hear him, to Doll Tearsheet, his reconciliation with Mrs. Quickly, who has arrested him for an old debt, and whom he persuades to pawn her plate to lend him ten pounds more, and the scenes with Shallow and Silence, are all inimitable. Of all of them, the scene in which Falstaff plays the part, first, of the King, and then of Prince Henry, is the one that has been the most often quoted. We must quote it once more in illustration of our remarks:

"Falstaff. Harry, I do not only marvel where thou spendest thy time, but also how thou art accompanied: for though the camomile, the more it is trodden on, the faster it grows, yet youth, the more it is wasted, the sooner it wears. That thou art my son, I have partly thy mother's word, partly my own opinion; but chiefly, a villainous trick of thine eye, and a foolish hanging of thy nether lip, that doth warrant me. If then thou be son to me, here lies the point;-Why, being son to me, art thou so pointed at? Shall the blessed sun of heaven prove a micher, and eat blackberries? A question not to be asked. Shall the son of England prove a thief, and take purses? a question to be asked. There is a thing, Harry, which thou hast often heard of, and it is known to many in our land by the name of pitch this pitch, as ancient writers do report, doth defile; so doth the company thou keepest: for, Harry, now I do not speak to thee in drink, but in tears; not in pleasure, but in passion; not in words only, but in woes also:—and yet there is a virtuous man, whom I have often noted in thy company, but I know not his name.

P. Henry. What manner of man, an it like your majesty? Falstaff. A goodly portly man, i'faith, and a corpulent; of a cheerful look, a pleasing eye, and a most noble carriage; and, as I think, his age some fifty, or, by'r-lady, inclining to threescore; and now I remember me, his name is Falstaff: if that man should be lewdly given, he deceiveth me; for, Harry, I see virtue in his looks. If then the tree may be known by the fruit, as the fruit by the tree, then peremptorily I speak it, there is virtue in that Falstaff: him keep with, the rest banish. And tell me now, thou naughty varlet, tell me, where hast thou been this month?

P. Henry. Dost thou speak like a king? and I'll play my father.

Do thou stand for me,

Falstaff. Depose me? if thou dost it half so gravely, so majestically, both in word and matter, hang me up by the heels for a rabbit-sucker, or a poulter's hare.

P. Henry. Will, here I am set.

Falstaff. And here I stand:-judge, my masters.

P. Henry. Now, Harry, whence come you?

Falstaff. My noble lord, from Eastcheap.

P. Henry. The complaints I hear of thee are grievous.

Falstaff. S'blood, my lord, they are false :--nay, I'll tickle ye for a young prince, i'faith.

P. Henry. Swearest thou, ungracious boy? henceforth ne'er look on me. Thou art violently carried away from grace: there is a devil haunts thee, in the likeness of an old fat man; a tun of man is thy companion. Why dost thou converse with that trunk of humours, that bolting-hutch of beastliness, that swollen parcel of dropsies, that huge bombard of sack, that stuffed cloak-bag of guts, that roasted Manningtree ox with the pudding in his belly, that reverend vice, that grey iniquity, that father ruffian, that vanity in years? Wherein is he good, but to taste sack and drink it? wherein neat and cleanly, but to carve a capon and eat it? wherein cunning, but in craft? wherein crafty, but in villainy? wherein villainous, but in all things? wherein worthy, but in nothing?

Falstaff. I would, your grace would take me with you: whom means your grace?

P. Henry. That villainous, abominable misleader of youth, Falstaff, that old white-bearded Satan.

Falstaff. My lord, the man I know.

P. Henry. I know thou dost.

Falstaff. But to say, I know more harm in him than in myself, were to say more than I know. That he is old (the more the pity) his white hairs do witness it: but that he is (saving your reverence) a whore-master, that I utterly deny. If sack and sugar be a fault, God help the wicked! if to be old and merry be a sin, then many an old host that I know is damned if to be fat be to be hated, then Pharaoh's lean kine are to be loved. No, my good lord; banish Peto, banish Bardolph, banish Poins: but for sweet Jack Falstaff, kind Jack Falstaff, true Jack Falstaff, valiant Jack Falstaff, and therefore more valiant, being as he is, old Jack Falstaff, banish not him thy Harry's company; banish plump Jack, and banish all the world.

P. Henry. I do, I will.

[A knocking heard: Exeunt Hostess, Francis, and Bardolph.

Re-enter BARDOLPH, running.

Bardolph. O, my lord, my lord; the sheriff, with a most monstrous watch, is at the door.

Falstaff. Out, ye rogue! Play out the play: I have much to say in the behalf of that Falstaff." 1

[Act ii., sc. 4.]

W

One of the most characteristic descriptions of Sir John is that which Mrs. Quickly gives of him when he asks her "What is the gross sum that I owe thee?"

