the supposed shepherdess, turns
• 3:33:10
  Speaker 2: out to be the daughter of hermione and the princess
• 3:33:13
  Speaker 2: in disguise. Both feelings of the pride of birth and
• 3:33:16
  Speaker 2: the claims of nature are satisfied. But the fortunate event
• 3:33:19
  Speaker 2: of the story and the fine romance of poetry is
• 3:33:22
  Speaker 2: reconciled to the strictest court etiquette. End of the Winter's Tale,
• 3:33:28
  Speaker 2: all'swell that ends well, all'swell that ends Well, is one
• 3:33:33
  Speaker 2: of the most pleasing of our author's comedies. The interest is, however,
• 3:33:37
  Speaker 2: more of a serious than of a comic nature. The
• 3:33:40
  Speaker 2: character of Helen is one of great sweetness and delicacy.
• 3:33:44
  Speaker 2: She is placed in circumstances of the most critical kind,
• 3:33:48
  Speaker 2: and has to court her husband both as a virgin
• 3:33:50
  Speaker 2: and a wife. Yet the most scrupulous nicety of female
• 3:33:54
  Speaker 2: modesty is not once violated. There is not one thought
• 3:33:58
  Speaker 2: or action that ought to bring a blushed into her cheeks,
• 3:34:01
  Speaker 2: or that for a moment lessens her in our esteem.
• 3:34:04
  Speaker 2: Perhaps the romantic attachment of a beautiful and virtuous girl
• 3:34:08
  Speaker 2: to one placed above her hopes by the circumstances of
• 3:34:10
  Speaker 2: birth and fortune was never so exquisitely expressed as in
• 3:34:15
  Speaker 2: the reflections which she utters when young Russilian leaves his
• 3:34:18
  Speaker 2: mother's house under whose protection she has been brought up
• 3:34:21
  Speaker 2: with him to repair to the French King's court. Helena, Oh,
• 3:34:26
  Speaker 2: that were all I think, not on my father, And
• 3:34:30
  Speaker 2: these great tears grace his remembrance more than those I
• 3:34:33
  Speaker 2: shed for him?
• 3:34:35
  Speaker 3: What was he like?
• 3:34:37
  Speaker 2: I have forgot him. My imagination carries enough favor in it,
• 3:34:41
  Speaker 2: but Bertram's I am undone. There is no living none.
• 3:34:45
  Speaker 2: If Bertram be away, it were all one that I
• 3:34:48
  Speaker 2: should love a bright particular star and think to wed it.
• 3:34:52
  Speaker 2: He is so above me in his bright radiance and
• 3:34:56
  Speaker 2: collateral light. Must I be comforted? Not in his fe
• 3:35:01
  Speaker 2: The ambition in my love thus plagues itself. The hind
• 3:35:04
  Speaker 2: that would be mated by the lion must die for
• 3:35:07
  Speaker 2: love twas pretty though a plague, to see him every hour,
• 3:35:12
  Speaker 2: to sit and draw his arched brows, his hawking eye,
• 3:35:16
  Speaker 2: his curls, and our heart's table heart too capable of
• 3:35:20
  Speaker 2: every line and trick of his sweet favor. But now
• 3:35:25
  Speaker 2: he's gone, and my idolatrous fancy must sanctify his relics.
• 3:35:31
  Speaker 2: The interest excited by this beautiful picture of a kind
• 3:35:34
  Speaker 2: and innocent heart is kept up afterwards by her resolution
• 3:35:37
  Speaker 2: to follow him to France, the success of her experiment
• 3:35:41
  Speaker 2: in restoring the King's health, her demanding Bertram in marriage's recompense,
• 3:35:45
  Speaker 2: his leaving her in disdain, her interview with him afterwards
• 3:35:49
  Speaker 2: disguised as Diana, a young lady whom he importunes with
• 3:35:53
  Speaker 2: his secret addresses, and their final reconciliation when the consequences
• 3:35:58
  Speaker 2: of her stratagem and the proofs of her life love
• 3:36:00
  Speaker 2: are fully made known. The persevering gratitude of the French
• 3:36:04
  Speaker 2: king to his benefactress, who cures him of a languishing
• 3:36:08
  Speaker 2: distemper by a prescription hereditary in her family. The indulgent
• 3:36:12
  Speaker 2: kindness of the countess, whose pride of birth yields almost
• 3:36:16
  Speaker 2: without struggle to her affection for Helen. The honesty and
• 3:36:20
  Speaker 2: uprightness of the good old Lord Lefieux makes very interesting
• 3:36:24
  Speaker 2: parts of the picture. The wilful, stubbornness and youthful petulance
• 3:36:28
  Speaker 2: of Bertram are also very admirably described. The comic part
• 3:36:32
  Speaker 2: of the play turns on the folly, boasting, and cowardice
• 3:36:36
  Speaker 2: of Paroles, a parasite and hanger on of Bertram's, The
• 3:36:40
  Speaker 2: detection of whose false pretenses to bravery and honor forms
• 3:36:43
  Speaker 2: a very amusing episode. He is first found out by
• 3:36:47
  Speaker 2: the old Lord Lefeux, who says, the soul of this
• 3:36:50
  Speaker 2: man is in his clothes, and it is proved afterwards
• 3:36:53
  Speaker 2: that his heart is in his tongue, and that both
• 3:36:56
  Speaker 2: are false and hollow. The adventure of the bringing off
• 3:37:00
  Speaker 2: of his drum has become proverbial as a satire on
• 3:37:04
  Speaker 2: all ridiculous and blustering undertakings which the person never means
• 3:37:08
  Speaker 2: to perform. Nor can anything be more severe than what
• 3:37:11
  Speaker 2: one of the bystanders remarks upon what Paroles says of himself.
• 3:37:16
  Speaker 2: Is it possible he should know what he is and
• 3:37:19
  Speaker 2: be that he is? Yet Paroles himself gives the best
• 3:37:23
  Speaker 2: solution of the difficulty. Afterwards, when he is thankful to
• 3:37:26
  Speaker 2: escape with his life and the loss of character for
• 3:37:30
  Speaker 2: so that he can live on, he is by no
• 3:37:32
  Speaker 2: means squeamish about the loss of pretensions to which he
• 3:37:35
  Speaker 2: had sense enough to know that he had no real claims,
• 3:37:38
  Speaker 2: and which he had assumed only as a means to live. Paroles, Yet,
• 3:37:43
  Speaker 2: I am thankful. If my heart were great twould burst
• 3:37:47
  Speaker 2: at this captain, I'll be no more, but I will
• 3:37:49
  Speaker 2: eat and drink and sleep as soft as captain shall
• 3:37:53
  Speaker 2: simply the thing I am shall make me live. Who
• 3:37:56
  Speaker 2: knows himself a braggart, let him fear this, for it
• 3:37:59
  Speaker 2: shall come to pass that every braggart shall be found
• 3:38:02
  Speaker 2: in ass rusts ord, cool blushes and pioles live safest
• 3:38:08
  Speaker 2: in shame, being fooled by foolery, thrive the place and
• 3:38:13
  Speaker 2: means for every man alive, I'll after them. The story
• 3:38:18
  Speaker 2: of Oswell That Ends Well, and of several others of
• 3:38:21
  Speaker 2: Shakespeare's plays, is taken from Boccaccio. The poet has dramatized
• 3:38:25
  Speaker 2: the original novel with great skill and comic spirit, and
• 3:38:29
  Speaker 2: has preserved all the beauty of character and sentiment without
• 3:38:32
  Speaker 2: improving upon it, which was impossible. There is, indeed, in
• 3:38:35
  Speaker 2: Boccaccio's serious pieces a truth, a pathos, and an exquisite
• 3:38:40
  Speaker 2: refinement of sentiment, which is hardly to be met with
• 3:38:43
  Speaker 2: in any other prose writer. Whatever justice has not been
• 3:38:47
  Speaker 2: done him by the world, he has in general a
• 3:38:50
  Speaker 2: pass for a mere narrator of lucivious tales or idle jests.
• 3:38:55
  Speaker 2: This character probably originated in his obnoxious attacks on the monks,
• 3:38:59
  Speaker 2: and has been kept up by the grossness of mankind.
• 3:39:02
  Speaker 2: Who revenged their own want of refinement on Boccaggio, and
• 3:39:05
  Speaker 2: only saw in his writings what suited the coarseness of
• 3:39:08
  Speaker 2: their own tastes. But the truth is that he has
• 3:39:11
  Speaker 2: carried sentiment of every kind to its very highest purity
• 3:39:14
  Speaker 2: and perfection. By sentiment, we would here understand the habitual
• 3:39:19
  Speaker 2: workings of some one powerful feeling, where the heart reposes
• 3:39:23
  Speaker 2: almost entirely upon itself, without the violent excitement of opposing
• 3:39:27
  Speaker 2: duties or untoward circumstances. In this way, nothing ever came
• 3:39:32
  Speaker 2: up to the story of Frederico Alberici and his Falcon.
• 3:39:36
  Speaker 2: The perseverance and attachment, the spirit of gallantry and generosity
• 3:39:40
  Speaker 2: displayed in it has no parallel in the history of
• 3:39:43
  Speaker 2: heroical sacrifices. The feeling is so unconscious too and involuntary,
• 3:39:48
  Speaker 2: is brought out in such small, unlooked for, and unostentatious
• 3:39:52
  Speaker 2: circumstances as to show it to have been woven into
• 3:39:55
  Speaker 2: the very nature and soul of the author. The story
• 3:39:58
  Speaker 2: of Isabella is scarcely less fine, and is more affecting
• 3:40:02
  Speaker 2: in the circumstances and the catastrophe. Dryden has done justice
• 3:40:06
  Speaker 2: to the impassioned eloquence of the Tankard and Sigismunda, but
• 3:40:09
  Speaker 2: has not given an adequate idea of the wild preternatural
• 3:40:13
  Speaker 2: interest of the story of Honoria, Kimon and Iphigenie is
• 3:40:17
  Speaker 2: by no means one of the best, notwithstanding the popularity
• 3:40:21
  Speaker 2: of the subject. The proof of unalterable affection given in
• 3:40:25
  Speaker 2: the story of Geronimo, and the simple touches of nature
• 3:40:28
  Speaker 2: and picturesque beauty in the story of the two holiday
• 3:40:31
  Speaker 2: lovers who were poisoned by tasting of belief in the
• 3:40:34
  Speaker 2: garden at Florence are perfect masterpieces. The epithet of divine
• 3:40:39
  Speaker 2: was well bestowed on this great painter of the human heart.
• 3:40:42
  Speaker 2: The invention implied in his different tales is immense, but
• 3:40:46
  Speaker 2: we are not to infer that it is all his own.
• 3:40:48
  Speaker 2: He probably availed himself of all the common traditions which
• 3:40:52
  Speaker 2: were floating in his time, and which he was the
• 3:40:54
  Speaker 2: first to appropriate. Homer appears the most original of all authors,
• 3:41:00
  Speaker 2: probably for no other reason than that we can trace
• 3:41:02
  Speaker 2: the plagiarism no further. Boccaccio has furnished subjects to numberless
• 3:41:07
  Speaker 2: writers since his time, both dramatic and narrative. The story
• 3:41:11
  Speaker 2: of Grisanda is borrowed from his Decameron by Chaucer, as
• 3:41:15
  Speaker 2: is the Knight's Tale Palamon and arcity from his poem
• 3:41:18
  Speaker 2: of the theseid end of All's well that ends well
• 3:41:23
  Speaker 2: Love's labors lost. If we were to part with any
• 3:41:28
  Speaker 2: of the author's comedies, it should be this. Yet we
• 3:41:31
  Speaker 2: should be loath to part with Don Adriano di Armado,
• 3:41:35
  Speaker 2: that mighty potentate of nonsense, or his page that handful
• 3:41:40
  Speaker 2: of wit, with Nathaniel the Curate, or Haliferni's the Schoolmaster
• 3:41:44
  Speaker 2: and their dispute after dinner on the Golden Cadences of Poesy,
• 3:41:48
  Speaker 2: with Costed the Clown or dull the constable. Baronus too
• 3:41:53
  Speaker 2: accomplished a character to be lost to the world. And
• 3:41:56
  Speaker 2: yet he could not appear without his fellow courtiers and
• 3:41:58
  Speaker 2: the king. And if we were to leave out the ladies,
• 3:42:01
  Speaker 2: the gentlemen would have no mistresses. So that we believe
• 3:42:05
  Speaker 2: we may let the whole place stand as it is,
• 3:42:08
  Speaker 2: and we shall hardly venture to quote set a mark
• 3:42:10
  Speaker 2: of reprobation on it. Still we have some objections to
• 3:42:14
  Speaker 2: the style, which we think savors more of the pedantic
• 3:42:18
  Speaker 2: spirit of Shakespeare's time than of his own genius, more
• 3:42:22
  Speaker 2: of controversial divinity and the logic of Peter Lombard, than
• 3:42:26
  Speaker 2: of the inspiration of the muse. It transports us quite
• 3:42:29
  Speaker 2: as much to the manners of the court and the
• 3:42:32
  Speaker 2: quirks of courts of law, as to the scenes of
• 3:42:35
  Speaker 2: nature or the fairyland of his own imagination. Shakespeare has
• 3:42:39
  Speaker 2: set himself to imitate the tone of polite conversation then
• 3:42:43
  Speaker 2: prevailing among the fair, the witty, and the learned, and
• 3:42:46
  Speaker 2: he has imitated it, but too faithfully. It is if
• 3:42:50
  Speaker 2: the hand of Titian had been employed to give grace
• 3:42:53
  Speaker 2: to the curls of a full bottomed periwig, or Raphael
• 3:42:56
  Speaker 2: had attempted to give expression to the tapestry figures in
• 3:42:59
  Speaker 2: the House of Lords. Shakespeare has put an excellent description
• 3:43:03
  Speaker 2: of this fashionable jargon into the mouth of the critical
• 3:43:06
  Speaker 2: Holopherny says, too picked to spruce, too affected, too odd
• 3:43:12
  Speaker 2: as it were, too peregrinate, as I may call it.
• 3:43:16
  Speaker 2: And nothing can be more marked than the difference when
• 3:43:18
  Speaker 2: he breaks loose from the trammels he had imposed on
• 3:43:21
  Speaker 2: himself as light as bird from break, and speaks in
• 3:43:25
  Speaker 2: his own person. We think, for instance, that in the
• 3:43:28
  Speaker 2: following soliloquy. The poet has fairly got the start of
• 3:43:32
  Speaker 2: Queen Elizabeth and her maids of honor. Baron Oh, and
• 3:43:37
  Speaker 2: I forsooth in love, I that have been Love's whip,
• 3:43:43
  Speaker 2: A very beadle to an amorous sigh, A critic, nay,
• 3:43:47
  Speaker 2: a night watch constable, a domineering pedant, or the boy
• 3:43:52
  Speaker 2: than whom no mortal more magnificent, this wimpled, whining, purblind
• 3:43:58
  Speaker 2: wayward boy. The scene your Junio, giant dwarf, Dan Cupid,
• 3:44:03
  Speaker 2: Regent of love rhymes, Lord of folded arms, the anointed,
• 3:44:07
  Speaker 2: Sovereign of sighs and groans, Liege of all loiters and malcontents,
• 3:44:13
  Speaker 2: dread Prince of plaquets, King of codpieces, solemn peratore, and
• 3:44:19
  Speaker 2: great general of trotting parrotours ough my little heart, and
• 3:44:25
  Speaker 2: I to be a corporal of his field, and wear
• 3:44:28
  Speaker 2: his colors like a tumbler's hoop. What I love, I sue.
