iifiilplliliiiliiiliilili:
 
 IMPERFECT HINTS 
 
 TOWARDS A NEW EDITION OF 
 
 SHAKESPEARE, 
 
 WRITTEN CHIEFLY IN THE YEAR 1782. 
 
 • bard divine ! For many a care beguil'd 
 
 By the fweet magic of thy foothiiig la)-, 
 
 For many a raptur'd thought, and vifion wild. 
 
 To thee this deh of gratitude I pay. 
 
 Mr. Warton's Soknet to Gray. 
 
 O, might feme verfe with happieft (kill perfuade 
 Expreffive piflure to adopt thine aid ; 
 What wondrous draughts might rife from every page ! 
 What other Raphaels charm a diftant age ! 
 
 Collins to Sir T. Hanmer. 
 
 This chief Enchanter of the willing breaft, 
 Will teach thee all the magic he poffeft. 
 
 HaYLEy's EflSTLE TO RoMNEY. 
 
 LONDON: 
 
 PRINTED AT THE ilCQOgrap&lC lpref0, BY J. WALTER, 
 
 PRINTING-HOUSE- SQUARE, BLACKFRIARS, FOR THE AUTHOR 
 
 AND SOLD BY J. ROB SON, NEW BOND-STREET ; R. BALDWIN 
 
 PATERNOSTER ROW ; AND W. RICHARDSON, UNDER 
 
 THE ROYAL EXCHANGE. 
 
 IiI,DCC,LXXXVII.
 
 
 
 
 THE HONOURABLE 
 
 HO R J C E WA LP OLE, 
 
 AND 
 
 5/r JOSHUA RETNOLDS, 
 
 (Whom Shakespeare, had he lived in thefe Days, would have cho- 
 fen for the Coiidu6lors of any fplendid Edition of his Works) 
 
 THIS SMALL TRACT 
 IS WITH ALL RESPECT INSCRIBED, 
 
 BY 
 
 THEIR MOST OBEDIENT, 
 
 AND HUMBLE SERVANT, 
 Decemher i^th, 1786. 
 
 The Author. 
 
 * 7262:^2
 
 CONTENDS. 
 
 Titus Andronicus --•--« I 
 
 Coriolanus - - - - . « ^ tt 
 
 Taming of the Shrew - - - - _ iq 
 
 Merchant of Venice - - -- _ -"^i 
 
 Lovers Labour Lof - - - _ - er 
 
 All's Well that Ends Well 
 
 63 
 
 Comedy of Errors - - - - - _ ^^ 
 
 Troilus and Crefjida - - - _ _ -Sc 
 
 Midfummer Night's Dream - - - _ q^,.
 
 ADVERTISEMENT. 
 
 TH E great dramatick writer whofe works are the fubjeifl of the 
 enfuing pages, had for more than a whole century receiv^ed (what 
 may be termed perhaps the trueft applaufe) the grateful incenfe of filent 
 adoration — when Pope and Lord Burlington were willing to decree to 
 him, ftill more extended and more publick honours ; and they configned 
 the ereclion of his ftatue in the Abbey of Weftminfler to thofe, who 
 have conceived his form in an attitude truly graceful, giving him a calm 
 perfedlly confiftent with the dignity, and with the chara6ler and difpo- 
 fition of Shakefpeare : * — but it was referved for the prefent age to em- 
 bellifh his volumes with a fpirit worthy of their author, and in a ftyle 
 of coftly magnificence, nqt hitherto attempted for any writer whatever — 
 the zeal and talents of many of the artifls concerned In the now prepar- 
 
 a Intr 
 
 * Many of Shakefpeare's cotemporaries have recorded the benevolence of his heart and the fuxetnefs 
 of his manners — and not one of them has handed down to us a fingle trait injurious to his memoiy. 
 And though one is forced feverely to cenfure the envious malignancy with which Ben Jonfon viewed 
 his high reputation — yet when Shakefpeare died : Ben feems to have buried all malevolence in the po- 
 et's grave — for he thus informs pofterity of the virtues of his fellow Shakefpeare — / loved the man, 
 and do honor his memory, on. this Jidc idolatry., as much as any. He '■xas indeed honejl, and of an open 
 
 ^ndfree nature, had an excellent fancy, brave notions, and gentle exprejjions. He redeemed his vices 
 
 Viiith his virtues : there -was ever more in him to he praifed than to he pardoned,— huA in the poem to hi^ 
 memory, Ben thus records a trait of Shakefpeare's difpofition.— 
 
 Yet mufl: 1 not give Nature all ; thy Art, 
 My gentle Shakefpeare, muft enjoy a part. 
 
 5 Dae
 
 ( ii ) 
 
 ing edition of Mr. Boydell, will juftify this conje£lure — and indeed the- 
 name of one artift alone^ \vill caufe the edition to be received with un- 
 ufual expectation.* 
 
 It is no lefs furpriflng than true, that a whole century elapfed, with- 
 out any Painter having given the publick a fingle fketch or defign from 
 Shakefpeare — and furely no Poet was ever more capable of animating ait 
 artifl's miud» than he who has fo wonderfully defcribed every paffion 
 that fooths and alarms the human breaft — Homer has been termed the 
 Poet of Painters — well may Shakefpeare defer ve that appellation. In 
 the reign of Elizabeth, few of our author's plays were printed, and thofe 
 
 few 
 
 One may colle(5l even from the Commendatory Verfes preSxed to the old editions of our author's plays^ 
 publiflied foon after his de.ith, what perfonal cfteera was entertained for him-^fome of them being ad- 
 drelTed To my ivorthy friend Mujtir W. Shalefpeart — To the memory of my belo-jed Mrt W. Shakifpcare^ 
 On -worlfjy Maflcr Shakefpeare., t^c. And in the dedication of the plays by Heminge and Condell to 
 the Earls of Pembroke and Montgomery (who had both treated Shakefpeare cy/zi/S OT2/f;6 /iii^oBr) 
 they profefs to have colleifted them ivithout amhitlon either of felfe-profit, or fame : only to kecpe thi 
 memory of fo luorthy a friend, andfello-xv alive, as ixias our Shakefpeare. And his epitaph at Stratford 
 upon Avon, always ftruck me, as very ftrongly fpcaking the regret with which his townfmen parted 
 with him. 
 
 * We may juftly enlarge our espeftations, when this projcfled Edition will be attended with an ex- 
 pence of more than 50,0001.— and when the following paragraph is one of thofe which announced the 
 Edition of Mr. Boydell — It is the paragraph from the Morning Herald, which is referred to in the Ad- 
 vextifcment prefixed to th« firft part of this work — 
 
 SHAKESPEARE! 
 
 *' This ornament of nature, andboaftof Englaiid, will fliortly receive fuch marks of eftiraationand 
 *' honours from this country, as never yet attended any poet of modern age. 
 
 " A defign is on foot to prefent to the public a new edition of Shakespeare, upon a fcale that has 
 •* never yet attended any publication. It is to be of a large folio fize, on fuperfine paper ; each play 
 " is to contain two plates, engraved by the firftartifls of the age, from the defigns of our moft appro- 
 *' ved hiftorical painters. Col. Hamilton is faid to take the lead in bringing forward this work ; to 
 *' whofe name may be united thofe of Sir Jojbua Reynolds, Mr. Hayhy, Mr. Malone, and Mr. Stee^ 
 " vens. A fubfcription is to be opened for this work, which will be publiflied in numbers. Every 
 
 •' number
 
 few were illll lefs difperfed ; confequently tl>ey ejccited little emulation 
 among the artifts of tliat day — and perhaps had it been otherwife, Eliza- 
 beth would have given little encouragement to Painters: for flie feems to 
 have refpected the art no further than as it tended to fet off her own per- 
 .fon.* She had little relifh for that art, which fne knew would caufe Mary 
 
 ot 
 
 " number, we learn, is to contain two plays, and four engravings, for which five guineas are to be 
 *' paid : and as the work will extend to twenty numbci's, it will coft each Subfcriber, when complete, 
 " O.N'E Hundred Gu I KEAs. 
 
 " The moft eminent painters of England will be eng::ged in the dcfign : two of the moft flrikin^ 
 " fcenes in each play ere to be feleded, and treated oa a fcale that will admit the figures being drawn 
 *' as large as life. 
 
 *' The artifts already confulted, are, belides Sir Jcjhua Reynolds, Mr. Jftjl, Mr. Copley, and Mr. 
 •* Romney. The pencil of Mr. Gainsborough, is alfo to be engaged, for who like him has a foul 
 *' pofieiTed of the finefl energies of poetry ! — Thofe young artifts who have attached themfelves to the 
 *' hifcorical, and given proofs of genius and tafte will likewife be applied to. The expence attending 
 " the neceflarj- paintings, is to be defrayed out of the fubfcription money : the engraving of the fub* 
 ** jc€^3 are to be paid for from the fame fund, 
 
 *' Mr. Alderman Boydell will take an active part in this undertaking; and among other circumftan- 
 *' ces, it is intimated that a building is to be erefted at the espence of the city of London, where the 
 *' pidlures painted for this work will be depofited." 
 
 *■ " There is no evidence that Elizabeth had -much tafte for painting ; but ihe loved piifiures of her- 
 " felf. In them Ihe could appear really handfome ; and yet to do the p'rofeffion juftice, they feem to 
 " have flattered her the leaft of all her dependents : There is not a fingle portrait of her that one can 
 •' call beautiful. The profulion of ornaments with which they arc loaded, are marks of her continual 
 *' fondnefs for drefs, while they entirely exclude all grace, and leave no more room for a painter's 
 •' gtnius than if he had been employed to copy an Indian idol, totally compofed of hands and necklaces. 
 " A pale Roman nofe, a head of hair loaded with crowns, and powdered with diamonds, a vaft ruff, 
 •' a vafter fardingale, and a buflicl of pearls, are the features by which every body knows at once the 
 ^' pifturcs of Queen Elizabeth." 
 
 Anecdotes o? Painting, vol. i. 
 
 Elizabeth would certainly have patronized a painter of the name of Huyfman, had he lived in her 
 reign — for we are thus told of Huyfman being employed by the queen of Charles the Second. — " He 
 *• created himfelf the queen's painter, and to juftify it, made her fit ibr every Madona or Venus ii« 
 «' drew." 

 
 to bloom hi after ages^;— the portrait of the Virgin ^cen^ preferved hi 
 the Catalogue of royal and noble authors, is not quite io beautiful as are 
 the portraits of Mary. 
 
 Nor was the pretlilc6tion of 'James for painting, much flrongcr than 
 that of Elizabeth. The works of James convince one, that he muft 
 have little rellfhcd the deep reflexions of Shakefpeare. He was more 
 pleafed perhaps with the politcnefs of that good blfhop, who in the pre- 
 face to a Welch vcrfion of the Bible, made an apology for being obliged 
 to prefer the Deity to his moft facred majefty — James would fooner have 
 engaged Janlen, or the exquifite Oliver, to have thrown away their 
 time on the portrait of this pious prelate, than have engaged them to 
 have recorded a charailer, a fcene from Shakefpeare. Prince Henry s 
 paffion for the arts was of fliort duration — death prevented him from 
 extending a colledlon, which he was preparing with all the zeal that 
 arts could infplre. 
 
 But what fhall we fay to the accompliflied Charles, who, during the 
 tranquil part of his reign, had not one fcene drawn from his beloved 
 Shakefpeare. — How congenial to the difpofition and foul of Vandyck 
 would have been the fce'nes of Shakefpeare — and with what fond enthu- 
 fiafm would Charles have viewed a fcene, when realized by the concep- 
 tion of the favoured Vandyck ! — If the mind of Rubens (whofe works 
 a union oj happy excellencies endear to the bejl judges) was fo oft entranced 
 by the rapture of poetry : one wonders, or at leaft one wifhes to have 
 found in the catalogue of his works fubjoined in Defchamps, fome pro- 
 duction 
 
 ♦ Pope adJiefles thefe lines to Jervas, who had painted Lady Bridgwater : 
 
 3'/ JliU Icr charms in hrcath'ing pa'nt cngave ; 
 Her moticft cheek JI:aU ivarm a future age. 
 Beauty, frail Jloiver, that C'v'ry fcafonfears^ 
 Blooms in thy colours for a thoufand years.
 
