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Mal. We shall not spend a large expense12 of time, Before we reckon with your several loves, And make us even with you. My thanes and kinsmen, Henceforth be earls, the first that ever Scotland In such an honour nam’d13. What's more to do, Which would he planted newly with the time, As calling home our exil'd friends abroad, That fled the snares of watchful tyranny; Producing forth the cruel ministers Of this dead butcher, and his fiendlike queen; Who, as 'tis thought, by self and violent hands Took off her life;—This, and what needful else That calls upon us, by the grace of Grace, We will perform in measure, time, and place: So thanks to all at once, and to each one, Whom we invite to see us crown'd at Scone.

[Flourish. Ereunt.

12 To spend an expense of time is, it is true, an awkward expression, yet it is probably correct; for, in the Comedy of Errors, Act iii. Sc. 1, Antipholus of Ephesus says "This jest" shall cost me some expense.'

13 Malcolm, immediately after his coronation, called a parliament at Forfair; in the which he rewarded them with lands and livings that had assisted him against Macbeth. Manie of them that were before thanes were at this time made earles; as Fife, Menteith, Atholl, Levenox, Murrey, Caithness, Rosse, aud Angus.'- Holinshed's History of Scotland, p. 176.

This play is deservedly celebrated for the propriety of its fictions, and solemnity, grandeur, and variety of its action; but it has nó nice discriminations of character: the events are too great to admit the influence of particular dispositions, and the course of the action necessarily determines the conduct of the agents.

The danger of ambition is well described ; and I know not whether it may not be said, in defence of some parts which now seem improbable, that in Shakspeare's time it was necessary to warn credulity against vain and illusive predictions.

The passions are directed to their true end. Lady Macbeth is merely detested; and though the courage of Macbeth preserves some esteein, yet every reader rejoices at his fall.




PRELIMINARY REMARKS. TA19 historical play was founded on a former drama, entitled 'The Troublesome Raigne of John, King of England, with the Discoverie of King Richard Cordelion's base Son, vulgarly named the Bastard Fawconbridge: also the Death of King John at Swinstead Abbey As it was (sundry, times) publikely acted by the Queenes Majesties Players in the honourable Cittie of London.' This piece, which was in two parts, was ‘printed at London for Sampson Clarke, 1591,' without the author's name: was again republished in 1611, with the letters W. Sh. in the title-page; and afterwards, in 1622, with the name of William Shakspeare at length. It may be found by the curious reader among the 'Sis Old Plays on which Shakspeare founded,' &c. published by Mr. Steevens and Mr. Nichols some years since.

Shakspeare bas followed the old play in the conduct of its plot, and has even adopted some of its lines. The number of quotations from Horace, and similar scraps of learning scattered over this motley piece, ascertain it to have been the work of a scholar. It contains likewise a quantity of rhyming Latin and ballad merre; and, in a sceue where the Bastard is represented as plundering a monastery, there are strokes of humour which, from their particular turn, were most evidently, produced by another hand than that of Shakspeare. Pope attributes the old play to Shakspeare and Rowley conjointly; but we know not on what foundation. Dr. Farmer thinks there is no doubt that Rowley wrote the old play; and when Shakspeare's play was called for, and could not be procured from the players, a piratical bookseller reprinted the old one under his name.

Though, as Johnson observes, King John is not written with the utmost power of Shakspeare, yet it has parts of preeminent pathos and beauty, and characters highly interesting drawn with great force and truth. The scene between John and Hubert is perhaps one of the most masterly and striking which our poet ever penned. The secret workings of the dark and turbulent soal of the usurper, ever shrinking from the full development of bis own blondy purpose, the artful expressions of grateful attachment by which he wins Hubert to do the deed, and the sententious brevity of the close, manifest that consumate skill and wonderful knowledge of human character which are to be found in Shakspeare alone. But what shall we say of that heart-rending scene between Hubert and Arthur, a scene so deeply affecting the soul with terror and pity, that even the sternest bosom must melt into tears ; it would perhaps be too overpowering for the feelings, were it not for the 'alleviating influence of the innocent and artless eloquence of the poor child.' His death afterwards,

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when he throws himself from the prison walls, excites, the deepest
commiseration for his hapless fate. The maternal grief of Con-
stance, moving the haughty unbending soul of a prond queen and
affectionate mother to the very confines of the most hopeless
despair, bordering on madness, is no less finely conceived than
sustained by language of the most impassioned and vehement
eloquence. How exquisitely beautiful are the following lines :-

"Grief fills the room up of my absent child;
Lies in his bed ; walks up and down with me;
Pats on his pretty looks, repeats his words,
Remembers me of all his gracious parts,
Stuffs out his vacant garments with his form ;

Then have I reason to be fond of grief.'
Shak-peare has judiciously preserved the character of the
Bastard Faulconbridge, which was furnished him by the old play,
to alleviate by his comic humour the poignant grief excited by
the too painful events of the tragic part of the play. Faulcon-
bridge is a favourite with every one: he is not only a man of
wit, bat an heroic soldier ; and we lean toward him from the
first for the good humour he displays in his litigation with his
brother respecting the succession to his supposed father :-

'He hath a trick of Coeur de Lion's face

The very spirit of Plantagenet! This bespeaks our favour toward him: his courage, his wit, and his frankness secure it.

Schlegel has remarked that, in this play, “the political and warlike events are dressed ont with solemn pomp, for the very reason that they possess but little true grandcur. The falsehood and selfishness of the monarch are evident in the style of the manifesto ; conventional dignity is most indispensable when personal dignity is wanting. Faulconbridge ridicules the secret springs of politics without disapproving them, but frankly confesses that he is endeavouring to make his fortune by similar means, and wishes rather to belong to the deceivers than the deceived. Our commiseration is a little excited for the fallen and degraded monarch toward the close of the play. The death of the king and his previous suffering are not among the least impressive parts; they carry a pointed moral.

Malone places the date of the composition in 1596.

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