• 3:44:33
  Speaker 2: I seek a wife, A woman that is like a
• 3:44:36
  Speaker 2: German clock, still a repairing, ever out of frame and
• 3:44:40
  Speaker 2: never going art, being a watch and being watched that
• 3:44:44
  Speaker 2: it may still go right. Nay, to be perjured, which
• 3:44:48
  Speaker 2: is worst of all, and among three to love the
• 3:44:51
  Speaker 2: worst of all, a weightly wanton with a velvet brow,
• 3:44:56
  Speaker 2: with two pitch balls stuck in her face for eyes,
• 3:44:59
  Speaker 2: a and by heaven one that will do the deed,
• 3:45:03
  Speaker 2: though Argus were her eunuch and her guard, and I
• 3:45:06
  Speaker 2: to sigh for her, to watch for her, to pray
• 3:45:09
  Speaker 2: for her co too. It is a plague that keep
• 3:45:13
  Speaker 2: it will impose from my neglect of his almighty, dreadful
• 3:45:17
  Speaker 2: little might Well. I will love right, sigh, pray, sue,
• 3:45:22
  Speaker 2: and groan. Some men must love my lady, and some joan.
• 3:45:28
  Speaker 2: The character of Baron drawn by Roseline, and that which
• 3:45:32
  Speaker 2: Baron gives of Boyett are equally happy. The observations on
• 3:45:36
  Speaker 2: the use and abuse of study, and on the power
• 3:45:38
  Speaker 2: of beauty to quicken the understanding, as well as the senses,
• 3:45:42
  Speaker 2: are excellent. The scene which has the greatest dramatic effect
• 3:45:45
  Speaker 2: is that in which Baron, the King, Longueville, and Domain
• 3:45:49
  Speaker 2: successively detect each other, and are detected in their breach
• 3:45:53
  Speaker 2: of their vow and in their profession of attachment to
• 3:45:56
  Speaker 2: their several mistresses, in which they suppose themselves to be
• 3:46:00
  Speaker 2: overheard by no one. The reconciliation between these lovers and
• 3:46:04
  Speaker 2: their sweethearts is also very good. And the penance which
• 3:46:07
  Speaker 2: Roseline imposes on Baron before he can expect to gain
• 3:46:11
  Speaker 2: her consent to marry him full of propriety and beauty.
• 3:46:15
  Speaker 2: Rosaline oft have I heard of you, my lord Baron,
• 3:46:20
  Speaker 2: before I saw you, and the world's large tongue proclaims
• 3:46:24
  Speaker 2: you for a man replete with mocks, full of comparisons
• 3:46:29
  Speaker 2: and wounding flouts, which you, on all estates will execute.
• 3:46:33
  Speaker 2: That lie within the mercy of your wit to weed
• 3:46:37
  Speaker 2: this warm wood from your faithful brain, and therewithal to
• 3:46:40
  Speaker 2: win me if you please, without the witch I am
• 3:46:43
  Speaker 2: not to be won. You shall this twelve month term,
• 3:46:46
  Speaker 2: from day to day visit the speechless sick, and still
• 3:46:50
  Speaker 2: converse with groaning wretches, And your tasks shall be with
• 3:46:54
  Speaker 2: all the fierce endeavor of your wit to enforce the
• 3:46:58
  Speaker 2: painted impotent to smile. Barone to move wild laughter in
• 3:47:04
  Speaker 2: the throat of death. It cannot be. It is impossible.
• 3:47:08
  Speaker 2: Mirth cannot move a soul in agony, Rosaline. Why that's
• 3:47:13
  Speaker 2: the way to choke a jibing spirit whose influence is
• 3:47:16
  Speaker 2: begot of that loose grace which shallow laughing hearers give
• 3:47:21
  Speaker 2: the fools a jest. Prosperity lies in the ear of
• 3:47:25
  Speaker 2: him that hears it, never in the tongue of him
• 3:47:27
  Speaker 2: that makes it. Then if sickly ears deaft with the
• 3:47:31
  Speaker 2: clamors of their own dear groans, will hear your idle
• 3:47:35
  Speaker 2: scorns continue then and I will have you and that
• 3:47:38
  Speaker 2: fault withal. But if they will not throw away that spirit,
• 3:47:43
  Speaker 2: and I shall find you empty of that fault, right
• 3:47:46
  Speaker 2: joyful of your reformation. Barone a twelvemonth, well befall what
• 3:47:53
  Speaker 2: will befall? I'll just a twelvemonth in an hospitall the
• 3:47:58
  Speaker 2: famous Cuckoosan closes the play, but we shall add no
• 3:48:01
  Speaker 2: more criticisms. Quote the words of Mercury are harsh after
• 3:48:06
  Speaker 2: the songs of Apollo, end of Love's Labour's Lost Matadieux
• 3:48:12
  Speaker 2: about nothing. This admirable comedy used to be frequently acted
• 3:48:18
  Speaker 2: till of late years. Mister Garrick's Benedict was one of
• 3:48:21
  Speaker 2: his most celebrated characters, and Missus Jordan, we have understood,
• 3:48:25
  Speaker 2: played Beatrice very delightfully. The serious part is still the
• 3:48:29
  Speaker 2: most prominent here, as in other instances that we have noticed.
• 3:48:34
  Speaker 2: Hero is the principal figure in the piece, and leaves
• 3:48:37
  Speaker 2: an indelible impression on the mind by her beauty, her tenderness,
• 3:48:42
  Speaker 2: and the hard trial of her love. The passage in
• 3:48:45
  Speaker 2: which Claudio first makes a confession of his affection towards
• 3:48:49
  Speaker 2: her conveys as pleasing an image of the entrance of
• 3:48:52
  Speaker 2: love into a youthful bosom, as can well be imagined, Oh,
• 3:48:57
  Speaker 2: my lord, when you went onward with this end action,
• 3:49:01
  Speaker 2: I looked upon her with a soldier's eye that liked,
• 3:49:05
  Speaker 2: but had a rougher task in hand, then to drive
• 3:49:08
  Speaker 2: liking in the name of love. But now I am returned,
• 3:49:12
  Speaker 2: and that war thoughts have left their places vacant in
• 3:49:16
  Speaker 2: their rooms come thronging, soft and delicate desires, all prompting
• 3:49:21
  Speaker 2: me how fair young hero is, saying I liked her,
• 3:49:25
  Speaker 2: ere I went to wars. In the scene at the altar,
• 3:49:29
  Speaker 2: when Claudio, urged on by the villain Don John, brings
• 3:49:32
  Speaker 2: the charge of incontinence against her, and as it were,
• 3:49:35
  Speaker 2: divorces her in the very marriage ceremony, her appeals to
• 3:49:39
  Speaker 2: her own conscious innocence and honor are made with the
• 3:49:42
  Speaker 2: most affecting simplicity. Claudio no leonato I never tempted her
• 3:49:48
  Speaker 2: with word too large, but as a brother to his sister,
• 3:49:51
  Speaker 2: showed bashful sincerity and comely love Hero, and seemed I
• 3:49:56
  Speaker 2: ever otherwise to you, Claudio out on seeming, I will
• 3:50:01
  Speaker 2: write against it. You seem to me as Diane in
• 3:50:04
  Speaker 2: her orb, as chaste as the blood ere it is blown.
• 3:50:07
  Speaker 2: But you are more intemperate in your blood than Vealus
• 3:50:11
  Speaker 2: or those pampered animals that rage in savage sensuality. Hero
• 3:50:16
  Speaker 2: is my lord, well that he doth speak so wide, Leonato,
• 3:50:20
  Speaker 2: Are these things spoken? Or do I but dream? John, Sir?
• 3:50:25
  Speaker 2: They are spoken? And these things are true, Benedict, this
• 3:50:29
  Speaker 2: looks not like a nuptial Hero true, Oh God. The
• 3:50:34
  Speaker 2: justification of Hero in the end, and her restoration to
• 3:50:38
  Speaker 2: the confidence and arms of her lover, is brought about
• 3:50:41
  Speaker 2: by one of those temporary consignments to the grave of
• 3:50:45
  Speaker 2: which Shakespeare seems to have been fond. He has perhaps
• 3:50:48
  Speaker 2: explained the theory of this predilection in the following lines, Friar,
• 3:50:54
  Speaker 2: she dying, as it must be so maintained upon the
• 3:50:58
  Speaker 2: instant that she was accused, shall be lamented, pitied, and
• 3:51:02
  Speaker 2: excused of every hearer, for it so falls out that
• 3:51:07
  Speaker 2: what we have we prize not to the worth while
• 3:51:10
  Speaker 2: we enjoy it, but being laxed and lost, Why then
• 3:51:13
  Speaker 2: we rack the value. Then we find the virtue that
• 3:51:17
  Speaker 2: possession would not show us whilst it was ours. So
• 3:51:20
  Speaker 2: it will fare with Claudio. When he shall hear she
• 3:51:23
  Speaker 2: died upon his words, the idea of her love shall
• 3:51:26
  Speaker 2: sweetly creep into his study of imagination, and every lovely
• 3:51:31
  Speaker 2: organ of her life shall come apparelled in more precious habit,
• 3:51:35
  Speaker 2: more moving, delicate, and full of life, into the eye
• 3:51:40
  Speaker 2: and prospect of his soul than when she lived. Indeed,
• 3:51:45
  Speaker 2: the principal comic characters in Much Ado about Nothing, Benedict
• 3:51:49
  Speaker 2: and Beatrice, are both essences and their kind. His character
• 3:51:53
  Speaker 2: as a woman hater is admirably supported, and his conversion
• 3:51:57
  Speaker 2: to matrimony no less happily affected by the pretended story
• 3:52:01
  Speaker 2: of Beatrice's love for him. It is hard to say
• 3:52:04
  Speaker 2: which of the two scenes is the best, That of
• 3:52:07
  Speaker 2: the trick which is thus practiced on Benedict, or that
• 3:52:10
  Speaker 2: in which Beatrice is prevailed on to take pity on
• 3:52:13
  Speaker 2: him by overhearing her cousin and her maid declare, which
• 3:52:16
  Speaker 2: they do on purpose, that he is dying of love
• 3:52:19
  Speaker 2: for her. There is something delightfully picturesque in the manner
• 3:52:23
  Speaker 2: in which Beatrice is described as coming to hear the
• 3:52:26
  Speaker 2: plot which is contrived against herself. For look where Beatrice,
• 3:52:30
  Speaker 2: like a lapwing, runs close by the ground to hear
• 3:52:33
  Speaker 2: our conference. In consequence of what she hears, not a
• 3:52:37
  Speaker 2: word of which is true, she exclaims, when these good
• 3:52:41
  Speaker 2: natured informants are gone, what fire is in mine ears?
• 3:52:45
  Speaker 2: Can this be true? Stand I condemned for pride and
• 3:52:49
  Speaker 2: scorn so much contempt, farewell and made in pride that
• 3:52:54
  Speaker 2: you no glory lives behind the back of such and
• 3:52:58
  Speaker 2: benedict love all. I will requite THEE taming my wild
• 3:53:03
  Speaker 2: heart to thy loving hand. If thou dost love my kindness,
• 3:53:07
  Speaker 2: shall incite THEE to bind our loves up in an
• 3:53:10
  Speaker 2: holy band. For others say thou dost deserve, And I
• 3:53:14
  Speaker 2: believe it better than reportingly. And Benedeck, on his part,
• 3:53:19
  Speaker 2: is equally sincere in his repentance with equal reason. After
• 3:53:23
  Speaker 2: he has heard the graybeard Leonato and his friend Monsieur
• 3:53:27
  Speaker 2: love discourse of the desperate state of his supposed enamorata,
• 3:53:33
  Speaker 2: this can be no trick. The conference was sadly born.
• 3:53:37
  Speaker 2: They have the truth of this from Hero. They seem
• 3:53:39
  Speaker 2: to pity the lady. It seems her affections have the
• 3:53:42
  Speaker 2: full bent love me. Why it must be requited? I
• 3:53:48
  Speaker 2: hear how I am censured. They say, I will bear
• 3:53:51
  Speaker 2: myself proudly if I perceive the love come from her.
• 3:53:55
  Speaker 2: They say too, that she will rather die than give
• 3:53:58
  Speaker 2: any sign of affection. I never did think to marry.
• 3:54:02
  Speaker 2: I must not seem proud. Happy are they that hear
• 3:54:05
  Speaker 2: their distractions and can put them to mending. They say,
• 3:54:08
  Speaker 2: the lady is fair, tis a truth I can bear
• 3:54:11
  Speaker 2: them witness and virtuance tis so I cannot reprove it.
• 3:54:16
  Speaker 2: And wise But for loving me by my troth, it
• 3:54:20
  Speaker 2: is no addition to her wit, nor no great argument
• 3:54:24
  Speaker 2: of her folly. For I will be horribly in love
• 3:54:27
  Speaker 2: with her. I may chance to have some odd quirks
• 3:54:31
  Speaker 2: and remnants of wit broken on me, because I have
• 3:54:34
  Speaker 2: railed so long against marriage. But doth not the appetite
• 3:54:37
  Speaker 2: altar a man loves the meat in his youth that
• 3:54:40
  Speaker 2: he cannot endure in his age. She'll quips and sentences
• 3:54:44
  Speaker 2: and these paper bullets of the brain. Ah, a man
• 3:54:48
  Speaker 2: from the career of his humor. No, the world must
• 3:54:51
  Speaker 2: be peopled. When I said I would die a bachelor,
• 3:54:55
  Speaker 2: I did not think I should live till I were married.
• 3:54:58
  Speaker 2: Here comes Beatrice. By this day she is a fair lady.
• 3:55:02
  Speaker 2: I do spy some marks of love in her. The
• 3:55:05
  Speaker 2: beauty of all this arises from the characters of the
• 3:55:08
  Speaker 2: persons so entrapped. Benedict is a professed and staunch enemy
• 3:55:13
  Speaker 2: to marriage, and gives very plausible reasons for the faith
• 3:55:16
  Speaker 2: that is in him. And as to Beatrice, she persecutes
• 3:55:20
  Speaker 2: him all day with her jests, so that he could
• 3:55:23
  Speaker 2: hardly think of being troubled with them. At night, she
• 3:55:25
  Speaker 2: not only turns him but all other things into jest,
• 3:55:29
  Speaker 2: and is proof against everything serious. Hero. Disdain and scorn
• 3:55:35
  Speaker 2: rides sparkling in her eyes, misprising what they look on,
• 3:55:39
  Speaker 2: and her wit values itself so highly that to her
• 3:55:42
  Speaker 2: all matter else seems weak. She cannot love, nor take
• 3:55:46
  Speaker 2: no shape nor project of affection. She is so self endeared. Ursula,
• 3:55:52
  Speaker 2: sure I think so, And therefore certainly it were not good.