 ( V ) 
 
 duftion of his, from the volumes of Shakefpeare, the firfl: of po- 
 ets.* The fame difappointment occurs, in infpsding the catalogues 
 of Villiers Duke of Buckingham, and of James the fecond. Rubens 
 painted the apotheofis of James the firft — but how would his fondnefs 
 for poetry have made him paint the apothoefis of Shakefpeare ! — If Ru- 
 ben's genius (hone fo bright when picturing that of the fimple and pedan- 
 tick James: grace and feeling alone would have guided his pencil in the 
 apotheofis of SHAKESPEARE.]; There were other artifts in the reign 
 of Charles the Jirfr, from whom might have been expected fome fcenes 
 from our Post; as from John de Critz's nephew, who painted bravely 
 f:enesfor mafks — from Hofkini — and from Bordier, who is very hand- 
 fomely recorded by Mr. VValpole, for having painted the field of Nafeby. 
 
 In the after-times of infolent and canting bigotry, it would have been 
 more congenial to the gloomy aufterity of Cromwell, to have viewed 
 a group of anabaptifts, than a group of perfonages imm.ortalized by 
 every charm that genius and fancy could beftow — Thofe fcenes which 
 charmed the noble Southampton, muft have ill fuited the natural mean- 
 
 nefs 
 
 * " At the age of twenty-three, Rubens fet out for Italy, and entered into the fervlce of Vine t 
 •' Gonzaga Duke of Mnntua. One day when he was at that court, and was painting the ftory of 
 " Turniis and jEneas, intending to warm his imagination by the rapture of poetry, he repeated with 
 " energy thofc lines of Virgil : 
 
 " Ille etiam patriis agmen ciet, &:c. 
 
 *' The Duke who overheard him and entered the chamber, was furprized to find the mind of bis 
 *' painter cultivated with a variety of graceful literature. Rubens was named Envoy to Spain, 
 " and carried magnificent prefcnts to the favourite Duke of Lerma ; exerting at that court his political 
 " and elegant talents with a dignity and propriety that raifed the latter without debafing the firmer.— 
 
 " No wonder his emulation was raifed at Mantua, where the works of Homer were treated 
 
 " by Raphael and Julio Romano." 
 
 Anecdotes of Painti.vg, vol.2, 
 
 j Had Vandyck furvived the murder of his royal mafter, how would his feclingj have led him to 
 have painted the apotheofis of Charles — This would indeed have been a compofuiou of fentlment.
 
 ( vl ) 
 
 ncfs and revengeful Tp'rlt of Cmnwell — Southampton died as he had li- 
 ved, with a mind untainted : embahned with the tea-'S of every friend 
 to virtue, and to fplendid accomplifhments : all who knew him, 'w'lficd 
 to h'lm lon^ Ufe^JlUl kngthened tz-'ith all happinefs — But the terror of Cardinal 
 Beaufort's lafl fcene accompanied the guilty Cromwell : what a fign it 
 is of evil life, ivben death's approach isfeenfo terrible: Cromwell's laft Icene 
 was dreadfully embittered.* In times of the complexion of this reign, 
 one cannot wonder if publick tributes were withheld from the me- 
 mory of a man like Shakefpeare : his manly and extended fcntiments 
 would have ill accorded with the nonfenfe and flarchnefs of Puritans. — 
 In times of this indignant cad:, the filent homage of the heart, was all 
 that could — was all tliat durft be offered to hisfliade. 
 
 During 
 
 * *' Cromvvcirs dexterity equally i'lUisfied every feft; with Prefbytenans, a Prefbyterian ; with 
 " Dcifts, aDcift; only aa Independent in principle. It was by thefe arts he continued his authority, 
 " firft cemented by blood, and maintained' by hypocinfy and ufurpation. Yet, notwithftanding thk 
 
 "*' conduifl', which contributed to render him truly formidable at home, he was, after a few years reign, 
 '' become truly miferahle to himfelf. He knew that he was detefted by every party in the kingdom ; 
 " he knew the fierce Ipirit of the people whom he had made (laves, and he was inceffantly haunted by the 
 " terrors of an affallination. To increafe his calamity, a book was publiflied, intitled, Killing vo Munkr ; 
 ' in which it was proved to be juft to dellroy^him at any rate. SJ:al} we ((aid this .p ipukr dcclairaer) 
 ^^ luho '^'ould not fuffcr the Hon to invade us, tamely Jland to be devoured hy the ivalf? Cromwell read 
 
 •*' this •fpirircd treatife, and itis-faid was never fecn to fniile afterwards. He wore armour under his 
 " cloaths, and always kept a loaded piftol in his pocket ; his afpeft became cloudy, and he regarded 
 " every ftranger with a glance of timid fufpicion. He always travelled with hurry and precipitation,- 
 " and never flept two nights fucceHivcly in the fame apartment. A certain ague came at laft to deliver 
 
 "" him frojn a life. of liorror and mifcry." 
 
 History of England, in a fcries of Letters from 
 a Nobleman to his fon, vol. 2. 
 
 .■/rius fame work records another trait of the mind, of this brutal afTaffin : 
 
 " Few volunteers repaired to the royal ftandard, and Charles at length faw his vigilant enemy over- 
 ** take him at Worcefter. Both armies fought with equal intrepidity, but Cromwell was again vifto- 
 " rious — Never was fo complete a viflory obtained by him before. Two thoufand periflied by the 
 •^ fword, v^6^ four nmci that numler^ being taken, iverc fold a$JIavcs to the Americanplanters."
 
 During the reign of Charles- the fecond, as well as dirring the fucceed- 
 hig reigns, there were many Painters, from whom one might have ex- 
 pected fome fcenes from our great Poet — as from Streater (if painting. 
 all the fcenes at the eld play houfe, and the portrait of L^^'rv the player, would 
 have enabled him to paint from the genius of the Poet) — from Sir Pe- 
 ter Lely — Michael Wright — Zouft, who has given us a copy of fome 
 moil; graceful portrait of Shakefpeare — from Kneller* — and.laftly troiTs. 
 Vanblfcck. 
 
 It is fomewliat extraordinary, that one has heard of no Painting hav- 
 ing ever been taken of the great tragedian Betterton, in any of thofe 
 fcenes of our Poet, in which his powers of ading flione with fuch fu- 
 perior excellence — " all the Othellos, Hamlets, Hotfpiirs, Macbeths and 
 Brutus s whom you may have feeu fince his time (fay's Gibber) have 
 
 fallen.. 
 
 * " The original fketch (fay the Anecdotes of Painting) of the hlftoric pi(f\ure of King William, 
 *' at Houghton (by Kneller) is ftruck out with a fpirit and fire equal to Rubens. The hero and the 
 
 " horfe are in the heat of battle.— Of all his works. Sir Godfrey was moft proud of his converted 
 
 " Chinefe, at Windfor ; but his portrait of Gibbons is fupcrlor to it. It has the freedom and nature 
 " of Vandyck, with the harmony of colouring peculiar to Andrea Sacchl. — His airs of heads have 
 " extreme grace." This fliews one, how capable Kneller was, of painting from our Poet. 
 
 Liotard the painter, who lived ab'out this time, would have been ill calculated to have drawn from 
 Shakefpeare ; for the Anecdotes of Painting (under the articles Liotard and Fuller) thus fpeaks of him : 
 " Devoid of imagination, and one would think of memory, he could render nothing but what he faw 
 ** before his eyes. Freckles, marks of the fmall-pox, every thing found its place ; not fo much from 
 •' fidelity, as becaufe he could not conceive the abfence of any thing that appeared to him." — — — — — 
 " In his hiftoric compofitlons. Fuller is a wretched painter, his colouring was raw and unnatural, and 
 " not compenfated by difpofition or invention. In portraits his pencil was bold, ftrong, and maftcrly : 
 " Men who fliine in the latter, and mifcarry in the fbrmer, want imagination. They fucceed only in 
 " what they fee. — Liotard is a living inftance of this fterility. He cannot paint a blue ribband if a lady 
 " is dreffed in purple knots. If he had been in the prifon at the death of Socrates, and the paffions 
 " were as permanent as the perfons on whom they aft, he might have made a finer piilure than Nicolo 
 " Pouffin."
 
 ( vlli ) 
 
 fallen far ftiort of him." t Clbber has fo warmed huTifelf with the re- 
 colleaion of Betterton's Hamlet, that his language approaches nearly 
 to the force of Painting. The other great adtors whom Gibber men- 
 tions are equally unrecorded by the pencil. And therefore the frjl 
 Prints ever publiflied from the page of Shakefpeare, were the miferable 
 defigns of Fourdrinier, for the edition by Rowe, in 1709. J To thefe 
 fucceeded the duodecimo edition of Pope and Sewell, in 1728, with 
 cuts by Fourdrinier; I have not fcen this edition ; but I have reafon to 
 believe the cuts are nothing more than fac-fimiles of thofe in Rowe's 
 edition (with fome trifling alterations in fome of them) and with the 
 fubftitution of fome plates by Du Guernier. The next print that was 
 taken from the plays of Shakefpeare, was an etching by John Laguerre, 
 oiFalJlnf, Pijlol, ■\\\^Doll T'earjlieet, with other theatrick chara£lers, al- 
 ludino- to a quarrel between the players and patentees ; this print muft 
 have been publlfhed in the year 1733 — and in the fame year came out, 
 Hogarth's Southwark Fair, wherein he has exhibited thefe figures of 
 Laguerre's in a reduced fize. In the year 1735 came out an edition in 
 eight volumes fmall o£lavo, [aid to be printed by Tonfon ; it feems to 
 have been publilhcd by one Walker, and is a fpurious publication of 
 Rowe's edition ; with fac fimllics of the cuts of Fourdrinier (with fome 
 very trifling alterations in fome of them) and the fubftitution of about 
 fourteen plates from the defigns and graving of Du Guernier; the plate 
 prefixed to the play of I'bomas Lord Cromwell, by this laft artifl, poflefTes 
 
 fome 
 
 ■f " The mod that a Vanayck can arrive at, is to make his portraits of great perfoiis f«em to thlnl! ; 
 * a Shakefpeare ^oa farther yet, and tells you i\jbat his piitures thought ; a Betterton fteps beyond 
 •' them both, and calls them from the grave, to breathe and be thcmfclvcs again, in feature, fpeech, 
 *' and motion," 
 
 ClBBER. 
 
 X At Wmdfcr is a pifture by Michael Wright, (who died in 1700) of John Lacy the comedian in 
 the charafler of Sandy in the Taming of the Shreiv — but there is no fuch charadter -in Shakefpeare's 
 play. There are two plays on this fubject with nearly the fame title.
 
 fotne merit, and that prefixed to Lear, deferres an hifpeciion. Per- 
 haps thefe are the lame fc t of plates as are in the edition by Pope and 
 Sewelh The next edition in fucceffion (with the ornam&nt of cuts) was 
 the duodecimo one of Theobald, publifhed in 1740, with the deligns of 
 Gravelot — and as Garrick's genius burft forth in the following year in 
 the theatre in Goodman's fields, in the character of i?/c,W^ : we ftiall 
 find that his wonderful powers of realizing his Shakefpeare's fcenes, 
 transferred an almoft general afFeiflion for the dramas of that poet — 
 I will continue the lift of Prints publifhed from our author's plays, to 
 the end of the year 1765, which will verify my aflertion — Sir Thomas 
 Hanmer foon followed with his handfome quarto edition, with plates 
 defigned by Hayman, but five of them were from the defigns of that 
 more pleafing artift Gravelot. Hogarth in 1746 produced his fine Print 
 of Garrick in Richard the Thirds in which the ftarting and trembling 
 terror of Richard, is moft happily expreffed.* A metzotinto of Faber's 
 cameoutini75i, being Mrs. Margaret IVqffington in the chara^er of Mrs. 
 Ford, in the Merry Wives of Windfor, from a pifture by J. Heatley. 
 AVrmt oi JFoodward in Mercutio, was publifhed by W. Herbert at the 
 globe on London-bridge, in 1753 — and about this time, Vanbleck en- 
 graved a metzotinto of Mrs. Cibber in Cordelia, Mac Ardel engraved a 
 very poor Print of ^in in Faljlaff, from his own defign, and Hayman 
 etched a fmall plate on which is reprefented Falftaf feated upon a drum. 
 In the year 1754, Anthony Walker publiflied Five fcenes f ram Romeo and 
 Juliet, and this fame year came out a fine Print of Garrick's Hamlet, 
 from the pencil of B. Wilfoa. In the year 1756, a wretched Print of 
 Theophilus Cibber in the charadler of P//?s/ was prefixed to his Dilicrta- 
 tions on the Theatre, and perhaps about this time Hayman painted his 
 feven Pidlures from Shakefpeare, for Vauxhall gardens. In 1761, 
 
 b B. Wilfon 
 
 * The original painting is now at Duncombe Park, in Yorkfhire — The late Mr. Dun combe paid 
 Hogarth two hundred pounds for it.
 
