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forgot the torches: the king departed from his company and went to the ladies to sport with them, as youth required, and so passed by the queen and came to the Duchess of Berry, who took and held him by the arm, to know what he was, but the king would not show his name. Then the duchess said, Ye shall not escape me till I know your

In this mean season great mischief fell on the other, and by reason of the Duke of Orléans; howbeit, it was by ignorance, and against his will, for'if he had considered before the mischief that fell, he would not have

done as he did for all the good in the world: but he was so desirous to know what personages the five were that danced, he put one of the torches that his servant held so near, that the he:t of the tire entered into ihe flax (wherein if fire take there is no remedy), and suddenly was on a bright flame, and so each of them set fire on other; the pitch was so fastened to the linen cloth, and their shirts so dry and fine, and so joining to their flesh, that they began to burn and to cry for help : none durst come near them; they that did burnt their hands by reason of the heat of the pitch: one of them called Nánthorillet advised him how the botry was thereby; he fled thither, and cast himself into a vessel full of water, wherein they rinsed pots, which saved him, or else he had been dead as the other were; yet he was sore hurt with the fire. When the queen heard the cry that they made, she doubted her of the king, for she knew well that he should be one of the six; therewith she fell into a swoon, and knights and ladies came and comforted her. A piteous noise there was in the hall. The Duchess of Berry delivered the king from that peril, for she did cast over him the train of her gown, and covered him from the fire. The king would have gone from her. Whither will ye go? quoth she; ye see well how your company burns. What are ye? I am the king, quoth he. Haste ye, quoth she, and get you into other apparel, and come to the queen. And the Duchess of Berry had somewhat comforted her, and had showed her how she should see the king shortly. Therewith the king came to the queen, and as soon as she saw him, for joy she embraced him and fell in a swoon; then she was borne to her chamber, and the king went with her. And the bastard of Foix, who was all on a fire, cried ever with a loud voice, Save the king, save the king! Thus was the king saved. It was happy for him that he went from his company, for else he had been dead without remedy. This great mischief fell thus about midnight in the hall of Saint Powle in Paris, where there was two burnt to death in the place, and other two, the bastard of Foix and the Earl of Jouy, borne to their lodgings, and died within two days after in great misery and pain.”

ACT V.

(1) SCENE III.- The ruddiness upon her lip is wet.] However general the distaste for colouring sculpture in the present day, there can be no denying that the practice is of very high antiquity; since the painted low reliefs found in such profusion in the Egyptian tombs are usually assigned to the period B.C. 2400. In those remains there appears to have been the same intention as that shown in the coloured Monumental Effigies of the later middle-ages and the sixteenth century; namely, the production of a perfect and substantial image of the person represented, painted with his natural complexion and apparelled " in his habit as he lived.". In this view of the custom it may be divested of much of its bad taste; especially if we suppose that really eminent artists were frequently employed as well on the painting of the figure as on the modelling and carving it. The later commentators only have taken this the true view of the statue of Hermione; though they have all pointed out the poet's error in representing Giulio Romano as a sculptor. We are inclined to doubt, however, whether Shakespeare committed any mistake upon the subject : when he calls the statue “ A piece many years in doing, and now newly performed,” he may have remembered that Vasari, Romano's contemporary, has recorded that "over his paintings he sometimes consumed months and even years, until they became wearisome to him.” And when he represents this artist as colouring sculpture, be may have recollected the same authority states, that Giulio Romano built a house for himself in Mantua, opposite to the church of St. Barnaba. " The front of this he adorned with a fantastic decoration of coloured stuccoes, causing it at the same time to be painted and adorned with stucco-work within.It will be readily admitted that when the practice of making painted effigy portraits and busts was established, the greatest talent as well as the most inferior might be employed on the colouring; and Vasari adds further, that Giulio Romano would not refuse to set his hand to the most trifling matter, when the object was to do a service to his lord or to give pleasure to his friends,

CRITICAL OPINIONS.