"Hostess. Marry, if thou wert an honest man, thyself and the money too. Thou didst swear to me upon a parcel-gilt goblet, sitting in my Dolphin-chamber, at the round table, by a sea-coal fire on Wednesday in Wheeson-week, when the prince broke thy head for likening his father to a singing man of Windsor-thou didst swear to me then, as I was washing thy wound, to marry me, and make me my lady thy wife. Canst thou deny it? Did not goodwife Keech, the butcher's wife, come in then, and call me gossip Quickly? coming in to borrow a mess of vinegar; telling us, she had a good dish of prawns; whereby thou didst desire to eat some; whereby I told thee they were ill for a green wound? And didst thou not, when she was gone down stairs, desire me to be no more so familiarity with such poor people; saying, that ere long they should call me madam? And didst thou not kiss me, and bid me fetch thee thirty shillings? I put thee now to thy book-oath: deny it, if thou canst." 1

This scene is to us the most convincing proof of Falstaff's power of gaining over the good-will of those he was familiar with, except indeed Bardolph's somewhat profane exclamation on hearing the account of his death, “Would I were with him, wheresome'er he is, whether in heaven or in hell."

One of the topics of exulting superiority over others most common in Sir John's mouth is his corpulence and the exterior marks of good living which he carries about him, thus "turning his vices into commodity." He accounts for the friendship between the Prince and Poins, from "their legs being both of a bigness;" and compares Justice Shallow to " a man made after supper of a cheeseparing." There cannot be a more striking gradation of character than that between Falstaff and Shallow, and Shallow and Silence. It seems difficult at first to fall lower than the squire; but this fool, great as he is, finds an admirer and humble foil in his cousin Silence. Vain

[ Part II., act ii., sc. 1.]

[Henry V.,' act ii., ec. 3.]

of his acquaintance with Sir John, who makes a butt of him, he exclaims, "Would, cousin Silence, that thou hadst seen that which this knight and I have seen!”- 66 'Ay, Master Shallow, we have heard the chimes at midnight," says Sir John. To Falstaff's observation, “I did not think Master Silence had been a man of this mettle," Silence answers, "Who, I? I have been merry twice and once ere now." What an idea is here conveyed of a prodigality of living! What good husbandry and economical selfdenial in his pleasures! What a stock of lively recollections! It is curious that Shakespear has ridiculed in Justice Shallow, who was "in some authority under the king," that disposition to unmeaning tautology which is the regal infirmity of later times, and which, it may be supposed, he acquired from talking to his cousin Silence, and receiving no answers:

66

Falstaff. 'Fore God, you have here a goodly dwelling and a rich. Shallow. Barren, barren, barren; beggars all, beggars all, Sir John: marry, good air. Spread, Davy, spread, Davy. Well said, Davy.

Falstaff. This Davy serves you for good uses.

Shallow. A good varlet, a good varlet, a very good varlet, Sir John. By the mass, I have drank too much sack at supper-a good varlet. Now sit down, now sit down. Come, cousin." 1

The true spirit of humanity, the thorough knowledge of the stuff we are made of, the practical wisdom with the seeming fooleries in the whole of the garden-scene at Shallow's country-seat, and just before in the exquisite dialogue between him and Silence on the death of old Double, have no parallel anywhere else. In one point of view, they are laughable in the extreme; in another they are equally affecting, if it is affecting to show what a little thing is human life, what a poor forked creature man is! The heroic and serious part of these two plays founded on the story of Henry IV. is not inferior to the comic and

[ Part II., act v., sc. 3.]

farcical. The characters of Hotspur and Prince Henry are two of the most beautiful and dramatic, both in themselves and from contrast, that ever were drawn. They are the essence of chivalry. We like Hotspur the best upon the whole, perhaps because he was unfortunate. The characters of their fathers, Henry IV. and old Northumberland, are kept up equally well. Henry naturally succeeds by his prudence and caution in keeping what he has got; Northumberland fails in his enterprise from an excess of the same quality, and is caught in the web of his own cold, dilatory policy. Owen Glendower is a masterly character. It is as bold and original as it is intelligible and thoroughly natural. The disputes between him and Hotspur are managed with infinite address and insight into nature. We cannot help pointing out here some very beautiful lines, where Hotspur describes the fight between Glendower and Mortimer :

"When on the gentle Severn's sedgy bank,

In single opposition, hand to hand,

He did confound the best part of an hour

In changing hardiment with great Glendower :

Three times they breath'd, and three times did they drink,

Upon agreement, of swift Severn's flood;

Who then, affrighted with their bloody looks,
Rau fearfully among the trembling reeds,
And hid his crisp head in the hollow bank,
Blood-stained with these valiant combatants."

1

The peculiarity and the excellence of Shakespear's poetry is, that it seems as if he made his imagination the handmaid of nature, and nature the plaything of his imagination. He appears to have been all the characters, and in all the situations he describes. It is as if either he had had all their feelings, or had lent them all his genius to express themselves. There cannot be stronger instances of this than Hotspur's rage when Henry IV. forbids him to speak of Mortimer, his insensibility to all that his

[1 Part I., act i., sc. 3.]