 ( x.- ) 
 
 B. Wilfon gave the public- another Print of Ganick, namely a repiefcn- 
 t<ition of him in the ftorm fccne of Khig Lear, engraved in metzotinta 
 by Mac Ardel, and the expreflion of Garrick's countenance will be found 
 to poflels confiderable merit, if the bcH: imprclfions (and thofe only) 
 are looked at — And in the Exhibition for this year, was a Painting by 
 Hayman, of ^/> Jo.b/i Ri/pf rai/tng recruits. In 1763, a large Print 
 came out, dcfigned by Dawes, and engraved byBannerman, of Mr. Gar- 
 rick in the charaBer of Macbeth, and though objedions may be formed 
 againft all the witches (one only excepted) from their being by no 
 means happily conceived — yet one cannot refrain from allow-ing much 
 merit to the attitude and look of Macbeth. B. Wilfon again drew Gar- 
 rick : for in 1765, he publifhed his Print of Mr. Garrick and Mifs Bc!- 
 lamy, in the characters of Romeo and Juliet^ and tins fl\me year produced 
 a Print of Mrs. Pritchard in Hermione, from after Pine. From this time, 
 each fucceffive year produced many prints.* 
 
 And thou^'h, in the extenfive number of Prints which have appeared 
 iince the clofe of the above year, mod of them are marked by mean con- 
 ception, aftually difgracing the fcenes they were meant to adorn, (for it 
 mufl be confeflcd that in general, Artifts have not touched his fcenes ivith 
 a trembling hand) — yet fome of our Artiftshave fiuthfully conveyed to us 
 thefpirit of our author — and one is proud to enroll among the many who- 
 have attempted to paint from our matchlefs Poet, the names of Reynolds — 
 Romney — TFeJl — Mortimer — Dance — Kaufman — Cypriani—^Fufeli — Louther- 
 hoiirg — and Siuari,^ — and to thefe Artifts who have already painted from^ 
 
 Shake- 
 
 * Thofc wTio cenfure thefe particulars as tedious and unintereftinc;, can be little converfant Avith 
 Shakcfpeare — more candour will be hoped for from thofe who confefs the attachment of his name. 
 
 § I can only difcover two prints from the paintings of Sir Jofluia Reynold?, which are taken from 
 Shakcfpeare ; namely a Head of Lear, engraved by Sharp ; and the charaftcrs of Profpero and Ca- 
 liban 5.
 
 C XI ) 
 
 Shakelpeare (befides fume few, others whofe names might be mentioned) 
 we willingly receive moft of thofe whom Mr. Boydell has announced to 
 us. — One incitement to an Artifl to paint with grace, or with vigour and 
 energy the fcenes for the now preparing edition of Mr. Boydell, will 
 
 be 
 
 liban, which he has introduced in his poKrait of Mrs. Tahnafli, whom he has drawn as Miranda. It 
 is engraved in metzotinto by Jones. 
 
 INIr. Romney has painted Henderfon in IMacl;>eth, from which there is a metzotinto lately engraved 
 hy Jones. 
 
 Mr. Weft- has painted the Funeral Oration of Marc Antony over the dead body of Caefar, from which 
 a metzotinto is engraved by Val. Green ; and there are two engravings by Shaip, from the defign* 
 of Mr. Weft, from the tragedy of Romeo and Juliet. 
 
 The late Mortimer painted Twelve Heads of Charailers from Shakefpeare, from which etchings are 
 publiilied. And at a ftle of Drawings (chiefly by Whcatly) at Greenwood's, in 1785, Wds a Iketch 
 ty ]Moi tinier, of Macbeth meeting the witches. I have feen this (ketch, and it was worthy of Mor- 
 timer. The print of the B;4ttle of Agincourt, from this artift, is more hittorical, than dramatick. 
 
 Mr. Dance has painted Garrick in Richard the Third, from uhich a metzotinto is engraved by 
 Dixon ; and a fcene from Timon of Athens, engraved by Hall. 
 
 The pencil of the amiable KaufFman has drawn, Cordelia, Hermione, Celia, and Rofalind, a fcene 
 from the tempell, and a fcene from Coriolanus ; from each of which, prints have been pubiifatd. 
 I omit the two prints from after this lady, of the Birth and Tomb of Shakefpeare, as the prefent iiit 
 is meant to apply only to the fcenes or charade rs taken from Shakefpeare. 
 
 I have difcovered only two prints from the defigvis of Mr. Cypi iani, from the fcenes of Shakefpeare, 
 viz. Ferdinand and Miranda, defigned by Cypriani and Barret, and engraved by Bartolozzi and Mid- 
 diman ; and Orlando refcuing his brother Oliver from the lionefs, defigned and executed by the fame 
 artifts. 
 
 Mr. Fufeli exhibited a Drawing of the Death of Cardinal Beaufort, in the Exhibition of 1774; 
 a picture of Hubert and Prince Arthur, in that of 1775, and in the firil year of the Exhibition of 
 Painting and Defign, in Liverpool, Fufeli exhibited his pifture of Hotfpur, Glendower, Mortimer, and 
 Worcefter, difputing on the divilion of England — No prints have been taken (I believe) from either 
 of thefe pifturcs. This artift has alfo painted Lady Macbeth in her ileep-fcene, from which a metzo- 
 tinto is taken by Smith ; Lear, and Cordelia, engraved in metzotinto by Smith, Heads of Witches 
 engraved in metzotinto by Smith, the Vifion of Queen Katharine, engraved for the firil number of 
 Macklin's Piftures from the Britifli Poets, and there are fome fniall prints likewife from after Fufeli, 
 from the plays of Shakefpeare, in a periodical publication, which came out fome years ago, called the 
 
 London Theatre. 
 
 b 2 M. de
 
 ( xii ) 
 
 be from an honefl: wifh and pleafing hope, of partaking in that wifli ill 
 which Pope (ou another occafioa) uidulged himfelf: 
 
 Oh ! tuhile along thejlream of time, thy name 
 Expanded JlUi, and gather i all it's fame ; 
 ^ay, Jhall my little bark attendant fail, 
 Purfue the triumph, and partake the gale ?* 
 
 The vile creations of the fancy which the eye is fo frequently wea- 
 ried with (taken from the page of Shakefpeare) and which are meant to 
 defcribe to us the Poet's fcenes, convince one that it is no eafy matter to 
 
 defign 
 
 M.de Loiitherbourg painted Garrick in Richard the Third, which was in the Exhibition of 1774, 
 but no print (I believe) has been taken from it. Many of the plates to Ball's laft edition of Shake- 
 fpeare, are from the deligns of this artift. 
 
 Rlr. Stuart painted Henderfon in the charafler of lacjo, which Bartolozzi has engraved ; and he 
 has likewife painted a head of Kemblc in Richard the Third, now in the pofleffion of Mr. P^bus, 
 and which is engraved by Keating. 
 
 This enumeration, no doubt is very fcanty and imperfeft ; I wifli I could have rendered it more per- 
 {r£i. Very few of the above artifts have painted from the plays contained in the enfuing pages of this 
 profptHus: otherwife I would have applied to them what Timon of Athens fays to a painter : 
 
 Tour painting is tilmoft the natural man ; 
 
 / like your ivori : 
 
 And you Jhall find I like it. 
 
 * Another incitement will fill the artift'sbreafl-, and infpire him with an emulation to produce dc- 
 figns worthy of the munificent patronage now given to the arts, and worthy of accompanying the vo- 
 lumes of him, whom Mr. Malone calls, the delight and -wonder of fuccegive ages. — and this incitement 
 will be : the hope that his works may be honelily and impartially weighed for the attention of a future 
 »g«> by fome v/rlterof unbiafled and acknowledged judgment. — Every voice would inftantly accord to 
 the candour and talents of one gentleman : whom the pi;-/'eni artifts of Great Britain would moil chear- 
 fully fingle out as the faithful biographer of their merits and defers : and whofe warmth in recording 
 the piety, mildiiefs, and ingenuity ol Vcrtue, muft incline every artift, ardently to wifli a length of days 
 to iWxr time honoured Lancafter, from whofe pen, a future age might precifely know, the degree of 
 genius poflelTcd by a Reynolds — a Beauclerc— an Opic — or an Haward. r
 
 ( xUi, ) 
 
 defigii frrm Shakefpeare. Indeed fomeof.his fcenes are fo highly co» 
 loured, and difplay fuch daring efforts of true fublimity, that one muft 
 not expeft to fee them painted equal to their native ipirit — for who thinks 
 he can approach the Fancy and Nature of Shakefpeare ? — Had the fcenes 
 of Lear been even painted by Raffaelle : he himfelf would fcarcely have ex- 
 pected to have entranced the mind more, than what it feels by a bare peru- 
 fal of them — and the daring Michael Angela would have hefitated : ere he 
 had attempted to throw on his canvafs the folemnity of the enchant- 
 ments in Mcubcth, or the fire and enthufiafm which pervades the cha- 
 railer of Richard.\ If the mind of the Painter is not infpired by fome 
 
 portion 
 
 X Sir Jofhua ReynolJf, in an animated Difcourfe, delivered to the Students of the Academy, ii* 
 1772, thus fpeaks of Michael Angelo: — " It is to Michael Angelo, that we owe even the exillence of 
 " Rafl'aelle : it is to hiin Raffaelle owes the grandeur of his llyle. He was taught by him to elevate 
 " his thoughts, and to conceive his fubjefts with dij-mty. His genius, however formed to blaze and' 
 " to ihine, might, like fire in combuftlble matter, for ever have lain dormant if it had not caught a fpark 
 " by its lontacl with Mithacl An^elo : and though it never burft out with that extraordinary he it and 
 " vehemence, yet it muft be acknowledged to be a more pure, regular, and chafte flame. Though- 
 " our judgment will upon the whole decide in favour of Raffaelle; yet he never takes that firm hold 
 ** and entire poileilion of the mind in fiich a manner as to delire nothing elfe, and feel nothing want- 
 " ing. The effeft of the capital works of Michael Angelo, perfei'iiy corrcfponJ to what Bouchar- 
 " don fiiid he felt from reading Homer. His whole frame appeared to himfelf to be enlarged, and all 
 " nature which furrounded hira, diminiflied to atoms. 
 