“.THE WINTER'STALE' is as appropriately named as 'The Midsummer Night's Dream.' It is one of those tales which are peculiarly calculated to beguile the dreary leisure of a long winter evening, and are even attractive and intelligible to childhood, while, animated by fervent truth in the delineation of character and passion, and invested with the embellishments of poetry, lowering itself, as it were, to the simplicity of the subject, they transport even inanhood back to the golden age of imagination. The calculation of probabilities has nothing to do with such wonderful and fleeting adventures, when all end at last in universal joy: and, accordingly, Shakspeare has here taken the greatest licence of anachronisms and geographical errors; not to mention other incongruities, he opens a free navigation between Sicily and Bohemia, makes Giulio Romano the contemporary of the Delphic oracle. The piece divides itself in some degree into two plays. Leontes becomes suddenly jealous of his royal bosom-friend Polyxenes, who is on a visit to his court; makes an attempt on his life, from which Polyxenes only saves himself by a clandestine flight ;-Hermione, suspected of infidelity, is thrown into prison, and the daughter which she there brings into the world is exposed on a remote coast ;-the accused queen, declared innocent by the oracle, on learning that her infant son has pined to death on her account, falls down in a swoon, and is mourned as dead by her husband, who becomes sensible, when too late, of his error: all this makes up the first three acts. The last two are separated from these by a chasm of sixteen years ; but the foregoing tragical catastrophe was only apparent, and this serves to connect the two parts. The princess, who has been exposed on the coast of Polyxenes' kingdom, grows up among low shepherds ; but her tender beauty, her noble manners, and elevation of sentiment, bespeak her descent; the Crown Prince Florizel, in the course of his hawking, falls in with her, becomes enamoured, and courts her in the disguise of a shepherd ; at a rural entertainment Polyxenes discovers their attachment, and breaks out into a violent rage ; the two lovers seek refuge from his persecutions at the court of Leontes in Sicily, where the discovery and general reconciliation take place. Lastly, when Leontes beholds, as he imagines, the statue of his lost wife, it descends from the niche: it is she herself, the still living Hermione, who has kept herself so long concealed; and the piece ends with universal rejoicing. The jealousy of Leontes is not, like that of Othello, developed through all its causes, symptoms, and variations; it is brought forward at once full grown and mature, and is portrayed as a distempered frenzy. It is a passion whose effects the spectator is more concerned with than its origin, and which does not produce the catastrophe, but merely ties the knot of the piece., In fact, the poet might perhaps have wished slightly to indicate that Hermione, though virtuous, was too warm in her efforts to please Polyxenes; and it appears as if this germ of inclination first attained its proper maturity in their children. Nothing can be more fresh and youthful, nothing at once so ideally pastoral and princely, as the love of Florizel and Perdita ; of the prince, whom love converts into a voluntary shepherd ; and the princess, who betrays her exalted origin without knowing it, and in whose hands nosegays become crowns. Shakspeare has never hesitated to place ideal poetry side by side of the most vulgar prose : and in the world of reality also this is generally the case. Perdita's foster-father and his son are both made simple boors, that we may the more distinctly see how all that ennobles her belongs only to herself. Autolycus, the merry pedlar and pickpocket, so inimitably portrayed, is necessary to complete the rustic feast, which Perdita on her part seems to render meet for an assemblage of gods in disguise.”-SCHLEGEL.

VOL. V.

TROILUS AND

AND CRESSIDA.

PRELIMINARY NOTICE.

FOURTEEN years before the appearance of the folio of 1623, a quarto edition of this play was published under the title of “The Famous Historie of Troylus and Cresseid. Excellently expressing the beginning of their loves, with the conceited wooing of Pandarus Prince of Licia. Written by William Shakespeare. London Imprinted by G. Eld for R. Bonian and H. Walley, and are to be sold at the spred Eagle in Paules Church-yeard, over against the great North doore. 1609.” In the same year, another edition, or rather a second issue of the above, was printed with a different title-page,—"The Historie of Troylus and Cresseida. As it was acted by the Kings Maiesties servants at the Globe. Written by William Shakespeare. London,” &c. Nor is this the only diversity between the two issues, for the first contains the following curious prefatory address, which was omitted in all the subsequent copies,

" A never Writer to an ever Reader. NEWES. “Eternall reader, you have heere a new play, never stal'd with the Stage, never clapper-clawd with the palmes of the vulger, and yet passing full of the palme comicall; for it is a birth of your braine, that never undertooke any thing commicall vainely: and were but the vaine names of Commedies changde for the titles of cominodities, or of Playes for Pleas, you should see all those grand censors, that now stile them such vanities, flock to them for the maine grace of their gravities; especially this author's Commedies, that are so fram'd to the life, that they serve for the most common Commentaries of all the actions of our lives, shewing such a dexteritie and power of witte, that the most displeased with Playes are pleasd with his Commedies. And all such dull and heavy-witted worldlings, as were never capable of the witte of a Commedie, comming by report of them to his representations, have found that witte there that they never found in themselves, and have parted better-wittied then they came; feeling an edge of witte set upon them, more then ever they dreamd they had brain to grinde it on. So much and such savoured salt of witte is in his Commedies, that they

seeme (for their height of pleasure) to be borne in that sea that brought forth Venus. Amongst all there is none more witty then this : And had I time I would comment upon it, though I know it needs not, (for so much as will make you thinko your testerne well bestowd) but for so much worth, as even poore I know to be stuft in it. It deserves such a labour, as well as the best Commedie in Terence or Plautus. And beleeve this, that when hee is gone, and his Commedies out of sale, you will scramble for them, and set up a new English Inquisition. Take this for a warning, and at the perrill of your pleasures losse, and Judgements, refuse not, nor like this the lesse for not being sullied with the smoaky breath of the multitude: but thanke fortune for the scape it hath made amongst you. Since by the grand possessors wills, I beleeve, you should have prayd for them rather then been prayd. And so I leave all such to bea prayd for (for the states of their wits healths) that will not praise it.- VALE.”

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