• 3:55:56
  Speaker 2: She knew his love, lest she makes sport at it. Hero,
• 3:56:01
  Speaker 2: Why you speak truth? I never yet saw man, how wise,
• 3:56:05
  Speaker 2: how noble young, how rarely featured, but she would spell
• 3:56:09
  Speaker 2: him backward. If their faced, she'd swear the gentlemen should
• 3:56:13
  Speaker 2: be her sister. If black, why nature drawing of an
• 3:56:16
  Speaker 2: antic made a foul blot? If tall, a lance ill headed?
• 3:56:22
  Speaker 2: If low, a n agate very vilely cut? If speaking,
• 3:56:26
  Speaker 2: why a vain blown with all winds? If silent, why
• 3:56:30
  Speaker 2: a block moved with a nun so turns she every
• 3:56:34
  Speaker 2: man the wrong side out, and never gives to truth
• 3:56:36
  Speaker 2: and virtue that which simpleness and merit purchaseth. These were
• 3:56:41
  Speaker 2: happy materials for Shakespeare to work on, and he has
• 3:56:44
  Speaker 2: made a happy use of them. Perhaps that middle point
• 3:56:47
  Speaker 2: of comedy was never more nicely hit, in which the
• 3:56:50
  Speaker 2: ludicrous blends with the tender, and our follies, turning round
• 3:56:54
  Speaker 2: against themselves in support of our affections, retain nothing but
• 3:56:58
  Speaker 2: their humanity. Dog Berry and Vergis in this play are
• 3:57:02
  Speaker 2: inimitable specimens of quaint, blundering and misprisions of meaning, and
• 3:57:07
  Speaker 2: our standing record of that formal gravity of pretension and
• 3:57:11
  Speaker 2: total want of common understanding, which Shakespeare no doubt copied
• 3:57:15
  Speaker 2: from real life, and which in the course of two
• 3:57:17
  Speaker 2: hundred years appear to have ascended from the lowest to
• 3:57:20
  Speaker 2: the highest offices in the state end of much ado
• 3:57:24
  Speaker 2: about nothing as you like it. Shakespeare has here converted
• 3:57:30
  Speaker 2: the forest of Arden into another arcadia, where they quote
• 3:57:34
  Speaker 2: fleet the time carelessly, as they did in the Golden World.
• 3:57:38
  Speaker 2: It is the most ideal of any of this author's plays.
• 3:57:41
  Speaker 2: It is a pastoral drama in which the interest arises
• 3:57:45
  Speaker 2: more out of the sentiments and characters than out of
• 3:57:48
  Speaker 2: the actions or situations. It is not what is done,
• 3:57:51
  Speaker 2: but what is said, that claims our attention. Nursed in
• 3:57:55
  Speaker 2: solitude quote, under the shade of melancholy boughs, the match
• 3:58:00
  Speaker 2: nation grows soft and delicate, and the wit runs riot
• 3:58:03
  Speaker 2: and idleness, like a spoiled child that is never sent
• 3:58:07
  Speaker 2: to school. Caprice and fancy, rain and revel here and
• 3:58:11
  Speaker 2: stern necessity is banished to the court. The mild sentiments
• 3:58:15
  Speaker 2: of humanity are strengthened with thought and leisure. The echo
• 3:58:19
  Speaker 2: of the cares and noise of the world strikes upon
• 3:58:22
  Speaker 2: the ear of those quote who have felt them knowingly
• 3:58:25
  Speaker 2: softened by time and distance. Quote. They hear the tumult
• 3:58:30
  Speaker 2: and are still. The very air of the place seems
• 3:58:33
  Speaker 2: to breathe a spirit of philosophical poetry, disturb the thoughts,
• 3:58:37
  Speaker 2: to touch the heart with pity, as the drowsy forest
• 3:58:41
  Speaker 2: rustles to the sighing gale. Never was there such beautiful moralizing,
• 3:58:46
  Speaker 2: equally free from pedantry or petulance. And this their life,
• 3:58:51
  Speaker 2: exempt from public haunts, finds tongues in trees, books in
• 3:58:56
  Speaker 2: the running brooks, sermons and stones, and good in every thing.
• 3:59:01
  Speaker 2: Jacques is the only purely contemplative character in Shakespeare. He
• 3:59:06
  Speaker 2: thinks and does nothing. His whole occupation is to amuse
• 3:59:10
  Speaker 2: his mind, and he is totally regardless of his body
• 3:59:13
  Speaker 2: and his fortunes. He is the prince of philosophical idlers.
• 3:59:18
  Speaker 2: His only passion is thought. He sets no value upon
• 3:59:21
  Speaker 2: anything but as it serves as food for reflection. He
• 3:59:24
  Speaker 2: can suck melancholy out of a song as a weasel
• 3:59:27
  Speaker 2: sucks eggs. The Motley fool, who morals on the time,
• 3:59:31
  Speaker 2: is the greatest prize he meets with in the forest.
• 3:59:34
  Speaker 2: He resents Orlando's passion for Rosalind as some disparagement of
• 3:59:38
  Speaker 2: his own passion for abstract truth, and leaves the Duke
• 3:59:42
  Speaker 2: as soon as he is restored to his sovereignty to
• 3:59:44
  Speaker 2: seek his brother out, who has quitted it and turned hermit.
• 3:59:48
  Speaker 2: Out of these convertites, there is much matter to be
• 3:59:51
  Speaker 2: heard and learnt. Within the sequestered and romantic glades of
• 3:59:56
  Speaker 2: the forest of Arden. They find leisure to be good
• 3:59:58
  Speaker 2: and wise, or to play the fool and fall in love.
• 4:00:02
  Speaker 2: Rosalind's character is made up of sportive, gayety, and natural tenderness.
• 4:00:07
  Speaker 2: Her tongue runs the faster to conceal the pressure at
• 4:00:09
  Speaker 2: her heart. She talks herself out of breath, only to
• 4:00:12
  Speaker 2: get deeper in love. The coquetry with which she plays
• 4:00:15
  Speaker 2: with her lover, and the double character which she has
• 4:00:18
  Speaker 2: to support, is managed with the nicest address. How full
• 4:00:22
  Speaker 2: of voluble, laughing grace is all her conversation with Orlando
• 4:00:27
  Speaker 2: a heedless mazes, running with wanton haste and giddy cunning.
• 4:00:32
  Speaker 2: How full of real fondness and pretended cruelty is her
• 4:00:36
  Speaker 2: answer to him when he promises to love her quote
• 4:00:38
  Speaker 2: forever and a day, say a day without the ever. No, No, Orlando.
• 4:00:44
  Speaker 2: Men are April when they woo, December when they wed.
• 4:00:48
  Speaker 2: Maids are May when they are maids, but the sky
• 4:00:50
  Speaker 2: changes when they are wives. I will be more jealous
• 4:00:54
  Speaker 2: of thee than a barbary cockpigeon over his hen, more
• 4:00:57
  Speaker 2: clamorous than a parrot against rain, more new fangled than
• 4:01:01
  Speaker 2: an ape, more giddy in my desires than a monkey.
• 4:01:04
  Speaker 2: I will weep for nothing like Diana and the fountain,
• 4:01:08
  Speaker 2: and I will do that when you are disposed to
• 4:01:10
  Speaker 2: be merry, I will laugh like a hyen, and that
• 4:01:13
  Speaker 2: when you are inclined to sleep, Orlando. But will my
• 4:01:17
  Speaker 2: Rosalind do so? Rosalind, by my life, she will do
• 4:01:21
  Speaker 2: as I do. The silent and retired character of Celia
• 4:01:26
  Speaker 2: is a necessary relief to the provoking loquacity of Rosalind.
• 4:01:30
  Speaker 2: Nor can anything be better conceived or more beautifully described
• 4:01:34
  Speaker 2: than the mutual affection between the two cousins. We still
• 4:01:38
  Speaker 2: have slept together, Rose at an instant, learned, played eat together,
• 4:01:43
  Speaker 2: and wheresoere we went like Juno's swans. Still we went,
• 4:01:46
  Speaker 2: coupled and inseparable. The unrequited love of Sylvius for Phoebe
• 4:01:52
  Speaker 2: shows the perversity of this passion and the commonest scenes
• 4:01:56
  Speaker 2: of life, and the rubs and stops which nature throws
• 4:01:59
  Speaker 2: in a where fortune has placed none. Touchstone is not
• 4:02:04
  Speaker 2: in love, but he will have a mistress as a
• 4:02:06
  Speaker 2: subject for the exercise of his grotesque humor, and to
• 4:02:10
  Speaker 2: show his contempt for the passion. By his indifference about
• 4:02:13
  Speaker 2: the person. He is a rare fellow. He is a
• 4:02:16
  Speaker 2: mixture of the ancient cynic philosopher with a modern buffoon,
• 4:02:20
  Speaker 2: and turns folly into wit and wit into folly, just
• 4:02:23
  Speaker 2: as the fit takes him. His courtship of Audrey not
• 4:02:26
  Speaker 2: only throws a degree of ridicule on the state of
• 4:02:29
  Speaker 2: wedlock itself, but he is equally an enemy to the
• 4:02:32
  Speaker 2: prejudices of opinion in other respects. The lofty tone of
• 4:02:36
  Speaker 2: enthusiasm which the Duke and his companions in exiles spread
• 4:02:40
  Speaker 2: over the stillness and solitude of a country life receives
• 4:02:43
  Speaker 2: a pleasant shock from Touchstone's skeptical determination of the question.
• 4:02:49
  Speaker 2: Coryn and I like you this shepherd's life, mister Touchstone, clown,
• 4:02:54
  Speaker 2: truly shepherd. In respect of itself, it is a good life.
• 4:02:57
  Speaker 2: But in respect that it is a shepherd's life, it
• 4:03:00
  Speaker 2: is not in respect that it is solitary. I like
• 4:03:03
  Speaker 2: it very well, but in respect that it is private
• 4:03:07
  Speaker 2: and is a very vile life. Now in respect it
• 4:03:10
  Speaker 2: is in the fields. It pleaseth me well. But in
• 4:03:13
  Speaker 2: respect it is not in the court. It is tedious,
• 4:03:16
  Speaker 2: as it is a spare life. Look you, it fits
• 4:03:19
  Speaker 2: my humor, but as there is no more plenty in it,
• 4:03:23
  Speaker 2: it goes much against my stomach. Zamen, in celebrated work
• 4:03:27
  Speaker 2: on Solitude, discovers only half the sense of this passage.
• 4:03:31
  Speaker 2: There is hardly any of Fixper's plays that contain a
• 4:03:34
  Speaker 2: greater number of passages that have been quoted in books
• 4:03:37
  Speaker 2: of extracts, or a greater number of phrases that have
• 4:03:40
  Speaker 2: become in a manner proverbial. If we were to give
• 4:03:43
  Speaker 2: all the striking passages, we should give half the play.
• 4:03:46
  Speaker 2: We will only recall a few of the most delightful
• 4:03:49
  Speaker 2: to the reader's recollection. Such are the meeting between Orlando
• 4:03:53
  Speaker 2: and Adam, the exquisite appeal of Orlando to the humanity
• 4:03:57
  Speaker 2: of the Duke and his company to supply him with
• 4:03:59
  Speaker 2: food for the old man, and their answer, the Duke's
• 4:04:02
  Speaker 2: description of a country life, and the account of Jacques
• 4:04:05
  Speaker 2: moralizing on the wounded deer, his meeting with Touchstone in
• 4:04:09
  Speaker 2: the forest, his apology for his own melancholy and his
• 4:04:13
  Speaker 2: satirical vein, and the well known speech on the stages
• 4:04:16
  Speaker 2: of human life, the old song of Blow Blow thou
• 4:04:20
  Speaker 2: Winter's wind, Rosalind's description of the marks of a lover
• 4:04:24
  Speaker 2: and of the progress of time with different persons, The
• 4:04:27
  Speaker 2: picture of the snake wreathed round Oliver's neck while the
• 4:04:30
  Speaker 2: lioness watches her sleeping prey, And Touchstone's lecture to the shepherd,
• 4:04:35
  Speaker 2: his defense of Cuckold's and pangyric on the virtues of an.
• 4:04:39
  Speaker 2: If all of these are familiar to the reader, there
• 4:04:43
  Speaker 2: is one passage of equal delicacy and beauty which may
• 4:04:46
  Speaker 2: have escaped him, And with it we shall close our
• 4:04:49
  Speaker 2: account of as you like it. It is Phoebe's description
• 4:04:53
  Speaker 2: of Ganymede at the end of the third act. Think
• 4:04:56
  Speaker 2: not I love him, though I ask for him. 'tis
• 4:04:59
  Speaker 2: but a peevish boy. Yet he talks well? But what
• 4:05:02
  Speaker 2: care I for words? Yet words do well? When he
• 4:05:05
  Speaker 2: that speaks, him pleases those that hear. It is a
• 4:05:08
  Speaker 2: pretty youth, not very pretty, but sure he's proud, and
• 4:05:13
  Speaker 2: yet his pride becomes him. He'll make a proper man.
• 4:05:16
  Speaker 2: The best thing in him is his complexion. And faster
• 4:05:19
  Speaker 2: than his tongue didn't make offense, his eye did heal
• 4:05:22
  Speaker 2: it up. He is not very tall, yet for his
• 4:05:25
  Speaker 2: years he's tall. His leg is but so so, and
• 4:05:29
  Speaker 2: yet tis well. There was a pretty redness in his lip,
• 4:05:33
  Speaker 2: a little riper and more lusty red than that mixed
• 4:05:37
  Speaker 2: in his cheek. Twas just the difference betwixt the constant
• 4:05:40
  Speaker 2: red and mingled damask there, hope you some women Sylvia's,
• 4:05:44
  Speaker 2: had they marked him in parcels as I did, would
• 4:05:47
  Speaker 2: have gone near to fall in love with him. But
• 4:05:49
  Speaker 2: for my part, I love him not, nor hate him not.
• 4:05:54
  Speaker 2: And yet I have more cause to hate him than
• 4:05:56
  Speaker 2: to love him, for what had he to do to
• 4:05:58
  Speaker 2: try it at me? End of as you like it,
• 4:06:03
  Speaker 2: The Taming of the Shrew. The Taming of the Shrew
• 4:06:08
  Speaker 2: is almost the only one of Shakespeare's comedies that has
• 4:06:11
  Speaker 2: a regular plot, and downright more it is full of bustle,
• 4:06:16
  Speaker 2: animation and rapidity of action. It shows admirably how self
• 4:06:21
  Speaker 2: will is only to be got the better of by
• 4:06:23
  Speaker 2: stronger will, and how one degree of ridiculous perversity is
• 4:06:27
  Speaker 2: only to be driven out by another still greater. Petruchio
• 4:06:31
  Speaker 2: is a madman in his senses, a very honest fellow
• 4:06:35
  Speaker 2: who hardly speaks a word of truth, and succeeds in
• 4:06:38
  Speaker 2: all his tricks and impostures. He acts his assumed character
• 4:06:42
  Speaker 2: to the life with a most fantastical extravagance, with complete
• 4:06:46
  Speaker 2: presence of mind, with untired animal spirits, and without a
• 4:06:51
  Speaker 2: particle of ill humor. From beginning to end, the situation
• 4:06:55
  Speaker 2: of poor Catherine, worn out by his incessant persecutions, becomes
• 4:07:00
  Speaker 2: at last almost as pitiable as it is ludicrous. And
• 4:07:04
  Speaker 2: it is difficult to say which to admire most, the
• 4:07:07
  Speaker 2: unaccountableness of his actions or the unalterableness of his resolutions.