 " If we put thofe great artifts in a Ught of comparifon with each other, Raffaelle had more Tafie 
 " and Fanc)-, Michael Angelo more Genius and Imagination. The one excelled in Beauty, the other 
 *' in Energy. Michael Angelo has more of the poetical Infpiration ; his ideas are vail and fubiime ; 
 " his people are a fuperior order of beings; there is nothing about them, nothing in the air of their 
 " aftior.s, or their attitudes, or the ftyleand caft of their very limbs or feat-urcs, that puts one in mind 
 *• of their belonging to our own fpecies. Rafaelie's imagination is not fo elevated; his figures are 
 " not fo much disjoined from our own diminuti' e race of beings, though his ideas are chaftc, noble, 
 " and of great conformity to their fiibjcifts. TMLchael Angelo's works have a ftrong, peculiar, and 
 " marked character : they feem to proceed from his own mind entirely, and that mind fo rich and 
 " abundant, that he never needed, or fcemed to difdain, to look abroad for foreign help. Raffaelle's 
 " materials are generally burrowed, though the noble ftructure is his own. The excellency of this 
 " extraordinary man lay in the propriety, beauty, and MajeUy of his charaders, his judicious contri- 
 
 " vaiice
 
 ( xlv. ) 
 
 portion of thnt celeftial fpirit which animated our Shakefpeare : he 
 muft not exped that his work fliould caufe other emotions than thofe 
 of tame, unwilling, and parfimonious approbation. 
 
 As 
 
 " vanceof his Compofitlon, corrc^Vnefs of Drawing, purity of Tafte, aud the fkilful accommodation 
 " of other men's conceptions to his own purpofe. Nobody excelled him in that judgment, with which 
 '' he united to his own obfervations on Nature, the Energy of Michael Angelo, and the Bea.uty and 
 " Simplicity of the Antique. To the queftion therefore, which ought to hold the firfl rank, RafFaelle; 
 " or Michael Angelo, it muft be aufwered, that if it is to be given to him who poffeireJ a greater ccm- 
 " binationof the higher qualities of the art than any other men, there is no doubt but Raffaelle is the 
 •' firft. But if, according to Longinus, the fubllrae being the higheft excellence that human compo- 
 " fition can attain to, abundantly compenfates for the abfcnce of every other beauty, and atones for 
 " all other deficiencies, then Michael Angelo demands the preference." 
 
 We may fee from a variety of paflages in Sir Jofhua's Difcourfes, as well as from his fecond letter 
 to Dr. Johnfon (inferted in the Idler), and from fomc of his notes to Mr. Mafon's tranflation of Du 
 Frefnoy, what predileftion he has ever fliewn for tl;e works of Michael yin^elo. It is pretty evident, 
 that one of the moll favouilte painters of Shakefpeare, was Julio Romano — and no wonder: when the 
 following charafters have been given of him : 
 
 '* De tou5 les difciplcs de Raphael, il n'y en a point ei'i qui I'ayent fi blen Imite, foit dans I'invcn- 
 " tion, foit dans la coloris ; ni qui ayent approche de cette fierte, de ce correct, de ces beaux caprices, 
 " de cette abondance, et de cette variete de penfces qu'on voit dans ces ouvrages. Les beaux talens de 
 " Jule, fon humeur douce et affable, fa converfation plaifante et gracieufe, furent caufe que Raphael 
 " n'eut pas moins d'amite pour lui que s'il eut ete fon propre frere. C'eft pourquoi il I'employa tou« 
 " jours dans les plus importants entreprifes." 
 
 Felieien. 
 
 " II deflinoit fierement, avoit des expreffions terrlbles ; et comme il pofledoit les Belles-Lettres, la 
 " Poefie avoit beaucoup de part a fes conceptions ; fon ordonnance eft peu commune et de bon gout." 
 
 Description des Tableaux du Palais Royal. 
 
 " See Raphael there his forms celeftial trace, 
 
 «» Unrivall'd Sovereign of the realms of Grace. 
 
 " See Angelo, with energy divine, 
 
 " Seize on the fummit of correift defign. 
 
 " Learn ho=w, at Julians hirlh, the MufesfmiVS^ 
 
 *' And in their myjlic caverns nursed the child, 
 
 2 •' How,
 
 ( XV. •) 
 
 As I have certainly In the enfamg profpecl us, felecled and recommend- 
 ed an extenfive number of Engravings to be taken — yet I think I liave 
 not recommended one more Engraving than ought to be inferted in 
 an edition — and this multiplicity proceeded from a wifh that Shakef- 
 peare's volumes might be adorned with every varied fpiendour of art — 
 that they might be conveyed to pofterity in a matchlefs ftyle of deferved 
 pre-eminence — and that each (or at leaft moft) of his great Scenes, 
 and fine and noble Paflages, might be acccompanled by the praife of 
 ingenious and (if it can be obtained) faultlefs art. 
 
 Ift 
 
 " Hon.', hy tl} Aonianpo-Mers their f mile hejiovi'd, 
 
 " Hii pencil iMith poetic fervor glo'jS' d ; 
 
 " IVhen, faintly -ve'-Je Apollo's charm con-jefJ, 
 
 " He oped thejhrtne, and all the god difplay'd : 
 
 " His triumphs more than mortal pomp adorns, 
 
 "■ With more than moi tal rage his lattle burns, 
 
 " His Hiroes, happy heirs of fav' ring fame, 
 
 " More from his art than from their aHions claim. 
 
 Mason's Translation of Eu Fresxoy, 
 
 " They all juftly deferve that high rank in which Frefnoy has placed them ; Michael Angelo, for 
 •* the grandeur and fiiblimity of his characters, as well as for his profound knowledge of deCgn ; Raf- 
 " faelle, for the judicious arrangement of his materials, for the grace, the dignity, and expreffioa of 
 " his characters ; and Julio Romano, for poffejfng the true poetical genius of painting, perhaps, to 
 *' a higher degree than any other Painter -whate-yer." 
 
 A Note by Sir Joshua Reynolds on Du Fresnoy's Poem, 
 
 I will elofe thefe teftimonies to the merit of this great artift, by giving my reader the fine and gene- 
 rous eulogium which Shakefpeare has pronounced on him — that rare Italian maftcr, Julio Romano ; 
 <i\}ho, had he himfclf eternity, and could put Ireath into his ivori, ivould beguile Nature of her cujiomy 
 fo f-erfcHly he is her ape : he fo near to Hermione bath done Hermione, that they fay, one vjouldfpeak t» 
 Ixr, and ftand in hope of anfvuer." Winter's Tale. 
 
 This is not the only teftimony we have of Shakefpeare's attachment to the Fine Arts — Many pafla- 
 ges in his works ftrongly evince the niceft difcernment for the arts both of Painting and Sculpture — 
 
 particularly
 
 In the enfuing pages, I feai* I may have too mucli incumbered fomc 
 of the Scenes or Subjects recommended, with my own obfervations — 
 and yet, I believe, it would not have been pollible to have recom- 
 mended them to tbe notice of an Artift in fewer words— And I muft 
 beg again to remind my reader, that if in the courfe of my furveying 
 any of the following Plays, I Ihould overlook, or be quite filent as 
 to any of thofe Prints which are included in the Lift fubjoined to 
 the end of each Play : that it proceeded from my not perceiving in 
 
 any 
 
 particularly paiTa^s in hU Twelfth Night — Cymbeline-^Taming of a Shreiv — Antony and Cleopa- 
 tia—Timon of Athens — and in his Poems — but tlie following fcene from the Winter's Tale, relating 
 to the Statue of Herraione, would have been read with the moft partial attention, by the firrt mafter* 
 of ancient Rome ; 
 
 Leon. O Paulina, 
 
 Jf'e honor you ivith trovhk : Butive came 
 fnfee thejlatuc of our queen : your gallery 
 Have I'je fnfi\l through, not luithout much content 
 In mar.y Jingularitics ; hut 'Mcfaiv not 
 That Kvhich my daughter came to look ufon^ 
 The Jlatue of her mother > 
 
 Paul. Asjhe lived pecrlefs. 
 
 So her dead likenefs, I do fjell iclieve. 
 Excels ivkatever yet you look'd upon. 
 Or hand of man hath done ; therefore I keep 
 Lonely, apart :—But here it is : prepare 
 To fee the life as lively mock'd, as ever 
 Still Jleep moci'd death : behold; and fay, 'tis well. 
 
 [Paulina undraws a curtain, and difcovers a ftatue. 
 I lilic your filence, it the morejhcws off 
 Tour wonder :* hit yet fpeak \—fi'ft, you, my liege — 
 Comti it not fomtthing near ? 
 
 Leon. 
 
 • This thought, eonvlncediy ftews th« Poet's fond «at for the Arts— thefe lines ftould be written in every 
 Theatre, when the Tragedies of Bhakcfpeste art performing.
 
 ( xvii. ) 
 
 any part of them, any merit, or any thing that was likely in tlic 
 fmalleft degree, to make it worth an Artift's while to infpe(5t fuch 
 Print- 
 
 If any of the fingle lines, or the paflages felefbed or quoted in the 
 enfuing pages for the purpofe of recommending them to the notice 
 of an Artift, fliould appear flat, or tedious, or cold; let it be re- 
 membered, that it is owing entirely to my disjointed feleclion of 
 them — 'Who will be fo imprudent as to call them tedious and un- 
 impaflioned, without firft perufing the context or the fcene at larger 
 
 To 
 
 Leon. Her natural pofture .'— 
 
 Chide mc flcarjlone ; that I ma-/ Jay, indeed 
 Thou art Hermione : or rather, thou artjljc^ 
 In thy not chiding ; for Jlje ivas as tender 
 As infancy and grace. 
 
 ■Oh, ihusjhejiood. 
 
 Even tuithfuch life of majejly, (•■warm life. 
 As no'W it coldly (lands) ivhenfrfl I iijoo^d her ! 
 
 — — — — — -^-^ Oh, royal piece, 
 
 There's magick in thy majefy ; ivhich has 
 J\fy evils conjured to remembrance ; and 
 From thy admiring daughter took thefpiriti. 
 Standing likefione voith thee ! 
 
 Paul. Indeed my lord. 
 
 If I had thought the fight of my poor image 
 
 Would thus have vjrought you, {for the font is mine) 
 
 I'd not have f>e'U}' d it, 
 
 Leon. Do not draiv the curtain. 
 
 Paul. No longer flmll you gaze on*t ; Uft your fancy 
 May think anon, it moves. 
 
 Leon,
 
 ( xvlil, ) 
 
 To thole few Portraits of Shakefpeare which I have alUided to, 
 in page vi. and vli. of the preface to the former part of this work, 
 I am now enabled to add to that lift, another difccvered Portrait: 
 for in the memoirs of Mr. Aftley, of Duckenfield Lodge, (which ap- 
 peared a few months ago in fome of the public papers) this new 
 Portrait is thus mentioned : 
 
 " Aftley too, though not fo elegantly minded as Reynolds, might 
 *' have been confpicuous in his art. Wlien he left Hudfon, and 
 
 *' went 
 
 Leon. Lei le, let le. 
 
 W^ould I li^ere dead, hut that, 7neth'iHTiS already— 
 IVIjat vjas he, that did make it ? See, my lord, 
 U-^ould you not deem it breath' d? and that thofe veins 
 Did verily bare blood ? 
 
 Paul. Mafterly done : 
 
 The I'ery lifejecms ivarm I'pon her lip. 
 
 Leon. The fixurc of her eye has motion i>Ct, 
 As '■Me are ?nocVd tvith art. 
 
 Paul. /'// drav] the curtain ; 
 
 Aly lord's almojl fo far tranfportld, that 
 He'll think anon, it lives 
 
 Leon. O frveet Paulina, 
 
 Alake me to think fo t-vienty years together ; 
 No fettled fenfes of the 'world can match 
 The plcafure of that madnef. Let't alone. 
 
 Paul, I am forry, fir, I have thus far flirr'd you : but 
 I could affllH you further. 
 
 Leon. Bo, Paulina ; 
 
 For this offliBion has a tafte asfiveet 
 
 As any cordial comfort.— Still methinks. 
 
 There is an air comes from her : vjhatfne chizzel 
 
 Could ever yet cut breath i 
 
 2 Paul
 
 ( xk ) 
 
 *' went to Rome, he fliewed fuch parts as got, and kept, the pa- 
 *' tronage of Lord Chefterfield. The bed pi£lures he ever painted, 
 " were copies of the BentivogHo's and Titian's Venus, and a Head, 
 " much in the manner of Shakefpeare, — and in the opinion of a judge^ 
 *' (zvhom feiv can doubt) Stuart, the portrait painter, far preferable to 
 *' the famous head in the colkdlion of the Duke ofChandosy It muft be 
 a fine Head indeed, if preferable to that in the colleftion of the 
 Duke of Chandoa. 
 
