a satirical courtier, as we see in this instance. The comic parts of HENRY V are very inferior to those of Henry IV. Falstaff is dead, and without him, Pistol, Nym, and Bardolph, are satellites without a sun. Fluellen the Welshman is the most entertaining character in the piece. He is good-natured, brave, choleric, and pedantic. His parallel between Alexander and Harry of Monmouth, and his desire to have "some disputations" with Captain Macmorris on the discipline of the Roman wars, in the heat of the battle, are never to be forgotten. His treatment of Pistol is as good as Pistol's treatment of his French prisoner. There are two other remarkable prose passages in this play: the conversation of Henry in disguise with the three centinels on the duties of a soldier, and his courtship of Katherine in broken French. We like them both exceedingly, though the first savours perhaps too much of the king, and the last too little of the lover.

HENRY VI.

IN THREE PARTS.

DURING the time of the civil wars of York and Lancaster, England was a perfect bear-garden, and Shakspeare has given us a very lively picture of the scene. The three parts of HENRY VI convey a picture of very little else; and are inferior to the other historical plays. They have brilliant passages; but the general ground-work is comparatively poor and meagre, the style "flat and unraised." There are few lines like the following:

"Glory is like a circle in the water;
Which never ceaseth to enlarge itself,

Till by broad spreading it disperse to nought."

The first part relates to the wars in France after the death of Henry V, and the story of the Maid of Orleans. She is here almost as scurvily treated as in Voltaire's Pucelle. Talbot is a very magnificent sketch: there is something as formidable in this portrait of him, as there

would be in a monumental figure of him or in the sight of the armour which he wore. The scene in which he visits the Countess of Auvergne, who seeks to entrap him, is a very spirited one; and his description of his own treatment, while a prisoner to the French, not less remarkable.

"SALISBURY. Yet tell'st thou not how thou wert entertain'd.

TALBOT. With scoffs and scorns, and contumelious taunts, In open market-place produced they me,

To be a public spectacle to all.

Here, said they, is the terror of the French,
The scarecrow that affrights our children so.
Then broke I from the officers that led me,
And with my nails digg'd stones out of the ground,
To hurl at the beholders of my shame.

My grisly countenance made others fly,

None durst come near for fear of sudden death.

In iron walls they deem'd me not secure:

So great a fear my name amongst them spread,
That they suppos'd I could rend bars of steel,
And spurn in pieces posts of adamant.
Wherefore a guard of chosen shot I had:
They walk'd about me every minute-while;
And if I did but stir out of my bed,
Ready they were to shoot me to the heart."

The second part relates chiefly to the contests between the nobles during the minority of Henry, and the death of Gloucester, the good Duke Humphrey. The character of Cardinal Beaufort is the most prominent in the group: the account of his death is one of our author's master-pieces. So is the speech of Gloucester

to the nobles on the loss of the provinces of France by the king's marriage with Margaret of Anjou. The pretensions and growing ambition of the Duke of York, the father of Richard III, are also very ably developed. Among the episodes, the tragi-comedy of Jack Cade, and the detection of the impostor Simcox, are truly edifying.

The third part describes Henry's loss of his crown his death takes place in the last act, which is usually thrust into the common acting play of Richard III. The character of Gloucester, afterwards King Richard, is here very powerfully commenced, and his dangerous designs and long-reaching ambition are fully described in his soliloquy in the third act, beginning," Ay, Edward will use women honourably." Henry VI is drawn as distinctly as his high-spirited Queen, and notwithstanding the very mean figure which Henry makes as a king, we still feel more respect for him than for his wife.

We have already observed that Shakspeare was scarcely more remarkable for the force and marked contrasts of his characters, than for the truth and subtlety with which he has distinguished those which approached the nearest to each other. For instance, the soul of Othello is hardly more distinct from that of Iago than that of Desdemona is shown to be from Emilia's; the ambition of Macbeth is as dis

tinct from the ambition of Richard III as it is from the meekness of Duncan; the real madness of Lear is as different from the feigned madness of Edgar* as from the babbling of the fool; the contrast between wit and folly in Falstaff and Shallow is not more characteristic though more obvious than the gradations of folly, loquacious or reserved, in Shallow and Silence; and again, the gallantry of Prince Henry is as little confounded with that of Hotspur as with the cowardice of Falstaff, or as the sensual and philosophic cowardice of the Knight is with the pitiful and cringing cowardice of Parolles. All these several personages were as different in Shakspeare as they would have been in themselves: his imagination borrowed from the life, and every circumstance, object, motive, passion, operated there as it would in reality, and produced a world of men and women as distinct, as true, and as various as those that exist in nature. The peculiar property of Shakspeare's imagination was his truth, accompanied with the unconsciousness of nature: indeed, imagination to be perfect must be unconscious, at least in production; for nature is

so.

We shall attempt one example more in the characters of Richard II and Henry VI.

The characters and situations of both these

There is another instance of the same distinction in

Hamlet and Ophelia. Hamlet's pretended madness would make a very good real madness in any other author.