• 4:07:13
  Speaker 2: It is a character which most husbands ought to study,
• 4:07:16
  Speaker 2: unless perhaps the very audacity of Petruchio's attempt might alarm
• 4:07:20
  Speaker 2: them more than his success would encourage them. What a
• 4:07:24
  Speaker 2: sound must the following speech carry to some married ears?
• 4:07:28
  Speaker 1: Think you a little din can daunt my ears? Have
• 4:07:32
  Speaker 1: I not in my time heard lions roar? Have I
• 4:07:36
  Speaker 1: not heard the sea puffed up with winds, rage like
• 4:07:40
  Speaker 1: an angry boar, chafed with sweat? Have I not heard
• 4:07:45
  Speaker 1: great ordinance in the field, and Heaven's artillery thunder in
• 4:07:50
  Speaker 1: the skies? Have I not, in a pitched battle heard
• 4:07:55
  Speaker 1: loud alarms? Name steeds and trumpets clang, And do you
• 4:08:00
  Speaker 1: tell me of a woman's tongue that gives not half
• 4:08:03
  Speaker 1: so great a blow to hear as will a chestnut
• 4:08:06
  Speaker 1: in a farmer's fire.
• 4:08:09
  Speaker 2: Not all Petruchio's rhetoric would persuade more than quote some
• 4:08:13
  Speaker 2: dozen followers to be of this heretical way of thinking.
• 4:08:17
  Speaker 2: He unfolds his scheme for the taming of the Shoe
• 4:08:20
  Speaker 2: on a principle of contradiction.
• 4:08:22
  Speaker 1: That I'll woo her with some spirit when she comes.
• 4:08:27
  Speaker 1: Say that she rail, Why, then I'll tell her plane
• 4:08:31
  Speaker 1: she sings as sweetly as a nightingale. Say that she frowned,
• 4:08:36
  Speaker 1: I'll say she looks as clear as morning roses newly
• 4:08:41
  Speaker 1: washed with dew. Say she be mute, will not speak
• 4:08:44
  Speaker 1: a word. Then I'll commend her volubility, and say she
• 4:08:49
  Speaker 1: uttereth piercing eloquence. If she do bid me pack, I'll
• 4:08:55
  Speaker 1: give her thanks, as though she bid me stay by
• 4:08:58
  Speaker 1: her a week. If she did not to wed, I'll
• 4:09:01
  Speaker 1: crave the day when I shall ask the bands and
• 4:09:05
  Speaker 1: when be married.
• 4:09:07
  Speaker 2: According the games. For consent to the match by telling
• 4:09:10
  Speaker 2: her father that he has got it, disappoints her by
• 4:09:13
  Speaker 2: not returning at the time he has promised to wed her,
• 4:09:16
  Speaker 2: and when he returns creates no small consternation by the
• 4:09:20
  Speaker 2: oddity of his dress and equibitch. This, however, is nothing
• 4:09:24
  Speaker 2: to the astonishment excited by his mad brained behavior at
• 4:09:27
  Speaker 2: the marriage. Here's the account of it by an eyewitness.
• 4:09:31
  Speaker 1: Gremia tout, She's a lamb, a dove, a fool to him.
• 4:09:36
  Speaker 1: I'll tell you, Sir Lucancho, when the priest should ask
• 4:09:40
  Speaker 1: if Katerina should be his wife. Ah, by God's wounds,
• 4:09:45
  Speaker 1: quoth he, and swore so loud that all amazed. The
• 4:09:50
  Speaker 1: priest let fall the buck, And as they stooped again
• 4:09:54
  Speaker 1: to take it up, this mad brained bridegroom took him
• 4:09:58
  Speaker 1: such a cough that felt priest and book and book
• 4:10:02
  Speaker 1: and priest, now take them up, quoth he.
• 4:10:05
  Speaker 2: If any list, Tunia, what's set the wench? When he
• 4:10:09
  Speaker 2: rose up.
• 4:10:10
  Speaker 1: Again, Gremia trembled and shook for why he stamped and
• 4:10:15
  Speaker 1: swore as if the vicar meant to cousin him. But
• 4:10:17
  Speaker 1: after many ceremonies done, he calls for wine a health,
• 4:10:22
  Speaker 1: quoth he, as if he'd been abroad carousing with his mate.
• 4:10:25
  Speaker 1: Sector Storm quaffed off the muscadel and threw the SOPs
• 4:10:31
  Speaker 1: all in the sexton's face, having no other cause but
• 4:10:34
  Speaker 1: that his beard grew thin and hungrily, and seemed to
• 4:10:38
  Speaker 1: ask his SOPs. As he was drinking this done, he
• 4:10:41
  Speaker 1: took the bride about the neck and kissed her lips
• 4:10:45
  Speaker 1: with such a clamorous smack that at their parting all
• 4:10:49
  Speaker 1: the church echoed. And I, seeing this came thence for
• 4:10:53
  Speaker 1: very shame, and after me, I know the route is coming.
• 4:10:57
  Speaker 1: Such a mad marriage never was before.
• 4:11:01
  Speaker 2: The most striking and at the same time laughable feature
• 4:11:04
  Speaker 2: in the character of Petruchio throughout is the studied approximation
• 4:11:08
  Speaker 2: to the intractable character of real madness, his apparent and
• 4:11:12
  Speaker 2: sensibility to all external considerations, an utter indifference to everything
• 4:11:18
  Speaker 2: but the wild and extravagant freaks of his own self will.
• 4:11:23
  Speaker 2: There is no contending with the person on whom nothing
• 4:11:25
  Speaker 2: makes any impression but his own purposes, and who is
• 4:11:29
  Speaker 2: bent on his own whims, just in proportion as they
• 4:11:32
  Speaker 2: seem to want common sense with him, A thing's being
• 4:11:35
  Speaker 2: plain and reasonable is a reason against it. Theirs he
• 4:11:38
  Speaker 2: gives himself are infinite, and his caprices as sudden as
• 4:11:42
  Speaker 2: they are groundless. The whole of his treatment of his
• 4:11:46
  Speaker 2: wife at home is in the same spirit of ironical
• 4:11:49
  Speaker 2: attention and inverted gallantry. Everything flies before his will like
• 4:11:53
  Speaker 2: a conjuror's wand, and he only metamorphoses his wife's temper
• 4:11:58
  Speaker 2: by metamorphising her self and all the objects she sees
• 4:12:02
  Speaker 2: at a word speaking, such are his insisting that it
• 4:12:05
  Speaker 2: is the moon and not the sun which they see,
• 4:12:08
  Speaker 2: et cetera. This extravagance reaches its most pleasant and poetical
• 4:12:12
  Speaker 2: height in the scene where, on their return to her
• 4:12:15
  Speaker 2: father's they meet old Vincentio, whom Petruchio immediately addresses as
• 4:12:20
  Speaker 2: a young lady.
• 4:12:22
  Speaker 1: Petruchia. Good morrow, gentle mistress. Wear away, tell me, sweet Kate,
• 4:12:29
  Speaker 1: and tell me truly too, hast thou beheld a fresher,
• 4:12:34
  Speaker 1: gentle woman, such war white and red within her cheeks?
• 4:12:39
  Speaker 1: What stars do spangle heaven with such beauty as those
• 4:12:44
  Speaker 1: two eyes become that heavenly face, Fair, lovely maid. Once more,
• 4:12:50
  Speaker 1: Good day to thee, sweet Kate. Embrace her for beauty's sake.
• 4:12:56
  Speaker 2: Pretense you he'll make the man mad, to make a
• 4:12:59
  Speaker 2: woman of him. Catherine, young budding virgin, fair and fresh
• 4:13:06
  Speaker 2: and sweet? Whither away or where is I abode happy?
• 4:13:11
  Speaker 2: The parents of so fair a child happier the man
• 4:13:15
  Speaker 2: whose favorable stars a lot thee for his lovely beton.
• 4:13:19
  Speaker 3: Fellow, Petruchia.
• 4:13:21
  Speaker 1: Why how now, Kate, I hope thou art not mad?
• 4:13:26
  Speaker 1: This is a man, old, wrinkled, faded, withered, not a maiden.
• 4:13:32
  Speaker 1: Dost thou sayest he is, Catherine?
• 4:13:35
  Speaker 2: Pardon, old father, my mistaken eyes that have been so
• 4:13:39
  Speaker 2: bedezed with the sun, that everything I look on zamuth green.
• 4:13:45
  Speaker 2: Now I perceive thou art a reverend's father. The hole
• 4:13:49
  Speaker 2: is carried on with equal spirit, as if the poet's
• 4:13:52
  Speaker 2: comic muse had wings of fire. It is strange how
• 4:13:55
  Speaker 2: one man could be so many things, But so it
• 4:13:57
  Speaker 2: is the concluding scene, and which trial is made of
• 4:14:02
  Speaker 2: the obedience of the new married wives, so triumphantly, for
• 4:14:05
  Speaker 2: Petruchio is a very happy one. In some parts of
• 4:14:09
  Speaker 2: this play there is a little too much about music
• 4:14:12
  Speaker 2: masters and masters of philosophy. They were things of greater
• 4:14:15
  Speaker 2: rarity in those days than they are now. Nothing, however,
• 4:14:18
  Speaker 2: can be better than the advice which Trannio gives his
• 4:14:21
  Speaker 2: master for the prosecution of his studies. The mathematics and
• 4:14:26
  Speaker 2: the metaphysics fall to them. As you find your stomach
• 4:14:30
  Speaker 2: serves you. No prophet grows where is no pleasure, tame
• 4:14:34
  Speaker 2: and brief, sir, study what you most affect. We have
• 4:14:38
  Speaker 2: heard the honeymoon called quote an elegant Catherine and Petruchio.
• 4:14:42
  Speaker 2: We suspect we do not understand this word elegant in
• 4:14:46
  Speaker 2: the sense that many people do. But in our sense
• 4:14:48
  Speaker 2: of the word, we should call Ucentcho's description of his
• 4:14:51
  Speaker 2: mistress elegant.
• 4:14:53
  Speaker 1: Tronio, I saw her cora lips to move, and with
• 4:14:57
  Speaker 1: her breath she did perfume. The air sacred and sweet
• 4:15:02
  Speaker 1: was all I saw in her.
• 4:15:04
  Speaker 2: When Biondello tells the same Lucentio for his encouragement, I
• 4:15:09
  Speaker 2: know a Wench married in an afternoon, as she went
• 4:15:11
  Speaker 2: to the garden for Parsley to stuff a rabbit. And
• 4:15:14
  Speaker 2: so may you, sir. There's nothing elegant in this, and
• 4:15:18
  Speaker 2: yet we hardly know which of the two passages is
• 4:15:20
  Speaker 2: the best. The Taming of the Shrew is a play
• 4:15:24
  Speaker 2: within a play. It is supposed to be a play
• 4:15:26
  Speaker 2: acted for the benefit of Slyde the tinker, who is
• 4:15:29
  Speaker 2: made to believe himself a lord when he wakes after
• 4:15:32
  Speaker 2: a drunken brawl. The character of Sly and the remarks
• 4:15:36
  Speaker 2: with which he accompanies the play are as good as
• 4:15:38
  Speaker 2: the play itself. His answer, when he has asked how
• 4:15:41
  Speaker 2: he likes it, ah indifferent. Well tis a good piece
• 4:15:44
  Speaker 2: of work. Wood tour done is in good keeping, as
• 4:15:49
  Speaker 2: if he were thinking of his Saturday night's job. Slye
• 4:15:52
  Speaker 2: does not change his taste with this new situation, but
• 4:15:55
  Speaker 2: in the midst of splendor and luxury, still calls out
• 4:15:58
  Speaker 2: lustily and repeatedly for a pot of the smallest aale.
• 4:16:03
  Speaker 2: He is very slow in giving up his personal identity
• 4:16:05
  Speaker 2: and his sudden advancement. I am christophero Sly call me
• 4:16:11
  Speaker 2: the honor nor lordship. I'm nor drink sack of my life.
• 4:16:14
  Speaker 2: And if you give me any concerts, give me concerts
• 4:16:16
  Speaker 2: of beef. Never ask me what raiment or wear, For
• 4:16:20
  Speaker 2: I have no more doublets than packs, no more stockings
• 4:16:23
  Speaker 2: and legs, no more shoes than feet, nay sometimes more
• 4:16:28
  Speaker 2: feet than shoes, or such shoes as my toes looks
• 4:16:30
  Speaker 2: through the overleather. Why would you make me mad am?
• 4:16:34
  Speaker 2: I not christophero Sly Old Sly's son of Burton Heath
• 4:16:38
  Speaker 2: by birth, a peddler by education, a card maker by transmutation,
• 4:16:43
  Speaker 2: a bear herd, and now by present profession, a tinker.