 I offer the few underwritten extracts to my reader, as a kind of 
 chart (however wide and imperfeft) to diredl his enquiries in the 
 attempt to difcover fome yet feckided original Portrait of Shakefpeare. 
 The hope of yet difcovering fome new Portrait (however diftant it 
 may be) ought not to be damped : from recollefling that the invahi- 
 able Portrait of MILTON, which gives one a difinSl idea of hii coun- 
 tenance, has been very lately brought to light, after having eluded 
 a fearch of more than fixty years — Milton's admirers will have a higli 
 treat, by perufmg page 547 of Mr. Warton's lately publifhed edition of 
 Milton's Poems.* 
 
 Paul. 
 
 • Shall I i/raiv the curtain ? 
 
 Leon. "No, not thcfc tivcnty years. 
 
 PerJ. So lot!^ could IJlaml by, a looker on. 
 
 This fcene could only have been written by a mind warmly devoted to the ai'ts — and who butShakc- 
 fpeare could have conceived the line of 
 
 Wl^ai fi,i£ chlztel 
 
 Could ever yit cut breath ? 
 
 * I give my reader the few following extracts or notices, merely in the hopes of their 
 'eadinj to further difcoveries : 
 
 The firft extraft is from No. 73 of the third volume of the Cenfor, (in imitation of the 
 
 Speftator) publilhcd in 17 17 — which .iirft recites a letter which had been written to the au- 
 
 c 2 thor;
 
 ( ^^ ) 
 
 tlior ■ in which letter 'a fiflitious one) are thefe words — " I hope you %vill do me tht 
 " honour your worthy predeceflbr the ingenious Air. BickerftafFdid Mr. Dogget fome years 
 " fince I mean, to grace me with your prefence at the Theatre in little Lincoln's Inn Fields, 
 «' on Thurfday the nth of tliis inft. to fee the dramatick Opera called the Prophciefs, or the 
 «' Hlftory of Dioclcjiaii, which will be a£ted that night for my benefit. If you fliall be pleafed 
 ••' to honour me fo far, I will keep one of the ftage-boxes for you, and your friends ; and to 
 " heii'hten your entertainment, the front of the gallery will be adorned with the Original 
 " Figures of thofe Poets, who have been moft excellent in the dramatickway ; as Shakcfpeare, 
 " Ben Jonfon, Fletcher, Sir John Suckling and Mr. Dryden." — The paper, having thus re- 
 cited this fiftitious letter from a fuppofed correfpondent, goes on thus : " It mull give a fine 
 •' rational pleafure to the minds of a well turned audience, to behold, inftead of a trivial 
 " landfcape of a folitary towrer, or a waving grove, all that can be preferved of the images 
 " of our fathers in Poetrv. While they trace the lineaments and features of this glorious 
 " aiTembly, forming to themfelves the ideas of how they looked, moved, fpoke, wrote; 
 " their hearts fhould be infpired with fnch fentiments of delight and wonder, as filled the 
 " breaft of iEneas in the fhades, when he faw the images of the great heroes and captains 
 " who had trod before him in the paths of fame ; mighty fouls (as Virgil fays) and born in 
 «' better days. The poets methinks fhould lt)ok on Shakefpeare with a religious awe and 
 " veneration, and behold him with the fame eye Mr. Dryden did, in that incomparable 
 " poem to Sir Godfrey Kneller, where he fays, 
 
 Shakefpeare, (thy gift) I place before my fight;, 
 j^nd a/k his bleffmg ^ere I dare to write. 
 
 "■ And indeed there is not a greater'difference be— 
 
 " twcen the flower of our years, and the decline of them, than there is between Shake— 
 
 •' fpeare, and all other Englifh Poets The greatclt pleafure that I received through 
 
 " the whole play, was to obferve thofe Original Piftures that were the ornaments of tlie 
 " gallery, and could not help taking notice that nofe-lefs Sir William Davenant had more 
 " fearful flarers from the pit, than any of the reft of his fraternity. For mv own part,. 
 " my eye dwelt upon my favourites Shakefpeare and Dryden, though I often flole a look. 
 " on the company, which gave me a very fenlible delight." This paper then concludes 
 with a " Prologue fpoken at Lincoln's Inn-Fields Theatre, en occafon of the Figures of 
 •' our old Englifh Dramatick Poets, being placed in front of the Gallery." This is in- 
 fetted, merely to fhew the reader (what there is no doubt of) that the Old 7"heatres 
 would have been likely places to have obtained intelligence on this head. 
 
 It is not improbable, but fome Pifture of Shakefpeare, was in the Sale of Betterton the 
 player. 
 
 In
 
 ( xxl ) 
 
 la the Catalogue of the Medals, Statujs, Pictures, and Jewefs of Mrs. Oldfield, there- 
 appears no Picture of Shakefpeare. Nor is there one at Dulwich College. 
 
 " At Wimpole in Cambridgefhire (I quote the Anecdotes of Painting, under the arti- 
 " cle Belcainp) the feat of the Earl of Oxford, which had been Sir Henry Pickering's, 
 *' and before him the feat of the Tempefis, luere copies by Eelcamp of f^veral Englifh 
 " heads, remarkable perfons in the reigns of Henry VIII. Elizabeth, James, and 
 " Charles I. bat they were all fold and difperfed with the reft of the Harleian Colleftion." 
 There mi^ht perhaps have been a Pi£lure of Shakefpeare at this ancient feat, as well as at 
 fome other ancient feats in England, 
 
 Who more likely to have known the different Piftures of Shakefpeare than the late Ver- 
 tue ? ^ 
 
 s 
 
 Henry Earl Southampton (the friend of Shakefpeare) married Elizabeth the daughter of 
 John Vernon of Hodnet. The portrait of this Elizabeth was drawn by Cornelius Janfen, 
 and " the face and hands are coloured with incomparable luftre." The intimacy that pro- 
 bably fubfifted between this family and our Poet, inclines one to think that Janfen might 
 have painted Shakefpeare — The metzotinto prefixed to the edition of King Lear, by Jen- 
 nens, is Jaid to have been taken from a picture of Janfen's, Though it has been doubted 
 whether Janlen ever did paint Shakefpeare. 
 
 " James Maubert, diftinguifhcd himfelf (fay the Anecdotes of Painting) bycopving all: 
 " ihe ponra'ns hv cou/d meet 'u.'ith of ^ngVilh. Poets, fome of which he painted in fmall 
 " ovals. Dryden, Wycherley, Congreve, Pope, and fome others, he painted from life. 
 " He died at the end of 1746. Venue fays he mightily adorned his piftures with flowers, - 
 ^ honey-fuckles,^ &,cJ' From this artift fome information might have been obtained. 
 
 K I N a
 
 KING JOHN.
 
 ADVERTISEMENT. 
 
 TTAVING feen a few weeks ago, a paragraph iii the Morning Herald, 
 intimating a new edition of Shakefpearc, and having feen the re- 
 fpedable names that are there inferted of thofe who are fiid to have taken 
 the lead in bringing forward this work ; it muft feem prefumptuous in 
 me to obtrude my weak efforts on the public, or to think that any of 
 the enfuing pages would give rife to any change or alteration for tlie ftill 
 further improvement of this projedled edition. I do not fuppofe there 
 can poffibly be one difcordant voice againft any one of the gentlemen who 
 are mentioned in fuch paper; and happy is it for the honour of this coun- 
 try, and for the glory of the fupreme bard to whom it gave birth, that 
 fuch names are announced — bad commentators and bad artifts might have 
 crept in, and by the penury of their genius or the inurbanlty of their 
 minds, might have deprefled the exertions of Tafte and Learning. Araidil 
 all the numerous editions of thofe authors whofe works have been pub- 
 llrtied with coftly fplendour, thofe of the unaiTumlng Shakefpeare have 
 been overlooked — if we except the edition of Hanmer, and that is no 
 ways to be compared to the fpiendid publications of other editors — and 
 we muft indeed except the late edition of Bell. How many fine and beau- 
 tiful editions have been publifhedof Don Quixotte, of Mollerc, of Fontaine, 
 and particularly of A riofto ; and need I mention the late projected edition of 
 Voltaire ? There are even the Petites Conqiietes JeLonis quatorze, publlfhed 
 without any regard to expence ; and the very Amours PaJloraJes ds Daphn'n 
 & Cloe, are ornamented in a ftyle much fuperior to any edition of Shake- 
 fpeare — and to crown all (amidft numerous coftly publications on Mofies, 
 
 a Frogs»-.,
 
 ( ii ) 
 
 Frogs, Mufhrooms, Moths, Batterflles and Beetles) we have StoU's H'tf- 
 ioire des Cigales et des Punaifes, avec figures colorces d'apres nature, and ten 
 numbers fewed, for five guineas ; and the price of the greateft part of 
 the above works has doubled that of Shakefpeare's beil: edition. But the 
 time is now come when Shakefpeare's works will receive every em- 
 bellifhment of grateful art — when a temple will be eredled to his memo- 
 ry — and where the produdlions of Britifh artifls will receive an eternal 
 afyl 
 
 um. 
 
 Delay, however in this generous plan, has already deprived us of 
 the grateful affiftance of Cypriani ; and Shakefpeare himfelf warns us, 
 that 
 
 on our quickefl decrees. 
 
 The inaudible and noifelefs foot of time, 
 Steals 'ere we can efFeft them. 
 
 If the enfuing pages can give rife to one fingle new hint — or can (by 
 the lift which is given of fome Paintings and Prints which have appeared 
 on the fubjeft of Shakefpeare) fave any trouble to an enquiring artift, 
 my end is anfwered. They were not written with the intention of being 
 publifhed ; but merely for the amufement of leifure hours, and as an in- 
 ward tributary efteem to him, whofe fcenes had ohfsothed me with many 
 apenfive pkafure mild. And though I have long had much at heart, and 
 was willing to indulge an expeftation of fome future fine edition — yet 
 I had no certain, nor even the moft diftant hope of any one being actu- 
 ally in contemplation. The expence alone made one loath to conceive 
 any grand edition would ever be accomplifhed. And as the nice dependen- 
 cies 
 
 * TVcfuhltme dreams of Piranefi, might be confulted for the architecture of this building. See 
 Mr. Walpole's Anecdotes, v. iy. p. vii.
 
 ( "i ) 
 
 cies of an extenfive undertaking cannot at once be adjufted, it is now the 
 time (in its earlieft progrefs) to offer any hints, however imperfect. 
 
 Though many of the engravings that have been hitherto publlfhed 
 from the page of Shakefpeare, are merely trafh — yet it may not be un- 
 fatlsfaftory to thofewho wifh to defign from him, to view fuch engra- 
 vings ; as from fome of them, there m.ay perhaps be caught fome idea 
 worth improving on. I have therefore at the end of the few plays which 
 are treated of in the enfuing tra£l (and in which the pages are marked 
 from the edition by Johnfon and Steevens) inferred a lift of all fuch as 
 have been publlfhed from each play.-f- Many objeftions may be raifed 
 againft the plan that I had formed for an edition ; particularly on account 
 of the multiplicity of the prints ; but I was willing to recommend the 
 introdu£lion of more of them than may be necefTary, rather than too 
 fev/ — from an unwillingnefs to reject fuch of thofe already publiflied, 
 which might poflibly poflefs even a very fmall fhare of merit — leaving 
 it to fuperior men to feleft from my crowded variety. TJie plan of 
 Meffrs. Boydells edition, in having the plates on a large fcale, and fe- 
 parate, (like thofe perhaps of Cooke's voyages) will exhibit many of the 
 fcenes, in a rauch fuperior manner to what my reduced fize can. 
 
