OBSERVATIONS. The Life and Death of King Richard III.-This tragedy, though it is called the Life and Death of this Prince, comprizes, at most, but the last eight years of his time for it opens with George duke of Clarence being clapped up in the Tower, which happened in the beginning of the year 1477 ;* and closes with the death of Richard at Bosworth-field, which battle was fought on the 22d of August, 1485. THEOBALD. This is one of the most celebrated of our author's performances yet I know not whether it has not happened to him as to others, to be praised most when praise is not most deserved. That this play has scenes noble in themselves, and very well contrived to strike in the exhibition, cannot be denied. But some parts are trifling, others shocking, and some improbable. JOHNSON. I agree entirely with Dr. Johnson in thinking that this play from its first exhibition to the present hour has been estimated greatly beyond its merit. From the many allusions to it in books of that age, and the great number of editions it passed through, I suspect it was more often represented and more admired than any of our author's tragedies. Its popularity perhaps in some measure arose from the detestation in which Richard's character was justly held, which must have operated more strongly on those whose grand-fathers might have lived near this time; and from its being patronized by the Queen on the throne, who probably was not a little pleased at seeing King Henry VII. placed in the only favourable light in which he could have been exhibited on the scene. MALONE. I most cordially join with Dr. Johnson and Mr. Malone in their opinions; and yet perhaps they have overlooked one cause of the success of this tragedy. The part of Richard is, perhaps, beyond all others variegated, and consequently favourable to a judicious performer. It comprehends, indeed, a trait of almost every species of character on the stage. The hero, the lover, the statesman, the buffoon, the hypocrite, the hardened and repenting sinner, &c. are to be found within its compass. No wonder, therefore, that the discriminating powers of a Burbage, a Garrick, and a Henderson, should at different periods have given it a popularity beyond other dramas of the same author. Yet the favour with which this tragedy is now received, must also in some measure be imputed to Mr. Cibber's reformation of it, which, generally considered, is judicious. STEEVENS. The real length of time in this piece is fourteen years; (not eight years as Mr. Theobald supposed :) for the second scene commences with the funeral of King Henry VI. who, according to the received account, was mur dered on the 21st May, 1471. The imprisonment of Clarence, which is represented previously in the first scene, did not take place till 1477-8. MALONE. A young son of Clarence. HENRY, earl of Richmond, afterwards K. Henry VII. Cardinal BoURCHIER, archbishop of Canterbury. THOMAS ROTHERAM, archbishop of York. MORTON, bishop of Ely. Duke of BUCKINGHAM. JOHN Duke of NORFOLK: Earl of SURREY, his son. LEY. Sir THOMAS VAUGHAN. Sir RICHARD RATCLIFF. Sir JAMES BLOUNT. Sir WALTER HERBERT. ELIZABETH, queen of king Edward IV. Duchess of YORK, mother to king Edward IV. Clarence, and Gloster. Lady ANNE, widow of Edward prince of Wales, son to king Henry VI. ; afterwards married to the duke of Gloster. A young daughter of Clarence. Lords, and other Attendants; two Gentlemen, a Pursuivant, Scrivener, Citizens, Murderers, Messengers, Ghosts, Soldiers, &c. SCENE, England. LIFE AND DEATH OF KING RICHARD III. ACT I. SCENE 1.-London. A Street. Enter GLOSTER. Gloster. Now is the winter of our discontent Made glorious summer by this sun of York ;' Now are our brows bound with victorious wreaths To the lascivious pleasing of a lute. But I,—that am not shap❜d for sportive tricks, 1, that am rudely stamp'd, and want love's majesty, [] Alluding to the cognizance of Edward IV. which was a sun, in memory of the three suns, which are said to have appeared at the battle which he gained over the Lancastrians at Mortimer's Cross. STEEV. STEEV. [2] A measure was strictly speaking, a court dance of a stately turn, though the word is sometimes employed to express dances in general. [3] Barbed steeds-i. e. steeds caparisoned in a warlike manner. warde, in his life and Raigne of Henry IV. 1599, says, "The duke of Hereford came to the barriers, mounted upon a white courser, barbed with blew and green velvet," &c. STEEV. [4] By dissembling is not meant hypocritical nature, that pretends one thing and does another but nature that puts together things of a dissimilar kind, as a brave soul and a deformed body. WARBURTON. That dogs bark at me, as I halt by them; And hate the idle pleasures of these days.5 Of Edward's heirs the murderer shall be. Dive, thoughts, down to my soul! here Clarence comes. Enter CLARENCE guarded, and BRAKENBURY. Brother, good day: What means this armed guard, That waits upon your grace? Clar. His majesty, Tendering my person's safety, hath appointed Glo. Upon what cause? Clar. Because my name is-George. Glo. Alack, my lord, that fault is none of yours; That you shall be new christen'd in the Tower. As yet I do not: But, as I can learn, He hearkens after prophecies, and dreams; And, for my name of George begins with G, [5] Shakspeare very diligently inculcates, that the wickedness of Richand proceeded from his deformity, from the envy that rose at the comparison of his own person with others, and which incited him to disturb the pleas ures that he could not partake. JOHNS. [6] Preparations for mischief. The induction is preparatory to the action of the play. JOHNS. [7] That is, if Edward keeps his word. JOHNS, |