• 4:16:47
  Speaker 2: Tuh ask Marian Hackett, the fat ale wife of Wincott,
• 4:16:50
  Speaker 2: if she knows me not, If she say I am not,
• 4:16:53
  Speaker 2: fourteenpence on score for sheer ale, score me up for
• 4:16:56
  Speaker 2: the lyingest knave in Christendom. This is honest. The slies
• 4:17:02
  Speaker 2: are no rogues. As he says of himself, we have
• 4:17:05
  Speaker 2: a great predilection for this representative of the family. And
• 4:17:09
  Speaker 2: what makes us like him the better is that we
• 4:17:11
  Speaker 2: take him to be of kin, not many degrees removed
• 4:17:14
  Speaker 2: to Sancho Panza, end of Taming of the Shrew, measure
• 4:17:19
  Speaker 2: for measure. This is a play as full of genius
• 4:17:23
  Speaker 2: as it is of wisdom. Yet there is an original
• 4:17:27
  Speaker 2: sin in the nature of the subject which prevents us
• 4:17:30
  Speaker 2: from taking a cordial interest in it. The height of
• 4:17:33
  Speaker 2: moral argument, which the author has maintained in the intervals
• 4:17:37
  Speaker 2: of passion, or blended with the more powerful impulses of nature,
• 4:17:41
  Speaker 2: is hardly surpassed in any of his plays. But there
• 4:17:44
  Speaker 2: is in general a want of passion. The affections are
• 4:17:48
  Speaker 2: at a stand. Our sympathies are repulsed and defeated in
• 4:17:52
  Speaker 2: all directions. The only passion which influences the story is
• 4:17:56
  Speaker 2: that of Angelo, and yet he seems to have a
• 4:17:59
  Speaker 2: much greater passion for hypocrisy than for his mistress. Neither
• 4:18:03
  Speaker 2: are we greatly enamored of Isabella's rigid chastity. Though she
• 4:18:07
  Speaker 2: could not act to other wives than she did, we
• 4:18:10
  Speaker 2: do not feel the same confidence in the virtue that
• 4:18:13
  Speaker 2: is sublimely good at another's expense, as if it had
• 4:18:17
  Speaker 2: been out to some less disinterested trial. As to the Duke,
• 4:18:21
  Speaker 2: who makes a very imposing and mysterious stage character, he
• 4:18:26
  Speaker 2: is more absorbed in his own plots and gravity than
• 4:18:29
  Speaker 2: anxious for the welfare of the state, more tenacious of
• 4:18:32
  Speaker 2: his own character than attentive to the feelings and apprehensions
• 4:18:36
  Speaker 2: of others. Claudio is the only person who feels naturally,
• 4:18:40
  Speaker 2: and yet he is placed in circumstances of distress which
• 4:18:44
  Speaker 2: almost preclude the wish for his deliverance. Marianna is also
• 4:18:48
  Speaker 2: in love with Angelo, whom we hate. In this respect,
• 4:18:52
  Speaker 2: there may be said to be a general system of
• 4:18:55
  Speaker 2: cross purposes between the feelings of the different characters and
• 4:18:58
  Speaker 2: the sympathy of the reader or the audience. This principle
• 4:19:02
  Speaker 2: of repugnance seems to have reached its height in the
• 4:19:05
  Speaker 2: character of Master Barnadine, who not only sets it defiance
• 4:19:09
  Speaker 2: the opinions of others, but has even thrown off all
• 4:19:12
  Speaker 2: self regard quote one that apprehends death no more dreadfully,
• 4:19:16
  Speaker 2: but as a drunken sleep, careless, reckless, and fearless of
• 4:19:21
  Speaker 2: what's past present, and a gum unquote. He is a
• 4:19:24
  Speaker 2: fine antithesis to the morality and hypocrisy of the other
• 4:19:28
  Speaker 2: characters of the play. Barnadine is Caliban transported from Prospero's
• 4:19:33
  Speaker 2: Wizard Island to the force of Bohemia or the prisons
• 4:19:36
  Speaker 2: of Vienna. He is the creature of bad habits, as
• 4:19:39
  Speaker 2: Caliban is of gross instincts. He has, however, a strong
• 4:19:44
  Speaker 2: notion of the natural fitness of things according to his
• 4:19:47
  Speaker 2: own sensations. Quote. He has been drinking hard all night,
• 4:19:52
  Speaker 2: and he will not be hanged to that day unquote,
• 4:19:55
  Speaker 2: and Shakespeare has led him off at last. We do
• 4:19:59
  Speaker 2: not understand why the philosophical German critic Schlegel should be
• 4:20:02
  Speaker 2: so severe on these pleasant persons. Luccio Pompei and Master
• 4:20:07
  Speaker 2: fro as to call them wretches. They appear almighty, comfortable
• 4:20:11
  Speaker 2: in their occupations and determined to pursue them as the
• 4:20:15
  Speaker 2: flesh and fortune should serve. A very good exposure of
• 4:20:18
  Speaker 2: the want of self knowledge and contempt for others, which
• 4:20:22
  Speaker 2: is so common in the world, is put into the
• 4:20:24
  Speaker 2: mouth of abhorse and the jailer when the provost proposes
• 4:20:28
  Speaker 2: to associate Pompey with him in his office, quote Abad, sir,
• 4:20:33
  Speaker 2: fie upon him, he will discredit our mystery unquote. And
• 4:20:37
  Speaker 2: the same answer would serve in nine instances out of
• 4:20:40
  Speaker 2: ten to the same kind of a remark, got you, sir,
• 4:20:43
  Speaker 2: you weigh equally a feather will turn the scale. Shakespeare was,
• 4:20:47
  Speaker 2: in one sense the least moral of all writers, for morality,
• 4:20:52
  Speaker 2: commonly so called, is made up of antipathies, and his
• 4:20:56
  Speaker 2: talent consisted of sympathy with human nature in all its apes, degrees, depressions,
• 4:21:02
  Speaker 2: and elevations. The object of the pedantic moralist is to
• 4:21:06
  Speaker 2: find out the bad in everything. His was to show
• 4:21:10
  Speaker 2: that there is some soul of goodness in things evil.
• 4:21:14
  Speaker 2: Even Master Barnadine is not left to the mercy of
• 4:21:16
  Speaker 2: what others think of him, But when he comes in,
• 4:21:19
  Speaker 2: speaks for himself and pleads his own cause as well
• 4:21:23
  Speaker 2: as if counsel had been assigned him. In one sense,
• 4:21:26
  Speaker 2: Shakespeare was no moralist at all. In another, he was
• 4:21:29
  Speaker 2: the greatest of all moralists. He was a moralist in
• 4:21:33
  Speaker 2: the same sense in which nature is one. He taught
• 4:21:36
  Speaker 2: what he had learnt from her. He showed the greatest
• 4:21:39
  Speaker 2: knowledge of humanity, with the greatest fellow feeling for it.
• 4:21:43
  Speaker 2: One of the most dramatic passages in the present play
• 4:21:46
  Speaker 2: is the interview between Claudio and his sister, when she
• 4:21:49
  Speaker 2: comes to inform him of the conditions on which Angelo
• 4:21:52
  Speaker 2: will spare his life.
• 4:21:54
  Speaker 1: Claudio, let me know the point.
• 4:21:57
  Speaker 2: Isabella, Ah, I fear thee Claudio, and I quake. Lest
• 4:22:02
  Speaker 2: thou a feverish life shouldst entertain, and six or seven
• 4:22:06
  Speaker 2: winters more respect than a perpetual honor, Darest thou die.
• 4:22:11
  Speaker 2: The sense of death is most an apprehension, and the
• 4:22:14
  Speaker 2: poor beetle that we tread upon incorporal sufferance finds a
• 4:22:17
  Speaker 2: pang as great as when a giant dies.
• 4:22:20
  Speaker 1: Why give you me this shame? Think you I can
• 4:22:24
  Speaker 1: a resolution fetch from flowery tenderness. If I must die,
• 4:22:30
  Speaker 1: I will encounter darkness as a pride and hug at
• 4:22:34
  Speaker 1: mine arms.
• 4:22:35
  Speaker 2: There spect my brother, there, my father's graved at utter
• 4:22:39
  Speaker 2: forth a voice. Yes, thou must die. Thou art too
• 4:22:43
  Speaker 2: noble to conserve a life in base appliances. This outward
• 4:22:48
  Speaker 2: sainted deputy who settled visage and deliberate word lips youth
• 4:22:53
  Speaker 2: in the head and follies death and me as falcon
• 4:22:55
  Speaker 2: that a foul is yet a devil.
• 4:22:59
  Speaker 1: The prince Leangelo huh.
• 4:23:01
  Speaker 2: Tis the cunning livery of hell, the damnedest body to
• 4:23:06
  Speaker 2: invest in cover and princely guards. Dost thou think, Claudio?
• 4:23:11
  Speaker 2: If I would yield him my virginity, thou mightst be freed.
• 4:23:15
  Speaker 1: Oh, heavens it cannot be.
• 4:23:19
  Speaker 2: Yes, he would give thee for this rank offense, so
• 4:23:23
  Speaker 2: to offend him. Still, this night's the time that I
• 4:23:26
  Speaker 2: should do what I abhor to name or else thou
• 4:23:30
  Speaker 2: diest tomorrow Thou shalt not do it? Oh, or it
• 4:23:37
  Speaker 2: but my life. I'd throw it down for your deliverance,
• 4:23:40
  Speaker 2: as frankly as a pin. Thanks deer, Isabelle, be ready,
• 4:23:45
  Speaker 2: Claudio for your death tomorrow?
• 4:23:49
  Speaker 1: Yes, has he affections in him, that thus can make
• 4:23:55
  Speaker 1: him bite the law by the nose when he would
• 4:23:58
  Speaker 1: force a sure it is no sin or the deadly seven.
• 4:24:02
  Speaker 2: It is the least, which is the least, if it.
• 4:24:05
  Speaker 1: Were damnable, he being so wise, why would he, for
• 4:24:09
  Speaker 1: the momentary trick be perchably fine.
• 4:24:13
  Speaker 2: Oh Isabelle, what says my brother?
• 4:24:17
  Speaker 1: Death is a fearful thing.
• 4:24:20
  Speaker 2: And shamed life a hateful ay.
• 4:24:24
  Speaker 1: But to die and go we know not where, To
• 4:24:29
  Speaker 1: lie in col obstruction and to rot this sensible, warm motion,
• 4:24:34
  Speaker 1: to become a needed clod and the delighted spirit, To
• 4:24:38
  Speaker 1: bathe in fiery floods, or to reside in thrilling regions
• 4:24:44
  Speaker 1: of thick ribbed ice, to be imprisoned in the fewless
• 4:24:48
  Speaker 1: winds blown with restless violence round about the pendant world,
• 4:24:54
  Speaker 1: or to be worse than worse of those that lawless
• 4:24:57
  Speaker 1: and incertain thoughts. Imagine howling tis too horrible The weariest
• 4:25:05
  Speaker 1: and most loathed worldly life, that age, ache, penury, and
• 4:25:11
  Speaker 1: imprisonment can lay on nature as a paradise to what
• 4:25:16
  Speaker 1: we fear of death. Bless less, sweet sister, let me
• 4:25:22
  Speaker 1: live what sin you do to save a brother's life.
• 4:25:26
  Speaker 1: Nature dispenses with a deed so far that it becomes
• 4:25:28
  Speaker 1: a virtue.
• 4:25:31
  Speaker 2: What adds to the dramatic beauty of the scene and
• 4:25:34
  Speaker 2: the effect of Claudio's passionate attachment to life, is that
• 4:25:38
  Speaker 2: it immediately follows the Duke's lecture to him on the
• 4:25:41
  Speaker 2: character of the friar, recommending an absolute indifference to it
• 4:25:47
  Speaker 2: reasonless with life. If I do lose thee, I do
• 4:25:51
  Speaker 2: lose a thing that none of fools would keep a breath.
• 4:25:54
  Speaker 2: Thou art sur vile to all the sky influences that
• 4:25:58
  Speaker 2: do this habitation. Thou keepest hourly afflict. Merely thou art
• 4:26:03
  Speaker 2: dest fool for him, Thou laborest by thy flight to shune,
• 4:26:07
  Speaker 2: and yet runst toward him. Still thou art not noble,
• 4:26:11
  Speaker 2: for all the accommodations that thou bearst are nursed by baseness.
• 4:26:16
  Speaker 2: Thou art by no means valiant, For thou didst fear
• 4:26:19
  Speaker 2: the soft and tender fork of a poor worm. Thy
• 4:26:23
  Speaker 2: best of rest is sleep, and that thou oft provokest
• 4:26:27
  Speaker 2: yet grossly fierst thy death, which is no more. Thou
• 4:26:31
  Speaker 2: art not thyself, For thou existst on many a thousand
• 4:26:35
  Speaker 2: grains that issue out of tust. Happy thou art not,
• 4:26:39
  Speaker 2: for what thou hast not still thou strivest to get,
• 4:26:43
  Speaker 2: and what thou hast forget'st thou art not certain, For
• 4:26:46
  Speaker 2: thy complexion shifts to strange effects after the moon. If
• 4:26:51
  Speaker 2: thou art rich, thou art poor. For like an ass
• 4:26:54
  Speaker 2: whose back with INGOs boughs, thou bearest thy heavy riches,
• 4:26:57
  Speaker 2: but a journey and death unloads thee friend, thou hast
• 4:27:02
  Speaker 2: none for thy own bowels, which to call thee sire,
• 4:27:05
  Speaker 2: the mere effusion of thy proper loins to curse the gout,
• 4:27:10
  Speaker 2: sir pigo, and the room for ending thee. No sooner
• 4:27:14
  Speaker 2: thou hast nor youth nor age, but as it were
• 4:27:17
  Speaker 2: an Aftergenner's sleep, dreaming on both. For all thy blessed
• 4:27:21
  Speaker 2: youth becomes as aged, and doth beg the alms of
• 4:27:24
  Speaker 2: palsied held. And when thou art old and rich, thou
• 4:27:28
  Speaker 2: hast neither heat, affection, limb, nor beauty to make thy
• 4:27:32
  Speaker 2: riches pleasant. What's yet in this that bears the name
• 4:27:36
  Speaker 2: of life? Yet in this life I hid more thousand deaths.
• 4:27:40
  Speaker 2: Yet death we fear that makes these adds all even
• 4:27:45
  Speaker 2: end of measure for measure. The merrywives of Windsor is
• 4:27:49
  Speaker 2: no doubt a very amusing play, with a great deal
• 4:27:52
  Speaker 2: of humor, character and nature in it, that we should
• 4:27:55
  Speaker 2: have liked it much better if any one else had
• 4:27:58
  Speaker 2: been the hero of it instead of Falstaff. We could
• 4:28:01
  Speaker 2: have been contented if Shakespeare had not been commanded to
• 4:28:05
  Speaker 2: show the Knight in love. Wits and philosophers, for the
• 4:28:08
  Speaker 2: most part, do not shine in that character, and Sir
• 4:28:11
  Speaker 2: John himself, by no means comes off with flying colors.
• 4:28:15
  Speaker 2: Many people complain of the degradation and insults to which
• 4:28:19
  Speaker 2: Don Quixote is so frequently exposed in his various adventures.
• 4:28:23
  Speaker 2: But what are the unconscious indignities which he suffers compared
• 4:28:27
  Speaker 2: with the sensible mortifications which Falstaff is made to bring
• 4:28:30
  Speaker 2: upon himself. What are the blows and buffetings which the
• 4:28:34
  Speaker 2: Dawn receives from the staves of the Yangesian carriers or
• 4:28:38
  Speaker 2: from Sancho Panza's more hard hearted hands, compared with the
• 4:28:42
  Speaker 2: contamination of the buck basket, the disguise of the fat
• 4:28:46
  Speaker 2: woman of Brentford, and the horns of Herne the Hunter,
• 4:28:49
  Speaker 2: which are discovered on Sir John's head. In reading the play,
• 4:28:54
  Speaker 2: we indeed wish him well through all these discomfitures, but
• 4:28:57
  Speaker 2: it would have been as well as if he had
• 4:28:58
  Speaker 2: not got into them. Falstaff and the Merry Wives of
• 4:29:01
  Speaker 2: Windsor is not the man he was in the two
• 4:29:04
  Speaker 2: parts of Henry the Fourth. His wit and eloquence have
• 4:29:07
  Speaker 2: left him. Instead of making a butt of others, he
• 4:29:11
  Speaker 2: is made a butt of by them. Neither is there
• 4:29:13
  Speaker 2: a single particle of love in him to excuse his follies.