 If there fhould be found any of thofe prints that are mentioned in the 
 lift at the end of each play, not taken any notice of in any part of the 
 play — it is, becaufe they did not ftrike me as pofTefling any merit, or as 
 
 con> 
 
 f Charles Taylor's publicati'^n of the PlElurefque Beauties of Shaiefperre, is not yet compleated. 
 Nor is the edition of the plays by Lowndes. The editors of the French edition of Shakefpeare, pub- 
 liflied propofals for a fet of prints ; but I believe they were never carried into execution. In a Gen- 
 tleman's Magazine about the time of Dr. Dod's death, is a letter pofitively affuring the public, that 
 he was in want of a fum to pay Parifian artifts, who were executing plates for an edition of 
 Shakefpeare in quarto. The letter mentions that the perfoii who wrote it, had feen fpecimcns of the 
 print — that Dr. Dod had the undertaking deeply at heart — and that he went to Paris once or twice about 
 k. 
 
 a 2
 
 ( Iv ) 
 
 containing any thing, that was likely in the leafi: degree, to give rife to 
 an}"good hint. The Plan I had formed in my own mind was this : 
 
 . To have printed the mofl approved Text and Notes, with a type equal 
 to tliat of Foulis ; and of a fize fomewhat larger than the Memoirs of 
 Thomas Mollis ; that is, of the largcft Quarto fize pofiible. 
 
 . All the Prefaces which have yet been written by the various Commen- 
 tators (including thofe by Dod, Capell and fome other later ones) to 
 have been inferted in ihc order in tvhich they were written ; and in fhort,, 
 all that the united exertions of Mr. Steevens, Mr. Malone, and JVIr. 
 Reade, have enrich-ed the late editions with.* 
 
 The Frontifpiece to have been the old head of Shakefpeare, by Droefli- 
 out, with the lines of Ben Jonfon engraven under. 
 
 And to the firfl Preface or Dedication, namely the Dedication of the 
 Players, I meant to have propofed a Head-piece being engraved on the top 
 of the fhect ; and it might be a fac-fimlle of the fmall head which Marfhall 
 bad the felicity of engraving, and which faces page 196 of the laft edition 
 by Johnfon and Steevens, with the fame lines engraved under. 
 
 The Preface of the players will follow next — and afterwards the Pre- 
 face of Rowe — on the top of which might be engraved a fac-hmile of the 
 fmall head only of Shakefpeare, which appears in the frontifpiece to each 
 
 cf 
 
 * To thefe might be added, at proper places,, fome few particular extracts from the work o( Mrs. 
 Montague, C;is her chapter on the Prf/fr«rt/a)W .5m;^i, to precede, or to be placed after the Tem- 
 peft) and from fome very few other writers. A few good additions might be likewife made to the 
 Commendatory Verfes on Shakefpeare ; and fome of them might be extrafled from the Italian poem of 
 Lorenzo Pignotti, entitled Shakefpeare^ and dedicated to Mrs, Montague ;. it is in quarto, and printed 
 *t Fjrenze, in 1779.
 
 ( V ) 
 
 of the volumes of Rowe's edition. The head mav be encrraved as it now 
 is, -without any ornament whatever thrown round it; not even the ufual 
 laurel wreath. The clumly figures in this frontlfpiece were probably 
 deligned by Fourdrinier — but they Ihould not be cenfured ; for though 
 they are poorly executed, yet they were meant as a grateful offering to the 
 poet. 
 
 The next Preface is that of Pope's. The head prefixed to his edition, 
 is declared by Oldy, to be a juvenile portrait of James I. This how- 
 ever, is no decided authority ; and as this head (engraved as it is in Mrs. 
 Griffith's work) appears a noble ornament ; it might therefore be placed 
 oppofite the Preface of Pope. It is likewife well engraved by Vertue. 
 
 Opposite Theobald's Preface might be placed, the pleafing head pre- 
 fixed to his large 8vo, edition, by Arlaud. There is fome very little re- 
 femblance in the eyes of this portrait, to Marfhail's-print.. 
 
 The head which appears inHanmer's edition, (hould not be placed be- 
 fore his Preface, unlefs fome proofs of a probable originality can be pro- 
 duced. I would therefore propofe (in the lieu of this) the engraving a 
 Head-piece to his Preface, which might be a fac-fimile of the Vignette 
 which is defigned by Wale, and engraved by Woodfield,.and which may. 
 be feen in fome edition of Shakefpeare, that I do not immediately recol- 
 lect — but it is a fquare Vignette, and contains the figures of Apollo and 
 Minerva. The head in this Vignette, bears fome very little refemblance 
 to that at Wentworth Houfe.* 
 
 The whole of the Vignette to the republication of Shakefpeare's poems,, 
 by Thomas Evans, might be engraved as a Head-piece to Warburton's 
 Preface. 
 
 To 
 
 * The epiflle of Collins might be fubjoiued to this Preface. It is Ilrange that a critic Ihould ob. 
 ferve of this poem — that if it has not fo much merit as the reft of his poems, yet that it has ftill more 
 ihan the/ubjeii deferves.
 
 ( vi ) 
 
 To the Advertlfement to theReader, (prefixed to the edition of twenty 
 of the old quarto copies) might be placed Vertue's punt, from the original 
 m the pofleffion of Mr. Keck, and the fame lines may remain engraven 
 under it. 
 
 Houbraken's pleafing portrait, from one in the pofleffion of John Nl- 
 colljof Southgate, Efqulre, may likewife ornament the^Preface of Johnfon. 
 
 And oppofite poor Dod's Preface, might be placed the rich metzo- 
 tinto, which is given in the edition of King Lear, by Jennens. 
 
 As a Head-piece to Steeven's fecond Advertifement, might be engraved 
 a copy of the head which is in Johnfon's firfl edition, and which is en- 
 graved by Vertue. 
 
 And oppofite the Preface of Reade, might appear the fame beautiful 
 head which he has prefented to the public, from a picture in the poflef- 
 fion of the Duke of Chandois * 
 
 The head in Bell's edition might be engraved as a Head-piece to fome 
 other Preface, or fome other of the introduftory matter. This head is 
 fomewhat like the pidlure in the Britifli. mufeum. And the fmall 
 head by Vandergucht, in Theobald's lamo. edition, may be worth 
 looking at. 
 
 As a Head-piece to Shakfpeare's Will, might be engraved the fame 
 print of his Houfe, which is in Mr. Malone's Supplement — and as a 
 Tail-piece to this Will, might be Introduced the prefent appearance of 
 
 the 
 
 • Joseph Taylor (fays Mr. Malone) is faid by fome to have painted the only original piflure of 
 Shakefpearc now extant, in the pofltffion of the Duke of Chandois. By others, Burbage is reported to 
 have been, the painter. Vol. i.page 57.
 
 ( vU ) 
 
 tills fame Houfe ; or in the ftead of that, might be engraved as a TalU 
 piece, the fac-fimile of his Hand Writing. 
 
 The Bufl in Stratford Church will be feen in the aftermentioned print 
 of his tomb. 
 
 As a Head-piece to that leaf which treats on the Portraits of Shakef- 
 peare, might be engraved a new Portrait — namely, that which is now at 
 Wentworth Houfe. He has an unhealthy look, and his mind feems de- 
 prefled by fome anguifli, which is fettled in a confirmed gloom. * x^t 
 each corner of the canvas, is a laurel wreath. I believe this pidure be- 
 longed to Sir P. Lelly, who either left or gave it to Dryden. On the 
 back of the old canvas, fome few years ago, was written : 'This pldlure be- 
 longed to the poet Dryden, ot at leaft words very fimilar to thefe. There 
 
 was 
 
 * He feems, (at the time of life when this pidure was drawn) to have been lame and poor. See his 
 37th Sonnet and Crit. Rev. for January 1784, page 33, 
 
 I find a few traces of fome pictures of Shakefpeare : 
 
 Pope, (fays Mr. Walpole) was not the only bard that foothed Sir Godfrey Kneller's vain.glory. 
 Dryden repaid him for a prefeut of Shakefpeare's pidure, with a copy of verfes full of luxuriant, but 
 immortal touches. 
 
 Sir W. D'Avenant was poflefled of the only original picture of Shakefpeare ever painted. 
 
 Malone's Sup. v. 2. page 185. 
 
 At the Duke of Dorfet's, at Knoll, is a pifture of Shakefpeare. I believe there is one at Lord 
 Exeter's, which is fuppofed an original. 
 
 Amiconi's next work was a pifture of Shakefpeare and the mufes over the orcheftra of the new 
 Theatre in Covent Garden. Walpole. 
 
 This copy of Amiconi's, might have been taken from fome pidureof Shakefpeare, at that day well 
 Vnown in the theatre, which might have been an original. 
 
 There is a portrait in the Britifli Mufeum.
 
 C via ) 
 
 ^vas n letter which always jiccompanied, or was fixed to the back of this 
 piiHiure, but on its being new lined and cleaned fome few years ago, the 
 letter was loft. It contained fome particulars about the pifture. 
 
 If the infertion of fo many Portraits (hould beobjedled to ; let it be re- 
 membered, that the proofs even of thofe few which are generally fuppofed 
 to be original, are at the bed doubtful ; and that fome one of the com- 
 monly rejetSled Portraits might have been painted ad vivum. 
 
 If the reader will turn to that leaf, on which is tranfcribed the burials 
 of the Shakefpeare family, he may not think it improper to affix a Head- 
 piece to fuch leaf; and it might be an angel or genii, or a weeping child 
 perufing with an afflifted air, that entreating requeft, which (as Mr. 
 Steevens informs us) is thus uncouthly infcribed on his tombftone. * 
 
 Good Frend for lefus SAKE forbeare 
 To dice TE Duft EncloAfed HERe 
 Blese be TE Man 1 ipares TEs Stones 
 And curst be He ? moves my Bones. 
 
 Somewhat 
 
 * Shakespeare's would have been a fine grave for Cromivcll to have trampled oh; Clofe to the 
 poet's tomb, repofe the afljes of his favourite daughter Sufannah, with this infcription : 
 
 Witty above her fexc, but that's not all, 
 Wife to falvation was good Miilrefs Hall, 
 Something of Shakefpere was in that, but this 
 Wholy of him with whom file's now in blifle." 
 Then paffenger haft n'ere a teare, 
 To weep with her that wept with all ; 
 That wept, yet fet herfelf to chere , 
 Them up with comfort's cordial. 
 Her love fliall live, her mercy fpread, 
 iVheii thou h'all ne're a teare to flied.
 
 ( ix ) 
 
 Somewhat of the fame kind of look and attitude might be given, 
 which we fee in a metzotinto, to the memory of Queen Ann, where a 
 cupid is reading the words : Pajlora is no more^ I do not recollect its title. 
 If the attitude and look of that cupid fhould not be thought fuffici- 
 ently expreffive, the reader may refer to the two weeping children in the 
 Vignette prefixed -to the tenth volume of Lowndes's Englifh Theatre. 
 The face of the foremofl boy may exprefs lefs of anguifh. See alfo 
 two figures in a Vignette to one of the volumes of Lowndes's Englifh 
 Theatre, engraved by Hall, from after Lowe. In the frontifpicce to 
 the firfi: volume of the Colleftion of Drawings by Rogers, is a w' inged 
 bov, (with a pallet) — and fee the<:hlld whichis at the bottom of the firfl 
 fludy of Corregio, in the fecond volume of the fame work. See alfo the 
 weeping child of Cj^priani, in his print of the Nymph of Immortality. 
 And fee the devout and tender calmnefs of two of the heads in Sir Joftiua's 
 portrait of a daughter of Lord William Gordon, where flie is draw-n as 
 in a group of angels. 
 
 In fome other part (as at page 215) might be Introduced a print of 
 his monument in the Abbey ; and another of that at Stratford. 
 
 In all the large prints of his monument at Weftminfler the face is 
 wanting in that ferenity which Scheemaker has given him.* In the 
 
 print 
 
 HtRE too fweet Shakcfpeare, Fancy's fav'rite chilJ, 
 
 The marble emulates thy power to pleaf; ; 
 With graceful attrtade, and afpecEl mild, 
 
 Expreffing native dignity and eafe. 
 
