HENRY VIII. THIS is the last of Shakspere's historic plays, and it forms a worthy epilogue to his dramatic chronicle. The date of its production hath long been a disputed question, but it is now currently assigned to the year 1605, and it was first printed in the folio of 1623. In all probability it was produced at the Globe Theatre in the summer season of the above mentioned year. The production of this play has been placed by some writers in the latter part of the reign of Elizabeth, but both external and internal evidence lean towards the conclusion, that it was written and produced in the early part of the reign of James I. The internal evidence, viz. the allusions to the "aged princess and the prophecy by Cranmer have been said to be interpolations by Ben Jonson, in 1613, yet no evidence has been advanced in support of the assertion. These so called interpolatory passages are not in any way in the manner of the learned Ben; they are quite distinct from his style, and this fact, in itself, ought to destroy his claim to be the author. The allusions to the king contained in the speech of Cranmer are not personal allusions to the character of James, but to the character of his government, which sought to "make new nations" as evidenced by their attempts at the colonization of Virginia. This was a movement in which James took an especial interest, and more particularly in relation to this important settlement, and the poet without undue flattery might ascribe to the king, through his executive, the power "to make new nations." The speech is in the last scene of the play and its whole tenour, for the glories of the reign of Queen Bess are promised to be continued to her successor, goeth to support the position that the play was not produced earlier than the year 1605, and that it belongeth to the reign of the pedant James. After speaking of the greatness of the virgin queen, the lines proceed "Nor shall this peace sleep with her: But as when Her ashes new create another heir, As great in admiration as herself; So shall she leave her blessedness to one, (When heaven shall call her from this cloud of darkness,) Who, from the sacred ashes of her honour, Shall star-like rise, as great in fame as she was, And so stand fix'd: Peace, plenty, love, truth, terror, That were the servants to this chosen infant, Shall then be his, and like a vine grow to him; Shall be, and make new nations: He shall flourish, To all the plains about him :-Our children's children This play is not "merry" nor "wanton," but "sad, high, and working;" full of "noble scenes," magnificence, pomp and "earthly glory." In its pages once more we see the old nobility of the realm attempting to play the most important part in the nation's welfare. The Duke of Buckingham is chief among his companions, who pride themselves upon their blood, and not only is he versed in matters of the sword, but he is learned, wise in council, with an expansive mind, the result of much culture and observation. Unfortunately Buckingham is impetuous, he cannot hide the hostility he feels. against Wolsey, who galls him by the mode and manner he acts towards the court, "without the privity of the king." Buckingham is "high reaching," and in conjunction with his fellows wishes to restore the old authority of the nobles. He most thoroughly detests the upstart Wolsey, whom he calls a "butcher's cur," and regrets he has "not the power to muzzle him." Both Buckingham and Norfolk know full well the nature of the crafty cardinal, his "malice and his potency," and also that "he is revengeful," prone to mischief and "able to perform it." They are fully cognizant of the deeds of this "keech," "this holy fox or wolf," for his acts hold in check these blood-proud peers. 66 The am bitious finger" of the "count cardinal," is the thorn that is constantly pricking the sides of haughty Buckingham and his brother peers, who are vexed that a beggar look, outworth's a noble's blood." The wisdom and better judgement of Buckingham is overborne by the spleen and vexation which he feels against Wolsey, and knowing that he has "gone to the king," resolves "to follow and outstare him." This he does not do, for "the fire of passion" with which he is moved is allayed by the reasons of Norfolk, and he then unfolds his plan whereby he means to ensnare this "top-proud fellow," but unfortunately for himself, by practice and device," he is caught in his own net. The death scene of Buckingham is one of the most beautiful and affecting ever written by Shakspere. 66 The character of Wolsey is essentially true to history. He is the architect of his own fortunes, winning his way by the force of his intellectual faculties, and by his powers of dissimulation, to the annoyance, disgust and hate of the nobles of the court, who do not fail to perceive the fostering care he receives at the hands of the king. He is full of ambition, and by "the force of his own merit makes his way," and wins "a place next to the king." He is full of pride, covetousness and love of pomp, altogether incompatible with his sacred calling, and the practice of these unholy matters ultimately lead to his overthrow. He is devoid of truth, in love only with himself, for the king's honour he "does buy and sell" as he pleases "for his own advantage." He is a practiser of dissimulation, under which mask he conceals the malice of his nature. He is munificent to his servants, all of whom he strives to advance, for in them he has the willing tools to carry out his will. He bribes the confidants of his foes, and buys them over to serve his own purposes. He is full of rapacity and oppresses the commons with enormous taxes, which he greedily consumes and devotes to promote his own desires. By the practice of deceit he obtains credit for actions not his own, but belonging to others, for when the commons refuse to pay the levy and remonstrate with the king, who on hearing of their case directs a free pardon to all that have denied "the force of this commission," Wolsey true to his craft, tells his secretary, "let it be nois'd That through our intercession this revokement He is opposed to the nobility, from the fact, that he is despised by them, and he strives all that he can to 66 subjugate them to his will. He seeks to destroy them as a class, not that the country will be served by such destruction, but that he will have less opponents and enemies in his path. The leader of the nobles he overthrows, by the evidence of his surveyor, whom he hath corrupted and bought over to his purpose; nor does this act content him, for he attempts to lord it over his sovereign, to whom he stands so deeply indebted. The highest ecclesiastical appointments in the land he seizes on, becomes the papal legate and ultimately aims at the Papal chair. Though of mean descent himself, he thoroughly despises all others of that class, especially if they possess the virtues of humanity, for though a priest, he holds that man a fool" who "would needs be virtuous." He allows none to think for themselves, and he will only be surrounded by those that follow his desires, yield to his wishes and obey his commands; and these must not be of the common class, for he will "not be griped by meaner persons." The object and purpose for which he amasses great riches, "the piles of wealth he hath accumulated," were to "fee" his "friends in Rome," so that he might "gain the Popedom," and thus be higher than his natural sovereign. This ambitious desire, engenders mental blindness, and which leads firstly to his failure relative to being Pope, and it also leads to his final overthrow, for his "contrary proceedings" in the matter of "the divorce" become "unfolded.” He would that Henry should marry "the French king's sister," "no Anne Bullen for him." He knows that she is "well deserving" but she is a "spleeny Lutheran," "not wholesome to the Papal cause," and he would "his holiness" should "stay the judgment of the |