• 4:29:17
  Speaker 2: He is merely a designing, bare faced knave, and an
• 4:29:21
  Speaker 2: unsuccessful one. The scene with Ford is master book, and
• 4:29:25
  Speaker 2: that was simple Slender's man who comes to ask after
• 4:29:29
  Speaker 2: the wise woman are almost the only ones in which
• 4:29:31
  Speaker 2: his old intellectual ascendency appears. He is like a person
• 4:29:36
  Speaker 2: recalled to the stage to perform an unaccustomed and ungracious part,
• 4:29:40
  Speaker 2: and in which we perceive only some faint sparks of
• 4:29:43
  Speaker 2: those flashes of merriment that were wont to scent the
• 4:29:47
  Speaker 2: hearers in a roar. But the single scene with Dull
• 4:29:50
  Speaker 2: tear Sheet or Missus Quickley's account of his desiring quote
• 4:29:54
  Speaker 2: to eat some of housewife Ketch's prawns and telling her
• 4:29:57
  Speaker 2: quote to be no more so familiar with such people,
• 4:30:01
  Speaker 2: is worth the whole of the merrywives of Windsor put together.
• 4:30:05
  Speaker 2: Ford's jealousy, which is the mainspring of the comic incidents,
• 4:30:09
  Speaker 2: is certainly very well managed. Page, on the contrary, appears
• 4:30:13
  Speaker 2: to be somewhat luxorious in his disposition, and we have
• 4:30:16
  Speaker 2: pretty plain indications of the effect of the characters of
• 4:30:19
  Speaker 2: the husbands on the different degrees of fidelity in their wives.
• 4:30:24
  Speaker 2: Missus Quickley makes a very lively go between both between
• 4:30:28
  Speaker 2: Falstaff and his dulcineas and Anne Page and her lovers,
• 4:30:32
  Speaker 2: and seems, in the latter case so intent on her
• 4:30:34
  Speaker 2: own interest as totally to overlook the intentions of her employers.
• 4:30:39
  Speaker 2: Her master, doctor Caius the Frenchman, and her fellow servant,
• 4:30:42
  Speaker 2: Jack Rugby are very completely described. This last mentioned person
• 4:30:47
  Speaker 2: is rather quaintly commended by Missus Quickley as an honest, willing,
• 4:30:52
  Speaker 2: kind fellow. As ever servant shall come in house withal,
• 4:30:55
  Speaker 2: and I warrant you no tell tale nor no breed bait.
• 4:30:59
  Speaker 2: His worst fault is that he is given to prayer.
• 4:31:02
  Speaker 2: He is something peevish in that way, but nobody but
• 4:31:05
  Speaker 2: has his fault. The Welsh parson Sir Hugh Evans, a
• 4:31:09
  Speaker 2: title which in those days was given to the clergy.
• 4:31:11
  Speaker 2: Is an excellent character in all respects. He is as
• 4:31:15
  Speaker 2: respectable as he is laughable. He has quote, very good
• 4:31:18
  Speaker 2: discretions and very odd humors. The duel scene with Chaus
• 4:31:23
  Speaker 2: gives him an opportunity to show his callers and his
• 4:31:26
  Speaker 2: tremblings of mind, his valor and his melancholy in an
• 4:31:30
  Speaker 2: irresistible manner. In the dialogue, which at his mother's request
• 4:31:34
  Speaker 2: he holds with his pupil William Page, to show his
• 4:31:37
  Speaker 2: progress in learning. It is hard to say whether the
• 4:31:39
  Speaker 2: simplicity of the master or the scholars the greatest. Nim
• 4:31:44
  Speaker 2: Bardolph and Pistol are but the shadows of what they were,
• 4:31:48
  Speaker 2: and Justice Shallow himself has little of his consequence left.
• 4:31:52
  Speaker 2: But his cousin Slender makes up for the deficiency. He
• 4:31:55
  Speaker 2: is a very potent piece of imbecility. In him. The
• 4:31:59
  Speaker 2: pretensions of the worthy Gloucestershire family are well kept up
• 4:32:03
  Speaker 2: and immortalized. He and his friend Sackerson, and his book
• 4:32:06
  Speaker 2: of songs, and his love of Anne Page and is
• 4:32:09
  Speaker 2: having nothing to say to her, can never be forgotten.
• 4:32:13
  Speaker 2: It is the only first trait character in the play.
• 4:32:15
  Speaker 2: But it is in that class. Shakespeare is the only
• 4:32:18
  Speaker 2: writer who was as great at describing weakness as strength.
• 4:32:23
  Speaker 2: End of the Merry Wives of windsor the Comedy of Errors.
• 4:32:29
  Speaker 2: This comedy is taken very much from the monacamy of Plautus,
• 4:32:33
  Speaker 2: and is not an improvement on it. Shakespeare appears to
• 4:32:36
  Speaker 2: have bestowed no great pains on it, and there are
• 4:32:39
  Speaker 2: but a few passages which bear the decided stamp of
• 4:32:42
  Speaker 2: his genius. He seems to have relied on his author
• 4:32:45
  Speaker 2: and on the interest arising out of the intricacy of
• 4:32:47
  Speaker 2: the plot. The curiosity excited is certainly very considerable, though
• 4:32:52
  Speaker 2: not of the most pleasing kind. We are teased, as
• 4:32:56
  Speaker 2: with the riddle, which, notwithstanding, we try to solve in
• 4:33:00
  Speaker 2: reading the play. From the sameness of the names of
• 4:33:03
  Speaker 2: the two Antipholises and the two Dromios, as well as
• 4:33:07
  Speaker 2: from their being constantly taken for each other by those
• 4:33:09
  Speaker 2: who see them, it is difficult, without a painful effort
• 4:33:13
  Speaker 2: of attention, to keep the characters distinct in the mind
• 4:33:17
  Speaker 2: and again on the stage. Either the complete similarity of
• 4:33:21
  Speaker 2: their persons in dress must produce the same perplexity whenever
• 4:33:24
  Speaker 2: they first enter, or the identity of appearance which the
• 4:33:28
  Speaker 2: story supposes, will be destroyed. We still, however, having a
• 4:33:32
  Speaker 2: clue to the difficulty, can tell which is which merely
• 4:33:35
  Speaker 2: from the practical contradictions which arise as soon as the
• 4:33:38
  Speaker 2: different parties begin to speak, and we are indemnified for
• 4:33:42
  Speaker 2: the perplexity and blunders into which we are thrown by
• 4:33:45
  Speaker 2: seeing others thrown into greater and almost inextricable ones. This play,
• 4:33:50
  Speaker 2: among other considerations, leads us not to feel much regret
• 4:33:54
  Speaker 2: that Shakespeare was not what is called a classical scholar.
• 4:33:57
  Speaker 2: We do not think his fort would have ever lain
• 4:33:59
  Speaker 2: in an image or improving on what others invented, so much
• 4:34:03
  Speaker 2: as inventing for himself and perfecting what he invented, not
• 4:34:07
  Speaker 2: perhaps by the omission of faults, but by the addition
• 4:34:10
  Speaker 2: of the highest excellences. His own genius was strong enough
• 4:34:13
  Speaker 2: to bear him up, and he soared longest and best
• 4:34:16
  Speaker 2: on unborrowed plumes. The only passage of a very Shakespearean
• 4:34:21
  Speaker 2: cast in this comedy is the one in which the abbess,
• 4:34:23
  Speaker 2: with admirable characteristic artifice, makes Adriana confess her own misconduct
• 4:34:28
  Speaker 2: in driving her husband mad abbys. How long hath this
• 4:34:33
  Speaker 2: possession held the man Adriana. This week he hath been heavy, sour, sad,
• 4:34:39
  Speaker 2: and much much different from the man he was. But
• 4:34:42
  Speaker 2: till this afternoon his passion never break into extremity of rage.
• 4:34:47
  Speaker 2: Abys hath he not lost much wealth that wreck by
• 4:34:50
  Speaker 2: sea buried some dear friend? Hath not else's eyes strayed
• 4:34:54
  Speaker 2: his affection in an unlawful love, a sin prevailing much
• 4:34:58
  Speaker 2: an youthful man, who give their eyes a lit liberty
• 4:35:00
  Speaker 2: of gazing. Which of these sorrows is he subject too?
• 4:35:04
  Speaker 2: To none of these, except it be the last, namely,
• 4:35:07
  Speaker 2: some love that drew him off from home. You should,
• 4:35:11
  Speaker 2: for that have reprehended him. Why so he did, but
• 4:35:14
  Speaker 2: not rough enough, as roughly as my modesty would let
• 4:35:17
  Speaker 2: me happily in private, and in assemblies too, I but
• 4:35:22
  Speaker 2: not enough. It was the copy of our conference in
• 4:35:26
  Speaker 2: bed He slept, not for my urging it aboard he fed,
• 4:35:30
  Speaker 2: not for my urging it alone. It was the subject
• 4:35:33
  Speaker 2: of my theme and company. I often glanced at it.
• 4:35:36
  Speaker 2: Still did I tell him it was vile and bad abyss?
• 4:35:41
  Speaker 2: And therefore came it that the man was mad. The
• 4:35:44
  Speaker 2: venomed clamors of a jealous woman poisoned more deadly than
• 4:35:48
  Speaker 2: a mad dog's tooth. Seems his sleeps were hindered by
• 4:35:52
  Speaker 2: thy railing, and therefore comes it that his head is light.
• 4:35:56
  Speaker 2: Thou sayst his meat was sauced with eye upbraidings. Emials
• 4:36:00
  Speaker 2: make ill digestions. Therefore the raging fire of fever bread
• 4:36:05
  Speaker 2: and what's of fever but a fit of madness? Thou
• 4:36:08
  Speaker 2: fast to sports were hindered by their brawls, sweet recreation
• 4:36:12
  Speaker 2: barred what doth ensue but moody and dull melancholy kinsmen
• 4:36:16
  Speaker 2: to grim and comfortless despair, and at her heels a
• 4:36:20
  Speaker 2: huge infectious troop of pale distemperatures and foes to life
• 4:36:26
  Speaker 2: in food, in sport, and life preserving rest. To be
• 4:36:29
  Speaker 2: disturbed would man or manner beast? The consequences end by
• 4:36:34
  Speaker 2: jealous fits have scared thy husband from the use of wits. Luciana,
• 4:36:40
  Speaker 2: she never reprehended him, but mildly when he demeaned himself, rough,
• 4:36:44
  Speaker 2: rude and wildly. Oh why bear you these rebukes? And
• 4:36:47
  Speaker 2: answer not, Atriana, she did betray me to my own reproof.
• 4:36:54
  Speaker 2: Pinched the conjuror is also an excrescence not to be
• 4:36:57
  Speaker 2: found in platus. He is indeed a very firm, amidable anachronism.
• 4:37:02
  Speaker 2: They brought one pinch, a hungry, lean faced villain, a merranatomy,
• 4:37:07
  Speaker 2: a montebank, a threadbare juggler, and a fortune teller, a needy,
• 4:37:12
  Speaker 2: hollow eyed, sharp looking wretch, a living dead man. This
• 4:37:18
  Speaker 2: is exactly like some of the puritanical portraits to be
• 4:37:21
  Speaker 2: met with in Hogarth. End of the comedy of errors
• 4:37:27
  Speaker 2: doubtful plays of Shakespeare. We forgive for the satisfaction of
• 4:37:32
  Speaker 2: the reader what the celebrated German critic Schlegel says on
• 4:37:35
  Speaker 2: this subject, and then add a very few remarks of
• 4:37:38
  Speaker 2: our own quote. All the editors, with the exception of Capel,
• 4:37:43
  Speaker 2: are unanimous in rejecting Titus Andronicus is unworthy of Shakespeare,
• 4:37:48
  Speaker 2: though they always allow it to be printed with other
• 4:37:50
  Speaker 2: pieces as the scapegoat, as it were, of their abusive criticism.
• 4:37:55
  Speaker 2: The correct method in such an investigation is first to
• 4:37:59
  Speaker 2: examine into the ex external grounds evidences, et cetera, and
• 4:38:02
  Speaker 2: to weigh their worth, and then to reduce the internal
• 4:38:06
  Speaker 2: reasons derived from the quality of the work. The critics
• 4:38:09
  Speaker 2: of Shakespeare follow a course directly the reverse of this.
• 4:38:13
  Speaker 2: They set out with a preconceived opinion against a peace
• 4:38:16
  Speaker 2: and seek and justification of this opinion to render the
• 4:38:20
  Speaker 2: historical grounds suspicious and to set them aside. Titus Andronicus
• 4:38:25
  Speaker 2: is to be found in the first folio edition of
• 4:38:28
  Speaker 2: Shakespeare's works, which it was known, was conducted by Heminge
• 4:38:32
  Speaker 2: and Condell for many years, his friends and fellow managers
• 4:38:35
  Speaker 2: of the same theater. Is it possible to persuade ourselves
• 4:38:39
  Speaker 2: that they would not have known if a piece in
• 4:38:41
  Speaker 2: their repertory did or did not actually belong to Shakespeare?
• 4:38:44
  Speaker 2: And are we to lay to the charge of these
• 4:38:46
  Speaker 2: honorable men a designed to fraud in this single case,
• 4:38:50
  Speaker 2: when we know that they did not show themselves so
• 4:38:52
  Speaker 2: very desirous of scraping everything together which went by the
• 4:38:56
  Speaker 2: name of Shakespeare, but as it appears, merely gave those
• 4:39:00
  Speaker 2: plays of which they had manuscripts in hand. Yet the
• 4:39:03
  Speaker 2: following circumstance is still stronger. George Meres, a contemporary and
• 4:39:08
  Speaker 2: admirer of Shakespeare, mentions Titus Andronicus in an enumeration of
• 4:39:13
  Speaker 2: his works in the year fifteen ninety eight. Mears was
• 4:39:16
  Speaker 2: personally acquainted with the poet, and so very intimately that
• 4:39:20
  Speaker 2: the latter read over to him his sonnets before they
• 4:39:23
  Speaker 2: were printed. I cannot conceive that all the critical skepticism
• 4:39:27
  Speaker 2: in the world would be sufficient to get over such
• 4:39:29
  Speaker 2: a testimony. This tragedy, it is true, is framed according
• 4:39:33
  Speaker 2: to a false idea of the tragic, which, by an
• 4:39:36
  Speaker 2: accumulation of cruelties and enormities, degenerates into the horrible, and
• 4:39:41
  Speaker 2: yet leaves no deep impression behind. The story of Tirius
• 4:39:45
  Speaker 2: and Philomila is heightened and overcharged under other names, and
• 4:39:49
  Speaker 2: mixed up with the repast of Atreus and Theistes, and
• 4:39:52
  Speaker 2: many other incidents. In detail, there is no want of
• 4:39:56
  Speaker 2: beautiful lines, bold images, nay even features which betray the
• 4:40:00
  Speaker 2: peculiar conception of Shakespeare. Among these we may reckon the
• 4:40:04
  Speaker 2: joy of the treacherous more at the blackness and ugliness
• 4:40:08
  Speaker 2: of his child begotten adultery, and in the compassion of
• 4:40:12
  Speaker 2: Chidus Andronicus grown childish through grief for a fly which
• 4:40:16
  Speaker 2: had been struck dead, and his rage afterwards when he
• 4:40:19
  Speaker 2: imagines he discovers in it his black enemy, we recognize
• 4:40:23
  Speaker 2: the future poet of leir Our. Critics afraid that Shakespeare's
• 4:40:27
  Speaker 2: fame would be injured were it established that in his
• 4:40:30
  Speaker 2: early youth he ushered into the world of feeble and
• 4:40:33
  Speaker 2: immature work. Was Rome the less the conqueror of the world,
• 4:40:37
  Speaker 2: because Remus could leap over its first walls. Let any
• 4:40:40
  Speaker 2: one place himself in Shakespeare's situation. At the commencement of
• 4:40:44
  Speaker 2: his career. He found only a few indifferent models, and
• 4:40:48
  Speaker 2: yet these met with the most favorable reception. Because men
• 4:40:52
  Speaker 2: are never difficult to please in the novelty of an art,
• 4:40:55
  Speaker 2: before their taste is become fastidious from choice and abundance.