 Nor
 
 ( ^ ) 
 
 print by Claud Dubofc, his features refemble thofe of a ruffian, more 
 than Shakefpeare's. He appears to more advantage in the print by 
 Maurer, 1742. There is a very neat fized print of this Monument in the 
 Supplement to the 28th volume of the Univerfal Magazine. 
 
 The Tomb at Stratford has been fo well engraved by Vertue, for tlie 
 edition of Hanmer, that no better print of this tomb can be defired. I am 
 fpeaking of the bed impreffions of this print ; and not of the copy en- 
 graved by Gravelot for the laft edition. I am afraid however that 
 Vertue, (who in his pilgrimage to Stratford did not want true devotion to 
 Shahfpeari) has made the Buft much too handfome and pleafing. The 
 Buft itfelf does not convey near fo pleafing a face. * Mr. Gough informs 
 
 us 
 
 Nor thy unrivall'd magic's potent charm, 
 
 Nor tender ftorics of ill-fated love ; 
 Nor fccnes of horror could his rage difarm. 
 
 Or the infenfate fpeclre's pity move. 
 
 Where were ye graces, where ye tuneful nine, 
 
 When Shakefpeare's active fpirit foar'd away ? 
 Where were ye Virtues when the fpark divine> 
 
 Forfook its trembling tenement of clay ? 
 
 Alas ! around his couch attendant all, 
 
 Ye faw the flroke the ruthlefs monfter gave ; 
 Beheld (fad fcenc !) your darling vot'ry fall. 
 
 And weep your inability to fave. 
 
 * The following letter is from the Gent's. Mag. for June 1 759. 
 
 Mr. URBAN, 
 
 A doubt of a new kind, and not unworthy of notice, has arifen among fome, whether the old menu- 
 men talBuftof Shakefpcarc, in the collegiate church of Stratford upon Avon, Warwicklhirc, had any 
 
 refemblance 
 
 I
 
 ( « ) 
 
 US that there is a good call: of this Bufl in the pofTefnon of Mr. Green, of 
 Lichtield. 
 
 Opposite the Commendatory Verfes on Shakefpeare, might be placed 
 that moft pleafing ornament to lus memory, defigued by R. Cofway, and 
 engraved by Bartolozzi, of Mrs. Abingdon as Thalia. If well coloured, 
 it is beautiful ; but the features of the buft might have been altered for 
 
 the 
 
 refemblance of the bard ; but I find not this doubt to have taken date before the public regard fiiewn 
 to bis memory, by ereding for him the curious cenotaph in We ft minder Abboy : the ftatue in that ho- 
 norary monument is really in a noble attitude, and excites an awful admiration in the beholder ; the face 
 is venerable, and well exprefles that intcnfenefs of ferious thought, which the poet muft be fuppofej 
 to have fometimes had. 
 
 The face on the Stratford monument bears very little, if any refemblance, to that at Weftminfter • 
 the air of it is indeed fomewhat thoughtful, but then it feems to arife from a chearfulncfs of thought, 
 which, I hope, it will be allowed Shakefpeare was no ftranger to. However this be, as the faces on the 
 two monuments are unlike each other, the admirers of that at Weftminfter only, will have it, that the 
 country figure differs as much from the llkenefs of the original, as it docs from the face in the Abbey, 
 and fo far endeavour to deprive it of its merit : This is a derogation I can by no means allow of, and 
 that for the following reafons. 
 
 Shaiefpeart i\cA at the age of 53. The unanimous tradition is, that by the uncommon bounty of 
 the then Earl of Southampton, he was enabled to purchafe an houfe and land at Stratford, the place 
 of his nativity ; to which place, after quitting the public ftage, he retired, and lived chearfuUy amongft 
 his friends fome time before his death. Ifweconfider thofe circumftances aright, that Sliakefpearc's 
 difpofition was chearful, and that he died before he could be faid to be an old man, the Stratford 
 figure is no improper reprefentation of him. 
 
 The exaft time when the country monument .was ereiSled Is now unknown ; but, I prefumc it was 
 done by his executors, or relations, probably while his features .were frelli in every one's memory, and 
 perhaps with the alMance of an original piiilure too. 
 
 Thcfe are no unreafonable fuppofitions, and which, I think, cannot eafily be ovexthrown, efpecially 
 when corroborated (as I hope to prove they are) by the following obfervation not hitherto made, that 
 I inow of, by any one. 
 
 , Facins: 
 
 b 2
 
 ( Xll ) 
 
 the better. The bcA bult of Shakefpeare that I know, is that in Mr. 
 Gauifljoi-oiigh's wliole length metzothito of Mr. Garrick, from his fine 
 i.iOurc at Stratford. Cypriani's bud too is a fine one. 
 
 And oppofite Mr. Malone's Attempt to afcertaln the order in which the 
 plays were written, might be placed the moft beautiful and graceful of all 
 Shakefpeare's Portraits— aiamely^ that £i-om after Zoufl, engraved by Si- 
 mon, 
 
 Fiiciiig the title page of one of the folio editions of Shakefpenrc's works, ttere is an head of hitnr. 
 engraved by one Martin Droefliout, a Dutchman, and underneath this cut appear the following lines,, 
 written by Ben Jonfon,- who pcrfoiially knew, aud was familiarly actiuaintedwith our puet. 
 
 The figure that thou fee'ft here pur, 
 It was for gentle Shakefpeare cut ; 
 In which the graver had a ftrifc 
 With nature, to out do the life. . 
 O could he but have drawn his wit. 
 As well In brafs as he hath hit 
 His face, the piece would then furpafs 
 All that was ever writ in brafs. . 
 But fiuce he caunot, &c. . 
 
 In thcfe verfes Ben, plainly aflerts that if the engraver could have drawn Shakefpeare's wit in brafs, . 
 a? well as he has done his face, the performance would have been preferable to every thing of the kindj. 
 a convincing proof how great a likcncfs he knew there was betwixt the poet and that pidure of him. 
 
 Now, if we compare this picture with the face on the Stratford monument, there will be found as 
 great a rcfembtance as perhaps can well be betwixt a llatueand a pliflure, except that the hair is de- 
 fcribed rather fiiorter and ftreightcr on the latter, than on the former ; and yet this difference will nor; 
 I dare fay, be material enough rojuftify the doubt I have attempted to remove; and, if not, then I 
 hope what I have here advanced will induce thofe gentlemen, who have not thought fo well of the 
 Stratford monuraent, to have a better opinion of it for the time to come. 
 
 Jv G. 
 Stratford ufon Avon, Miy 30, 1 7 59.
 
 C xill ) 
 
 mon, and done from a capital plBure, in the colleElion of 7". JFright, painter, inCo- 
 •vent Garden. I do not know whether any proofs even of a probable origi- 
 nality can now be given ; but I have licard from feme one, who was told 
 by fome one, that Zouft's was a copy from the original by Zucchero — 
 and that this original was feen.Jn.or near Lincoln's Ian play-houfe, about 
 fortj^yt?iVi ago,. 
 
 r will take the liberty of fuggefting another hint, for the flill further'' 
 embellifliment of an edition : namely, the ornamenting the engraved Tit- 
 tle page to each play with a llgnette. 
 
 If fome of them were engraved in the light flyle of fome of the 
 Drawings in the colleftion by Rogers, they would add a pleafing contraft 
 to the darknefs of the other prints — particularly in the flyle of T'he laji- 
 [upper — F. Lauri's drawing — Carlo Maratt's AJfumption, St. Francis, and. 
 Gupid — Titian's Repofe — and Tintoretto's fludy, in' vol. r, and Gner^ 
 cino's Clio, yJJfaJination, and JVonian begging water — Boucher's Batb/ljeba, 
 and his 'T'rinity — and Helena Forman, in vol. 2. Some of them might be- 
 in the fhape and ftyle of Shelley's Marcella, engraved by Burke ; or as-' 
 richly coloured as KaufFman's Celia. 
 
 The fubje£l of fome of them, might in fome degree be alluding to the 
 play ; and the others might be merely ornamental or fanciful — fuch as- 
 Malks, Crowns, Daggers, Tambourines, and other emblems of the Tra- 
 gic and Comic Mufe, of Poetry, Mufic, and the Drama. My meaning- 
 will be better underflood by referring to the vignette' oppofite p. 120, 
 vol. 2, of Keate's poems — the title page in a colleftion of Poems by 
 !Mendez, in page 124, 135, 174, and 183, of Rogers's Drawings, vol. 2 — 
 tlie very beautiful defign at p. 10, of Idylles de Saint Cyr, which I much, 
 wifh were looked at; it is printed at Amfterdam and Paris, 1771 — the 
 tail-piece to Hamlet, to the Winter's Tale, and to Richard III. in the- 
 laft quarto edition of Hanmer — the title page, and p.. 22, of Nouvellei 
 
 Tradudion.
 
 ( Xlvr ) 
 
 Tnduiflion dcs Ileioldcs d'OvIde, 8vo. Paris, 1763 — the heads of Shakc- 
 fpearc and Garrick, in Bell's ilT: edition — Hudlbn's print of Mrs. Cibber, 
 engraved by Marchand — to many ornaments accompanying Houbraken's 
 Heads, fuch as thofe of Chaucer, Buchanan, Shakelpeare, and Addi- 
 fon ; and to more of them in the French collcdlionof Heads, as well as 
 round many of their fingle ones, fuch as the Heads of Corneille, Racine, 
 Boileau, Moliere, Defcartes and Crebillon — the Copper Plate Magazine 
 will fliew fome of them — the title page of Bafkerville's Horace, Bir- 
 mingham, 1770 — the two little children at the bottom of the frontif- 
 piece to a colle61:ion of Prologues by Griffiths — the fatyr, in a print to 
 the Britilh Magazine, for June, 1 783 — Hanmer's Head of Sliakefpeare — 
 the Head to his Poems, reprinted by Evans — the heads of Mrs. Monta- 
 gue and Mrs. Barbauld in the Weftminfter Magazine, for June, 1776 — 
 the head of Shutcr, in the fame Magazine, for December, 1776 — the 
 head of Kelly, in the fiune Magazine, for March, 1^77 — the head of 
 Woodu-ard in the fame Magazine, for May 1777 — the head of Mrs. 
 Griffith, in the fame Magazine, for September, 1777 — the head of Vol- 
 taire, in the Hime Magazine, for June, 1778 — the head and tail-pieces 
 of Bell's lafl: edition of Henry IV. part 2d. and the Temped, and to the 
 head-piece of Coriolanus — the top parts of the vignettes in Bell's lafl edi- 
 tion of Macbeth, Much Ado, Lear, Titus Andronicus, Henry IV. part 
 I ft. and to that rich one in Love's Labours Loft — the title page of Lcs 
 Metamorphofcs de Melpomene et de Thalie, defigne d'apres nature par 
 Whiriker, printed at Paris — and to Laurie's metzotinto of Mr. Garrick, 
 after Dlghton. The beft Malks that I have feen, are in M. de Louther- 
 bourg's vignette to Love's Labour Loft, and in a print of Boileau, en- 
 graved by Walker (for a late Engllfti tranflation (I believe) of Voltaire's 
 works. The fame portrait is engraved by Collyer, in quarto, for fome 
 publication by G. Kearfley, but the expreflion of the malk is diiterent. 
 The beft Crown I have ever feen, is among the ornaments to the portrait 
 of Corneille, publlftied by G. Keai-ftey, for (I fuppofe) the Copper plate 
 ^Magazine. 
 
 For
 
 ( XV ) 
 
 For the title page to the Tempejl, might be engraved the fame Vignette 
 as is in voL 2, of the firft edition of Grofe's Antiquities — leaving out the 
 two figures — in whofe ftead might be introduced an expreflive one of the 
 great magician Profpero, ruminating on the diffolution of nature. Or it 
 might be expreffive of, or alluding to a Tempeft. See therefore the fea 
 weeds in p. 61 of Hooper's tranflation of Gefner's Idylls. And fee 
 a print of a fliip in diftrefs, with lightening, in a fet of prints in 8vo. 
 called " Succefs and triumph to Britannia's arms." They are engraved 
 by N. Parr, without any printer's name to the fet in my poffeffion, and 
 there are verfes under each print. I much wifh this print were looked 
 at. 
 
