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Among these candidates of inferior fame, I am now to stand the judgment of the publick; and wish that I could confidently produce my commentary as equal to the encouragement which I have had the honour of receiving. Every work of this kind is by its nature deficient, and I should feel little solicitude about the sentence, were it to be pronounced only by the skilful and the
IT is observed of The Tempest, that its plan is regular: this the author of The Revital * thinks, what I think too, an accidental effect of the story, not intended or regarded by our author. But whatever might be Shakespeare’s intention in forming or adopting the plot, he has made it instrumental to the production of many characters diversified with boundless invention, and preserved with profound skill in nature, extensive knowledge of opinions, and accurate observation of life. In a single drama are here exhibited princes, courtiers, and sailors, all speaking in their real characters. There is the agency of airy spirits, and of an earthly goblin; the operations of magick, the tumults of a storm, the adventures of a desert island, the native effusion of untaught affection, the punishment of guilt, and the final happiness of the pair for whom our passions and reason are equally interested.
* Mr Heath, who wrote a revisal of Shakespeare's text, published in 8vo, circa 1760.
TWO GENTI.EMEN OF VERONA.
In this play there is a strange mixture of knowledge and ignorance, of care and negligence. The versification is often excellent, the allusions are learned and just; but the author conveys his heroes by sea from one inland town to another in the same country; he places the emperor at Milan, and sends his young men to attend him, but never mentions him more; he makes Protheus, after an interview with Silvia, say he has only seen her picture; and, if we may credit the old copies, he has, by mistaking places, left his scenery inextricable. The reason of all this confusion seems to be, that he took his story from a novel, which he sometimes followed, and sometimes forsook, sometimes remembered, and sometimes forgot.
That this play is rightly attributed to Shakespeare, I have little doubt. If it be taken from him, to whom shall it be given This question may be asked of all the disputed plays, except Titus Andronicus; and it will be found more credible, that Shakespeare might sometimes sink below his highest flights, than that any other should rise up to his lowest.
MERRY WIVES OF WHNDSOR.
Of this play there is a tradition preserved by Mr Rowe, that it was written at the command of queen Elizabeth, who was so delighted with the character of Falstaff, that she wished it to be diffused through more plays; but suspecting that it might
pall by continued uniformity, directed the poet to diversify his manner, by shewing him in love. No task is harder than that of writing to the ideas ofanother. Shakespeareknew what the queen, if the storybe true, seems not to have known, that by any real passion oftenderness, the selfishcraft, the careless jollity, and the lazy luxury of Falstaff must have suffered so much abatement, that little of his former cast would haveremained. Falstaffcould notlove, but by ceasing to be Falstaff. He could only counterfeit love, and his professions could be prompted, not by the hope of pleasure, but of money. Thus the poet approached as near as he could to the workenjoined him; yet having perhaps in the former plays completed his own idea, seems not to have been able to give Falstaff all his former power of entertainment. This comedy is remarkable for the variety and numberof the personages, who exhibitmore characters appropriated and discriminated, than perhaps can be found in any other play. Whether Shakespeare was the first that produced upon the English stage the effect of language distorted and depraved by provincial or foreign pronunciation, I cannot certainly decide. This mode of forming ridiculous characters can conferpraise only on him who originally discovered it, for it requires not much of eitherwit or judgment: its success must be derived almost wholly from the player, but its power in a skilful mouth, even he that despises it, is unable to resist. The conduct of this drama is deficient; the action begins and ends often before the conclusion, and the different parts might change places without inconvenience; but its general power, that powerby
which all works of genius shall finally be tried, is such, that perhaps it never yet had reader or spectator, who did not think it too soon at an end.
MEASURE FOR MEASURE.
There is perhaps not one of Shakespeare's plays more darkened than this, by the peculiarities of its author, and the unskilfulness of its editors, by distortions of phrase, or negligence of transcription. . The novel of Giraldi Cynthio, from which Shakespeare is supposed to have borrowed this fable, may be read in Shakespeare Illustrated, elegantly translated, with remarks, which will assist the enquirer to discover how much absurdity Shakespeare has admitted or avoided.
I cannot but suspect that some other had new modelled the novel of Cynthio, or written a story which in some particulars resembled it, and that Cynthio was not the author whom Shakespeare immediately
followed. The emperor in Cynthio is named Max
imine; the duke, in Shakespeare’s enumeration of the persons of the drama, is called Pincentio. This appears a very slight remark; but since the duke has no name in the play, nor is ever mentioned but by histitle, why should he be called Pincentio among the persons, but because the name was copied from the story, and placed superfluously at the head of the list by the mere habit of transcription? It is therefore likely that there was then a story of Pincentio duke of Vienna, different from that of Maximine emperor of the Romans.
Of this play the light or comick part is very natural and pleasing, but the grave scenes, if a few