• 4:41:00
  Speaker 2: Must not this situation have had its influence on him
• 4:41:03
  Speaker 2: before he learned to make higher demands on himself, and
• 4:41:06
  Speaker 2: by digging deeper in his own mind, discovered the richest
• 4:41:09
  Speaker 2: veins of a noble metal. It is even highly probable
• 4:41:13
  Speaker 2: that he must have made several failures before getting into
• 4:41:16
  Speaker 2: the right path. Genius is, in a certain sense infallible
• 4:41:20
  Speaker 2: and has nothing to learn. But art is to be learned,
• 4:41:24
  Speaker 2: and must be acquired by practice and experience. In Shakespeare's
• 4:41:28
  Speaker 2: acknowledged works we find hardly any traces of his apprenticeship,
• 4:41:32
  Speaker 2: and yet an apprenticeship he certainly had. This every artist
• 4:41:36
  Speaker 2: must have, and especially in a period where he has
• 4:41:39
  Speaker 2: not before him, the example of a school already formed.
• 4:41:43
  Speaker 2: I consider it as extremely probable that Shakespeare began to
• 4:41:46
  Speaker 2: write for the theater at a much earlier period than
• 4:41:49
  Speaker 2: the one which is generally stated, namely, not till after
• 4:41:52
  Speaker 2: the year fifteen ninety. It appears that as early as
• 4:41:56
  Speaker 2: the year fifteen eighty four, when only twenty years of age,
• 4:42:00
  Speaker 2: he had left his paternal home and repaired to London.
• 4:42:03
  Speaker 2: Can we imagine that such an active head would remain
• 4:42:06
  Speaker 2: idle for six whole years without making any attempt to
• 4:42:09
  Speaker 2: emerge by his talents? From an uncongenial situation, that in
• 4:42:14
  Speaker 2: the dedication of the poem of Venus and Adonis he
• 4:42:17
  Speaker 2: calls it the first heir of his invention proves nothing
• 4:42:20
  Speaker 2: against the supposition it was the first which he printed.
• 4:42:24
  Speaker 2: He might have composed it at an earlier period. Perhaps also,
• 4:42:28
  Speaker 2: he did not include theatrical labors as they then possessed,
• 4:42:32
  Speaker 2: but little literary dignity the earlier Shakespeare began to compose
• 4:42:36
  Speaker 2: for the theatre. Though less we are enabled to consider
• 4:42:39
  Speaker 2: the immaturity and imperfection of a work as a proof
• 4:42:43
  Speaker 2: of its spuriousness in opposition to historical evidence. If we
• 4:42:47
  Speaker 2: only find in it prominent features of his mind. Several
• 4:42:51
  Speaker 2: of the works rejected as spurious may still have been
• 4:42:54
  Speaker 2: produced in the period betwixt Titus Andronicus and the earliest
• 4:42:58
  Speaker 2: of the acknowledged pieces Quote. At last. Stephens published seven
• 4:43:03
  Speaker 2: pieces ascribed to Shakespeare in two supplementary volumes. It is
• 4:43:08
  Speaker 2: to be remarked that they all appeared in print in
• 4:43:10
  Speaker 2: Shakespeare's lifetime, with his name prefixed to full length. There
• 4:43:15
  Speaker 2: the following quote one Lacny. The proofs of the genuineness
• 4:43:20
  Speaker 2: of this piece are not altogether unambiguous. The grounds for doubt,
• 4:43:25
  Speaker 2: on the other hand, are entitled to attention. However, this
• 4:43:29
  Speaker 2: question is immediately connected with that respecting Titus Andronicus, and
• 4:43:33
  Speaker 2: must be at the same time resolved in the affirmative
• 4:43:36
  Speaker 2: or negative quote two Pericles, Prince of Tire. This piece
• 4:43:41
  Speaker 2: was acknowledged by Dryden, but as a youthful work of Shakespeare,
• 4:43:44
  Speaker 2: it is most undoubtedly his, and has been admitted into
• 4:43:48
  Speaker 2: several of the late editions. The supposed imperfections originate in
• 4:43:52
  Speaker 2: the circumstance that Shakespeare here handled a childish and extravagant
• 4:43:57
  Speaker 2: romance of the old poet Gower, and was willing to
• 4:44:00
  Speaker 2: drag the subject out of its proper sphere. Hence he
• 4:44:03
  Speaker 2: even introduces Gower himself and makes him deliver a prologue
• 4:44:07
  Speaker 2: entirely in his antiquated language and versification. This power of
• 4:44:12
  Speaker 2: assuming so for in a manner is at least no
• 4:44:14
  Speaker 2: proof of helplessness. Quote three The London Prodigal. If we
• 4:44:20
  Speaker 2: are not mistaken, Lessing pronounced this piece to be Shakespeare's
• 4:44:24
  Speaker 2: and wished to bring it on the German stage. Quote
• 4:44:27
  Speaker 2: four The Puritan or the Widow of Watling Street. One
• 4:44:32
  Speaker 2: of my literary friends, intimately acquainted with Shakespeare, was of
• 4:44:35
  Speaker 2: opinion that the poet must have wished to write a
• 4:44:38
  Speaker 2: play for once in the style of ben Jonson, and
• 4:44:41
  Speaker 2: that in this way we must account for the difference
• 4:44:43
  Speaker 2: between the present piece and his usual manner. To follow
• 4:44:46
  Speaker 2: out this idea, however, would lead to a very nice
• 4:44:49
  Speaker 2: critical investigation. Quote five Thomas Lord Cromwell, Quote six Sir
• 4:44:55
  Speaker 2: John Oldcastle, first Part Quote seven a Yorkshire t quote.
• 4:45:02
  Speaker 2: The three last pieces are not only unquestionably Shakespeare's, but
• 4:45:06
  Speaker 2: in my opinion they deserve to be classed among his
• 4:45:09
  Speaker 2: best and maturest works. Stephens admits at last, in some
• 4:45:13
  Speaker 2: degree that they are Shakespeare's as well as the others,
• 4:45:16
  Speaker 2: accepting Lochrenay, but he speaks of all of them with
• 4:45:19
  Speaker 2: great contempt as quite worthless productions. This condemnatory sentence is not, however,
• 4:45:25
  Speaker 2: in the slightest degree, convincing, nor is it supported by
• 4:45:28
  Speaker 2: critical acumen. I should like to see how such a
• 4:45:31
  Speaker 2: critic would, of his own natural suggestion, have decided on
• 4:45:35
  Speaker 2: Shakespeare's acknowledged masterpieces, and what he would have thought of
• 4:45:38
  Speaker 2: praising in them, had the public opinion imposed on him
• 4:45:41
  Speaker 2: the duty of admiration. Thomas Lord Cromwell and Sir John
• 4:45:47
  Speaker 2: Oldcastle are biographical dramas and models in this species. The
• 4:45:52
  Speaker 2: first is linked from its subject to Henry the eighth,
• 4:45:55
  Speaker 2: and the second to Henry the fifth. The second part
• 4:45:58
  Speaker 2: of Oldcastle is wanting. I know not whether a copy
• 4:46:01
  Speaker 2: of the old edition has been discovered in England or
• 4:46:05
  Speaker 2: whether it is lost. The Yorkshire Tragedy is a tragedy
• 4:46:08
  Speaker 2: in one act, a dramatized tale of murder. The tragical
• 4:46:12
  Speaker 2: effect is overpowering, and it is extremely important to see
• 4:46:15
  Speaker 2: how poetically Shakespeare could handle such a subject. Quote there
• 4:46:19
  Speaker 2: have been still farther ascribed to him. First The Merry
• 4:46:23
  Speaker 2: Devil of Edmonton, a comedy in one act printed in
• 4:46:27
  Speaker 2: Dodsley's Old Plays. This has certainly some appearances in its favor.
• 4:46:32
  Speaker 2: It contains a merry landlord who bears a great similarity
• 4:46:35
  Speaker 2: to the one in The Merry Wives of Windsor. However,
• 4:46:39
  Speaker 2: at all events, though an ingenious it is but a
• 4:46:41
  Speaker 2: hasty sketch. Second The Accusation of Paris, Third, The Birth
• 4:46:47
  Speaker 2: of Merlin, Fourth Edward, the Third, fifth, The Fair Emma, sixth, Mutudors,
• 4:46:55
  Speaker 2: seventh Arden of Feversham. I have never seen any of these,
• 4:47:00
  Speaker 2: and cannot therefore say anything respecting them. From the passages sided,
• 4:47:04
  Speaker 2: I am led to conjecture that the subject of Mucidorus
• 4:47:07
  Speaker 2: is the popular story of Valentine and orson a beautiful
• 4:47:11
  Speaker 2: subject which Lope de Vega has also taken for a play.
• 4:47:15
  Speaker 2: Ardent of Feversham is said to be a tragedy on
• 4:47:18
  Speaker 2: the story of a man from whom the poet was
• 4:47:20
  Speaker 2: descended by on the mother's side. If the quality of
• 4:47:23
  Speaker 2: the piece is not too directly at variance with this claim,
• 4:47:27
  Speaker 2: the circumstance would afford an additional probability in its favor,
• 4:47:31
  Speaker 2: For such motives were not foreign to Shakespeare. He treated
• 4:47:34
  Speaker 2: Henry the Seventh, who bestowed lands on his forefathers for
• 4:47:37
  Speaker 2: services performed by them, with a visible partiality. Whoever takes
• 4:47:43
  Speaker 2: from Shakespeare a play or early ascribed to him and
• 4:47:46
  Speaker 2: confessedly belonging to his time, is unquestionably bound to answer,
• 4:47:51
  Speaker 2: with some degree of probability this question, who has then
• 4:47:55
  Speaker 2: written it? Shakespeare's competitors in the dramatic walk are pretty
• 4:47:59
  Speaker 2: well known, And if those of them who have even
• 4:48:01
  Speaker 2: acquired a considerable name, a Lily, a Marlowe, a Heywood,
• 4:48:06
  Speaker 2: are still so very far below him, we can hardly
• 4:48:09
  Speaker 2: imagine that the author of a work which rises so
• 4:48:11
  Speaker 2: high beyond theirs would have remained unknown. End quote, Lectures
• 4:48:17
  Speaker 2: on Dramatic Literature, Volume two, page two hundred fifty two.
• 4:48:22
  Speaker 2: We agree to the truth of this last observation, but
• 4:48:26
  Speaker 2: not to the justice of its application to some of
• 4:48:28
  Speaker 2: the plays here mentioned. It is true that Shakespeare's best
• 4:48:32
  Speaker 2: works are very superior to those of Marlowe or Heywood.
• 4:48:35
  Speaker 2: But it is not true that the best of the
• 4:48:38
  Speaker 2: doubtful plays above enumerated are superior or even equal to
• 4:48:42
  Speaker 2: the best of theirs. The Yorkshire Tragedy in which Legal
• 4:48:46
  Speaker 2: speaks of as an undoubted production of our authors, is
• 4:48:50
  Speaker 2: much more in the manner of Haywood than of Shakespeare.
• 4:48:53
  Speaker 2: The effect is indeed overpowering, but the mode of producing
• 4:48:56
  Speaker 2: it is by no means poetical. The praise which Legal
• 4:48:59
  Speaker 2: gives to Thomas, Lord Cromwell and to Sir John Oldcastle
• 4:49:03
  Speaker 2: is altogether exaggerated. They are very indifferent compositions, which have
• 4:49:08
  Speaker 2: not the slightest pretensions to rank with Henry the Fifth
• 4:49:11
  Speaker 2: or Henry the eighth. We suspect that the German critic
• 4:49:14
  Speaker 2: was not very well acquainted with the dramatic contemporaries of Shakespeare,
• 4:49:18
  Speaker 2: or aware of their general merits, and that he accordingly
• 4:49:22
  Speaker 2: mistakes a resemblance in style and manner for an equal
• 4:49:25
  Speaker 2: degree of excellence. Shakespeare differed from the other writers of
• 4:49:29
  Speaker 2: his age not in the mode of treating his subjects,
• 4:49:33
  Speaker 2: but in the graceome power which he displayed in them.
• 4:49:36
  Speaker 2: The reason assigned by a literary friend of Schleiegel's for
• 4:49:39
  Speaker 2: supposing The Puritan or the Widow of Watling Street to
• 4:49:42
  Speaker 2: be Shakespeare's, namely that it is in the style of
• 4:49:46
  Speaker 2: ben Jonson, that is to say, in a style just
• 4:49:49
  Speaker 2: the reverse of his own is not very satisfactory to
• 4:49:53
  Speaker 2: a plain English understanding. Locriney and the London Prodigal, if
• 4:49:58
  Speaker 2: they were Shakespeare's at all, must have been among the
• 4:50:01
  Speaker 2: sins of his youth. Arden of Feversham contains several striking passages,
• 4:50:06
  Speaker 2: but the passion which they express is rather that of
• 4:50:09
  Speaker 2: a sanguine temperament than of a lofty imagination, and in
• 4:50:13
  Speaker 2: this respect they approximate more nearly to the style of
• 4:50:16
  Speaker 2: other writers of the time than to Shakespeare's. Titus Andronicus
• 4:50:21
  Speaker 2: is certainly as unlike Shakespeare's usual style as it is possible.
• 4:50:26
  Speaker 2: It is an accumulation of vulgar physical horrors, in which
• 4:50:30
  Speaker 2: the power exercised by the poet bears no proportion to
• 4:50:33
  Speaker 2: the repugnance excited by the subject. The character of Erron
• 4:50:37
  Speaker 2: the Moor is the only thing which shows any originality
• 4:50:40
  Speaker 2: of conception, and the scene in which he expresses his
• 4:50:43
  Speaker 2: joy quote at the blackness and ugliness of his child
• 4:50:46
  Speaker 2: begotten adultery, the only one worthy of Shakespeare. Even this
• 4:50:51
  Speaker 2: is worthy of him only in the display of power,
• 4:50:53
  Speaker 2: for it gives no pleasure. Shakespeare managed these things differently,
• 4:50:58
  Speaker 2: Nor do we think it is sufficient answer to say
• 4:51:01
  Speaker 2: that this was an embryo or crude production of the author.
