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trolable affliction of Constance for the wrongs which she sustains as a mother, is no less naturally conceived than it is ably sustained throughout these two wonderful characters.
The accompaniment of the comick character of the Bastard was well chosen to relieve the piognant agony of suffering, and the cold, cowardly policy of behaviour in the principal characters of this play. Its spirit, invention, volubility of tongue, and for wardness in action, are unbounded. Aliquando sufflaminandus erat, says Ben Jonson of Shakspeare. But we should be sorry if Ben Jonson had been his licenser. We prefer the heedless magnanimity of his wit infinitely to all Jonson's laborious caution. The character of the Bastard's comick humour is the same in essence as that of other comick characters in Shakspeare; they always run on with good things and are never exhausted; they are always daring and successful. They have words at will and a flow of wit, like a flow of animal spirits. The difference between Falconbridge and the others is that he is a soldier, and brings his wit to bear upon action, is courageous with his sword as well as tongue, and stimulates his gallantry by his jokes, his enemies feeling the sharpness of his blows and the sting of his sarcasms at the same time. Among his happiest sallies are his descanting on the composition of his own person, his invective against dity, tickling commodity,” and his expression of contempt for the Archduke of Austria, who had killed his father, which begins in jest but ends in serious earnest. His conduct at the siege of Angiers shews that his resources were not confined to
verbal retorts.—The same exposure of the policy of courts and camps, of kings, nobles, priests, and cardinals, takes place here as in the other plays we have gone through, and we shall not go into a disgusting repetition.
This, like the other plays taken from English history, is written in a remarkably smooth and flowing style, very different from some of the tragedies, Macbeth, for instance. The passages consist of a series of single lines, not running into one another. This peculiarity in the versification, which is most common in the three parts of Henry VI., has been assigned as a reason wby those plays were not written by Shakspeare. But the same structure of verse occurs in his other undoubted plays, as in Richard II., and in King John. The following are instan
“ That daughter there of Spain, the lady Blanch,
Do glorify the banks that bound them in:
Another instance, which is certainly very happy as an example of the simple enumeration of a number of particulars, is Salisbury's remonstrance against the second crowning of the king.
“Therefore to be possessed with double pomp,
TWELFTH NIGHT ;
WHAT YOU WILL.
This is justly considered as one of the most delightful of Shakspeare's comedies. It is full of sweetness and pleasantry. It is perhaps too goodnatured for comedy. It has little satire, and no spleen. It aims at tbe ludicrous rather than the ridiculous. It makes us laugh at the follies of man. kind, not despise them, and still less bear any ill will towards them. Shakspeare's comick genius resembles the bee rather in its power of extracting sweets from weeds or poisons, than in leaving a sting behind it. He gives the most amusing exaggeration of the prevailing foibles of his characters, but in a way that they themselves, instead of being offended at, would almost join in to humour; he rather contrives opportunities for them to shew themselves off in the happiest lights, than renders them contemptible in the perverse construction of the wit or malice
of others.-There is a certain stage of society in which people become conscious of their peculiarities and absurdities, affect to disguise what they are, and set up pretensions to what they are not. This gives rise to a corresponding style of comedy, the object of which is to detect the disguises of selflove, and to make reprisals on these preposterous assumptions of vanity, by marking the contrast between the real and the affected character as severely as possible, and denying to those, who would impose on us for what they are not, even the merit which they have. This is the comedy of artificial life, of wit and satire, such as we see it in Congreve, Wycherley, Vanbrugh, &c. To this succeeds a state of society from which the same sort of affectation and pretence are banished by a greater knowledge of the world, or by their successful exposure on the stage ; and which by neutralizing the materials of comick character, both natural and artificial, leaves no comedy at all-but the sentimental. Such is our modern comedy. There is a period in the progress of manners anteriour to both these, in which the foibles and follies of individuals are of nature's planting, pot the growth of art or study ; in which they are therefore unconscious of them themselves, or care not who knows them, if they can but have their wbim out; and in which, as there is no attempt at imposition, the spectators rather receive pleasure from humouring the inclinations of the persons they laugh at, than wish to give them pain by exposing their absurdity. This may be called the comedy of nature, and it is the comedy which we generally find in Shakspeare.