• 4:51:04
  Speaker 2: In its kind, it is full grown and its features
• 4:51:08
  Speaker 2: decided and overcharged. It is not like a first imperfect essay,
• 4:51:12
  Speaker 2: but shows a confirmed habit, a systematic preference of violent
• 4:51:16
  Speaker 2: effect to everything else. There are occasional detached images of
• 4:51:20
  Speaker 2: great beauty and delicacy, but these were not beyond the
• 4:51:23
  Speaker 2: powers of other writers than living. The circumstance which inclines
• 4:51:28
  Speaker 2: us to reject the external evidence in favor of this
• 4:51:31
  Speaker 2: play being Shakespeare's is that the grammatical construction is constantly
• 4:51:35
  Speaker 2: false and mixed up with vulgar abbreviations, a fault that
• 4:51:39
  Speaker 2: never occurs in any of his genuine plays. A similar
• 4:51:43
  Speaker 2: defect and the halting measure of the verse are the
• 4:51:46
  Speaker 2: chief objections to Pericles of Tire. If we accept the
• 4:51:49
  Speaker 2: far fetched and complicated absurdity of the story, the movement
• 4:51:54
  Speaker 2: of the thoughts and passions has something in it not
• 4:51:57
  Speaker 2: unlike Shakespeare, and several of the discriptions are either the
• 4:52:01
  Speaker 2: original hints of passages which Shakespeare has engrafted on his
• 4:52:04
  Speaker 2: other plays, or our imitations of them by some contemporary poet.
• 4:52:09
  Speaker 2: The most memorable idea in It is in Marina's speech
• 4:52:13
  Speaker 2: where she compares the world to quote a lasting storm
• 4:52:17
  Speaker 2: hurrying her from her friends. End of doubtful plays of Shakespeare,
• 4:52:24
  Speaker 2: our idolatry of Shakespeare, not to say our admiration ceases
• 4:52:29
  Speaker 2: with his plays. In his other productions, he was a
• 4:52:32
  Speaker 2: mere author, though not a common author. It was only
• 4:52:36
  Speaker 2: by representing others that he became himself. He could go
• 4:52:40
  Speaker 2: out of himself and express the soul of Cleopatra. But
• 4:52:44
  Speaker 2: in his own person he appeared to be always waiting
• 4:52:47
  Speaker 2: for the prompter's cue. In expressing the thoughts of others,
• 4:52:50
  Speaker 2: he seemed inspired. In expressing his own, he was a mechanic.
• 4:52:55
  Speaker 2: The license of an assumed character was necessary to restore
• 4:52:59
  Speaker 2: his genius to the privileges of nature, and to give
• 4:53:02
  Speaker 2: him courage to break through the tyranny of fashion the
• 4:53:05
  Speaker 2: trammels of custom. In his plays, he was quote as
• 4:53:10
  Speaker 2: broad and casing as the general heir. In his poems,
• 4:53:13
  Speaker 2: on the contrary, he appears to be quote cooped and
• 4:53:17
  Speaker 2: cabined in by all the technicalities of art, by all
• 4:53:21
  Speaker 2: the petty intricacies of thought and language which poetry had
• 4:53:24
  Speaker 2: learned from the controversial jargon of the schools where words
• 4:53:28
  Speaker 2: had been made a substitute for things. There was, if
• 4:53:32
  Speaker 2: we mistake not, something of modesty and a painful sense
• 4:53:36
  Speaker 2: of personal propriety at the bottom of this. Shakespeare's imagination,
• 4:53:41
  Speaker 2: by identifying itself with the strongest characters and the most
• 4:53:44
  Speaker 2: trying circumstances, grappled at once with nature and trampled the
• 4:53:49
  Speaker 2: littleness of art under his feet. The rapid changes of situation,
• 4:53:54
  Speaker 2: the wide range of the universe gave him life and spirit,
• 4:53:58
  Speaker 2: and afforded full scope to his genius. But returned into
• 4:54:02
  Speaker 2: his closet again, and having assumed the badge of his profession,
• 4:54:06
  Speaker 2: he could only labor in his vocation and conform himself
• 4:54:10
  Speaker 2: to existing models. The thoughts, the passions, the words which
• 4:54:14
  Speaker 2: the poet's pen, glancing from heaven to earth, from earth
• 4:54:17
  Speaker 2: to heaven, lent to others, shook off the fetters of
• 4:54:21
  Speaker 2: pedantry and affectation, while his own thoughts and feelings, standing
• 4:54:25
  Speaker 2: by themselves, were seized upon as lawful prey and tortured
• 4:54:31
  Speaker 2: to death according to the established rules and practice of
• 4:54:34
  Speaker 2: the day. In a word, we do not like Shakespeare's
• 4:54:37
  Speaker 2: poems because we like his plays. The one and all
• 4:54:41
  Speaker 2: their excellences are just the reverse of the other. It
• 4:54:44
  Speaker 2: has been the fashion of late to cry up our
• 4:54:47
  Speaker 2: author's poems as equal to his plays. This is the
• 4:54:50
  Speaker 2: desperate cant of modern criticism. We would ask, was there
• 4:54:55
  Speaker 2: the slightest comparison between Shakespeare and either Chaucer or Spencer
• 4:55:00
  Speaker 2: as mere poets? Not any The two poems of Venus
• 4:55:04
  Speaker 2: and Adonis and of Tarquin and Lucrease appear to us
• 4:55:07
  Speaker 2: like a couple of ice houses. They're about as hard
• 4:55:11
  Speaker 2: as glittering and as cold. The author seems all the
• 4:55:14
  Speaker 2: time to be thinking of his verses, and not of
• 4:55:17
  Speaker 2: his subject, not of what his characters would feel, but
• 4:55:20
  Speaker 2: of what he shall say, And, as it must happen
• 4:55:23
  Speaker 2: in all such cases, he always puts into their mouths
• 4:55:25
  Speaker 2: those things which they would be the last to think of,
• 4:55:29
  Speaker 2: and which shows the greatest ingenuity in him. To find
• 4:55:31
  Speaker 2: out the whole is labored uphill work. The poet is
• 4:55:36
  Speaker 2: perpetually singling out the difficulties of the art to make
• 4:55:40
  Speaker 2: an exhibition of his strength and skill in wrestling with them.
• 4:55:44
  Speaker 2: He is making perpetual trials of them, as if his
• 4:55:46
  Speaker 2: mastery over them were doubted. The images which are often striking,
• 4:55:51
  Speaker 2: are generally applied to things which they are the least like,
• 4:55:55
  Speaker 2: so that they do not blend with the poem, but
• 4:55:57
  Speaker 2: seem stuck upon it like a splendid patchwork work, or
• 4:56:00
  Speaker 2: remain quite distinct from it, like detached substances painted and
• 4:56:05
  Speaker 2: varnished over. A beautiful thought is sure to be lost
• 4:56:08
  Speaker 2: in an endless commentary upon it. The speakers are like
• 4:56:12
  Speaker 2: persons who have both leisure and inclination to make riddles
• 4:56:16
  Speaker 2: on their own situation, and to twist and turn every
• 4:56:19
  Speaker 2: object or incident into acrostics and anagrams. Everything is spun
• 4:56:24
  Speaker 2: out into allegory, and a digression is always preferred to
• 4:56:27
  Speaker 2: the main story. Sentiment is built up upon plays of words.
• 4:56:32
  Speaker 2: The hero or heroine feels not from the impulse of passion,
• 4:56:36
  Speaker 2: but from the force of dialectics. There is besides a
• 4:56:40
  Speaker 2: strange attempt to substitute the language of painting for that
• 4:56:44
  Speaker 2: of poetry, to make us see their feelings in the
• 4:56:47
  Speaker 2: faces of the persons, And again consistently with this in
• 4:56:51
  Speaker 2: the description of the picture and Tarquin and Lucrease. Though
• 4:56:55
  Speaker 2: circumstances are chiefly insisted on which it would be impossible
• 4:56:58
  Speaker 2: to convey except by words. The invocation to opportunity in
• 4:57:03
  Speaker 2: the Tarquin and Lucrease is full of thoughts and images,
• 4:57:07
  Speaker 2: but at the same time it is overloaded by them.
• 4:57:10
  Speaker 2: The concluding stanza expresses all our objections to this kind
• 4:57:13
  Speaker 2: of poetry. Oh idle words servants to shallow fools, unprofitable sounds,
• 4:57:20
  Speaker 2: weak arbitrators, busy yourselves in skill contending schools debate when
• 4:57:25
  Speaker 2: leisure serves with dull debaters to trembling clients, be their mediators.
• 4:57:31
  Speaker 2: For me, I forced not argument a straw, since that
• 4:57:34
  Speaker 2: my case has pasted all help of law. The description
• 4:57:39
  Speaker 2: of the horse in Venus and Adonis has been particularly admired,
• 4:57:43
  Speaker 2: and not without reason. Round hooft, short jointed, fetlock, shag
• 4:57:48
  Speaker 2: and long, broad breast, full eyes, small head and nostril,
• 4:57:52
  Speaker 2: wide high crests, short ears, straight legs and passing, strong
• 4:57:57
  Speaker 2: thin maine, thick tail, broad buttock, tender hide. Look what
• 4:58:02
  Speaker 2: a horse should have he did not lack, save a
• 4:58:04
  Speaker 2: proud rider on so proud a back. Now, this inventory
• 4:58:08
  Speaker 2: of perfection shows great knowledge of the horse and is
• 4:58:12
  Speaker 2: good matter of fact poetry. Let the reader but compare
• 4:58:16
  Speaker 2: it with a speech in the midsummer nice dream, where
• 4:58:18
  Speaker 2: theseus describes his hounds, and their heads are hung with
• 4:58:22
  Speaker 2: ears that sweep away the morning dew. And he will
• 4:58:25
  Speaker 2: perceive at once what we mean by the difference between
• 4:58:28
  Speaker 2: Shakespeare's own poetry and that of his plays. We prefer
• 4:58:32
  Speaker 2: the passionate pilgrim very much to the lover's complaint. It
• 4:58:36
  Speaker 2: has been doubted whether the latter poem is Shakespeare's. Of
• 4:58:40
  Speaker 2: the sonnets, we do not well know what to say.
• 4:58:43
  Speaker 2: The subject of them seems to be somewhat equivocal, But
• 4:58:46
  Speaker 2: many of them are highly beautiful in themselves, and interesting
• 4:58:51
  Speaker 2: as they relate to the state of the personal feelings
• 4:58:53
  Speaker 2: of the author. The following are some of the most
• 4:58:56
  Speaker 2: striking constancy. Let those who are in favor with their
• 4:59:02
  Speaker 2: stars of public honor and proud titles, boast whilst die,
• 4:59:06
  Speaker 2: whom fortune of such triumph bars un looked for joy
• 4:59:10
  Speaker 2: in that I honor most great princes favorites their fairly spread.
• 4:59:15
  Speaker 2: But as the marigold in the son's eye and in themselves,
• 4:59:19
  Speaker 2: their pride lies buried for at a frown, they, in
• 4:59:22
  Speaker 2: their glory die the painful warrior, famous it for fight
• 4:59:27
  Speaker 2: after a thousand victories once foiled is from the book
• 4:59:30
  Speaker 2: of honor, Raise it quite and all the rest forgot
• 4:59:34
  Speaker 2: for which he toiled. Then happy I that love and
• 4:59:38
  Speaker 2: am beloved, where I may not remove nor be removed
• 4:59:44
  Speaker 2: Love's consolation. When in disgrace with fortune and men's eyes,
• 4:59:50
  Speaker 2: I all alone beweep my outcastate and trouble death heaven,
• 4:59:55
  Speaker 2: with my bootless cries, and look upon myself and curse
• 5:00:00
  Speaker 2: my fate, wishing me like to one more rich in hope,
• 5:00:04
  Speaker 2: featured like him, like him, with friends possessed, desiring this
• 5:00:09
  Speaker 2: man's art and that man's scope, with what I most enjoy,
• 5:00:13
  Speaker 2: contented least. Yet in these thoughts myself almost despising haply,
• 5:00:20
  Speaker 2: I think on thee and then my state, like to
• 5:00:23
  Speaker 2: the lark at break of day, arising from sullen earth,
• 5:00:27
  Speaker 2: sings hymns at Heaven's gate, for thy sweet love remembered
• 5:00:33
  Speaker 2: such wealth brings that. Then I scorn to change my
• 5:00:36
  Speaker 2: state with King's novelty. My love is strengthened, though more
• 5:00:45
  Speaker 2: weak and seeming. I love not less, though less the
• 5:00:48
  Speaker 2: show appear, that love is merchandised, whose rich esteeming the
• 5:00:54
  Speaker 2: owner's tongue doth publish everywhere our love was new, and
• 5:00:59
  Speaker 2: then but in the spring, when I was wont to
• 5:01:02
  Speaker 2: greet it with my lace, as Phylamel in summer's front
• 5:01:06
  Speaker 2: doth sing and stops his pipe in growth of riper days.
• 5:01:11
  Speaker 2: Not that the summer is less pleasant now than when
• 5:01:14
  Speaker 2: her mournful hymns did hush the night, but that wild
• 5:01:18
  Speaker 2: music burthens every bough, and sweets grown common lose their
• 5:01:24
  Speaker 2: dear delight. Therefore, like her, I sometimes hold my tongue,
• 5:01:30
  Speaker 2: because I would not dull you with my song. Life's decay.
• 5:01:37
  Speaker 2: That time of year, thou mayest in me behold when
• 5:01:41
  Speaker 2: yellow leaves, or none or few do hang upon these boughs,
• 5:01:46
  Speaker 2: which shake against the cold, bare ruined choirs, where late
• 5:01:52
  Speaker 2: the sweet birds sang. In me, thou seest the twilight
• 5:01:56
  Speaker 2: of such day as after sunset fadeth in the west,
• 5:02:01
  Speaker 2: which by and by black knight doth take away Death's
• 5:02:05
  Speaker 2: second self, as seals up all in rest. In me,
• 5:02:10
  Speaker 2: thou seest the glowing of such fire that on the
• 5:02:14
  Speaker 2: ashes of his youth doth lie as the death bed,
• 5:02:18
  Speaker 2: whereon it must expire, consumed with that which it was
• 5:02:22
  Speaker 2: nourished by This thou perceivest, which makes thy love more strong,
• 5:02:29
  Speaker 2: to love that well which thou must leave ere long.
• 5:02:34
  Speaker 2: In all these, as well as many others, there is
• 5:02:37
  Speaker 2: a mild tone of sentiment, deep mellow and sustained, very
• 5:02:42
  Speaker 2: different from the crudeness of his earlier poems. End of
• 5:02:47
  Speaker 2: Poems and Sonnets. End of Characters of Shakespeare's Plays by
• 5:02:52
  Speaker 2: William Haslett, with an introduction by Sir Arthur Kullercouch,