 Would it be too ludicrous to recommend as a Vignette, to the firft 
 part of Henry IV. the figure of the man only, in Mr. Bunbury's ticket 
 for Wynftay Theatre, in the winter of 1781? — his bottle of fack might 
 remain with him, and a fewchara(5leriftic ornaments alluding to the play 
 might be introduced. And on the play bill in his hand might be written : 
 Falftaff by ^'ni — Hotfpur by Booth — Prince of Wales by JFilkes — and 
 Fi'ancis by Edwin. 
 
 Among the tragic emblems for the Vignette to Othello, might be 
 drawn the fame turban, which is in a portrait of Racine, engraved by 
 Colyer, for (I believe) the Copper-plate Magazine ; and the fame fword 
 and torch that are in the Vignette to Bell's Othello. Would it be proper 
 to introduce among thefe ornaments the handkerchief) 
 
 To form a Vignette for As you Like it, we muft fee the rich ornaments 
 to M. de Louthejbourg's pleafing print to this play — for what ornaments 
 can fo chaftly apply as the bugle -horn, thefpear, and bow, to wound 
 xhtpgorfequejleredjiag ? 
 
 In the Vignette to Henry VIII. might be in introduced the fame Car- 
 tllnal's hat, and the fame viper, ftaif, and vine, which aje in Houbra- 
 
 ken'
 
 ( ^vl ) 
 
 ■ken's head of Wolky. Among other decorations might be drawn an 
 axe — the fame ruby which Wolfey gave the King, and for which fee 
 Walpole's Anecdotes, v. i, p. 137, 8vo— and at a diftance might be 
 dimly fbcu thofe twins of learning, Jpfwich and Oxford : one of which 
 Indeed /f// W//A him. The gateway to Wolfey's College at Ipfwich, 
 may be feen in Grofe — and part of that building at Oxford which ini- 
 .prefils us with the great conceptions of the Cardinal's mind, may be 
 -leen at a fmall diflance. 
 
 In the V.ignctte to C(?r/(5/^««j, miglit be drawn (among ^:)ther things) 
 the fame warlike trophies which are in Bell's laft edition — and in that 
 for the firfl: part of Henry VI. may be introduced thofe emblems that arc 
 in Bell's edition. of the firft and third parts of this play. See .alfo the 
 Tail-piece to Hanmer's edition of tlie firft part, which will give an idea 
 of introducijig the arms of France. In the third part of this play 
 (among other ornaments) mi^ht be given adiftant viewof the Abbey of 
 Tewklbury. 
 
 And fome of tlie fame military trophies, may be given to Henry V. 
 in addition to thofe rich ones which M. de Loutherbourg has thrown 
 jound ,his Vignette to Bell's lafl edition of this play : a print animated 
 with the very fpirit of Shakefpeare ; and were the boy taken out: it 
 would perhaps be one of the moft charadleriftic prints ever defigned. A 
 Xword covered with crowns imperial might be introduced---tor 
 
 now fits expeftatioii in the air, 
 
 i*, nd hides a fwordfrom hilts unto. the point, 
 With crowns imperial : crowns and roronets, 
 Promifed to Harry and his followers. 
 
 As a Vignette to King fohn, might be engraved the figure of Agiv\ 
 now at Wentworth-houfe — Not the fmallcfl: alteration fliould be made, 
 if it were engraved in the colours of the pi6lure, it would better exhibit 
 •the green fafli. No pidlure ever fo well painted a mother's grief. Thoie 
 
 5 who
 
 ( xvii ) 
 
 who have feen this divine conception of Guido's, will thank me for ha- 
 vlnor mentioned it — and to thofe who liave not been fo fortunate : 
 words are infufficient to defcribethe propriety with which it might be an- 
 nexed to a page of Shakefpeare's.* 
 
 For a Vignette to Richard III. I would propofe the figure of an angel 
 (in no mean ftyle) tenderly furveying a fmall reduced portrait of Ver- 
 tue's Edward V. which might be the iize of, and fomewhat fimilar to the 
 heads of Rubens and Bronkhorft, in Defchamp's Vies des Peintres, or 
 like Bell's head of Spencer. There might be introduced a fmall dead 
 lamb — and thefcroll, on which was written, Jocky of Norfolk. And there 
 might be drawn a part of a battle-horfe ; for a defign for which, fee the 
 Head-piece to the third volume of Defchamp's. — On a nearer infpeiflion, 
 this horfe proves to be a unicorn, but by taking away the horn and the 
 cloven feet, it will give the moft fpirited head of a horfe I ever faw.--- 
 both the animals are equally expreffive : — At a diftance might be feeii 
 either the Tower, or Chertfey Monaftery ; and we may unite the white rofe. 
 and the red. See alfo Vertue's print of Richard, 
 
 Or 
 
 * If a«y objeillon can arlfe againfi; its being a Vignette, it will be on account of Its being too much 
 reduced in fize. Were It richly engraved on a large fcale, it would form a chafte and fupeib ornament 
 for fome department of an edition, which might be appropriated for the receiving of Fancy Deligns, 
 or Tributary Memorials, in honour of the Genius, or ingratitude to the Memory of Shakefpeare. In 
 this woman's hand might be a volume of Shakefpeare, and her fublime grief would feem to flow from 
 having juft perufed fome of thofe fcenes : where the heart fviells, and the tears biirj} out, juft at their fro' 
 per ^acei» 
 
 The late Duke of Northumberland offered th« Marquis of Rockingham, feven hundred guineas for 
 this pidure.
 
 ( xvlii ) 
 
 Or might there not be wove fome tributary wreath in memory of neg* 
 levied Gar rick ? — for on his death, 
 
 — all the pomp of Shakefpcare's rites were ceas'd * 
 
 For a Vignette to the Merchant of Venice^ there might be drawn a fweet 
 child readhig with an exprefTive air, the humane lines of: 
 
 The quality of mercy is not flrain'd— 
 
 And the expreflion of the face may be {bme what fimilar to the bcfl im- 
 prefTions (and not to the pirated copies) of Mr. Bumbury's firft print of 
 Charlotte, publifhed in 1782, by C. White. 
 
 Or a fancy head of Shakefpeare might be drawn, (fomewhat (imilar in 
 attitude and drefs to Mortimer's head of the Poet') with the mildexpreffion 
 ofZouft's metzotinto--- and (with a fcroll in one hand) as at the moment 
 of writing the above lines. The evident proofs we have of his good 
 heart, will give an artift more pleafure in defigning for him. If other 
 ornaments are preferred : they may be thofe of the fcales, the knife 
 and bond-— or they may be alluding to the concord of fweet founds — for 
 which purpofe, fee Bartalozzi's ticket for the benefit of Salpietro— the 
 figure of the winged boy with the reed, and the exprelfive air of the young 
 
 woman. 
 
 * Might not fome part of the fubfcriptlon money of Mcflrs Boj'dell's edition, be appropriated to- 
 wards theere£ting a tomb for Garrick ? Seven years have now elapfed, and the fame ueglecft attends 
 iis remains, as thofe of Sir Anthony Vandyck. — 
 
 His Fame requires we a^ a tenderer part:— 
 His Memory claims tf.{. Tear we gave his Art !
 
 ( ^i-^ ) 
 
 woman in Cyprianl's title page to the mufic of Rofina — and the face of 
 Apollo in the title page of fome book of mufic, defigned (I think) by 
 Cypriani. 
 
 Part of the Vignette to Lear, might be api£turefque view of Dover- 
 Cliff — for the meanejl hovel (fays Mr. Warton) to which Shakefpeare has an 
 allufon, interejls cur'iof.ty. Some of the flowers with which old Lear was 
 crowned, might be twined round this Vignette, and they will fome of 
 them be found in the Flora Londinenfis. See alto the rich ornaments 
 (and the lightening) in Barney's print to Bell's edition — and fee the flow- 
 ers in the fame print. 
 
 I CANNOT but recommend, as a Vignette to the fecondpart o^ Henry IV. 
 a fac-fimile of the whole and entire Vignette to the fifth volume of 
 the Englifh Theatre, by Lowndes. It is defigned by Edwards, and en- 
 graved by Byrne. It contains (among other figures) the mufe of Comedy, 
 with a mafk in on hand, and a glafs in the other. It has too much merit 
 I think to be rejected. 
 
 Designs or Ideas for other Vignettes, may be conceived from a fine 
 one, which is annexed to a volume of the publication of plays, by either 
 Bell or Lowndes. The print in my poflefiion has the names of the pain- 
 ter and engraver cut off; but it reprefents Comedy, with a fatyr and a 
 young bacchanalian — both of which lafl figures however might admit of 
 fome little improvement. See alio a Defign by Mr. Weft, engraved by 
 Byrne, for the feventh volume of one of the above publications. And 
 Angelica Kauffman's Dellgn for that volume which contains Tamerlane. — 
 were the face of Melpomene more empaflioned, it would form a rich 
 ornament to one of the Tragedies of Shakefpeare. See alfb the follow- 
 ing Defigns; namely one by Mortimer, engraved by Hall for one of the 
 volumes of the above pubhcations, being the Tragic Mufe, with a fla- 
 ming torch and dagger — the conception of this print is wild and lugubre : 
 Another Defign for one of the volumes of Bell, being the Tragic Mufe, 
 
 c z with
 
 ( ^^ ) 
 
 with a goblet In her right hand, her dagger by her fide, and a figure above 
 her, with a Iword and torch. A Defign for one of the volumes of Bell, 
 being Thalia pointing to many of Shakefpeare's charafters, and on a 
 fcroll is written the names of Centlivre and other dramatic writers. 
 A defign by Mortimer, engraved by Walker, for one of the volumes of 
 Lowndes, reprcfenting moft of the charafters of Shakefpeare, in procef- 
 fion. A fmall defign for (I think) the fourth volume of the publication 
 by Lowndes, drawn by Lowe and engraved by Hall. Another defign 
 by Mortimer, engraved by Hall, for one of the above publications, being 
 a figure of Melpomene with bcr irejfes tvildly -waving, and a fhip at fea. 
 A Defign for one of t e volumes of the above publications, drawn by 
 Edwards and engraved b}- Hall, where the part of a fkeleton is introdu- 
 ced, with lightening, and the figure of defpalr — and the Vignette to the 
 twelfth volume of Lowndes. 
 
 I muft entreat the reader's pardon for dwelling fo much on this fubjeiSl; ; 
 but my only motive for offering x\ns profpe^us is, a wilh to throw in my 
 mite of fervice towards that undertaking, which is now formed in ho- 
 nour of our poet. And if any one can fuggefl thoughts which may 
 Jave trouble to the conduftors ; it is proper they fhould be communicated 
 before the edition is in a more advanced flage. I have therefore further 
 to mention, that Ideas of other Defigns for Vignettes may be gathered 
 froin Cyprlani's Contemplation — and from his Power of Beauty : either 
 of which figures might be fondly furveying a Portrait, a Buft, or a neat 
 exprcflive Statue of Shakefpeare — if Cyprianl had been fpared, Shake- 
 fpeare would have owed him much obligation. See alfo his print of 
 Faith ; and the little boy reading in his print of Hiftory — and the figure 
 in his print of Admiration — In his Power of Love, he has drawn a Cu- 
 pid which may not have been furpalTed by Albani. See the Vignette of 
 Memory, in an Hiftorical Rhapfody on Pope. The landfcape, and the 
 child, in Kauffman's print of Lady Rufhout and Daughter. The figure 
 of the w^oman reading in the Head-piece to the firft volume of the quarto 
 edition of Buffon's Hiftoire Naturelle. And the exprefilve Head-piece 
 
 to
 
 ( xxl ) 
 
 to the third volume of Defchampes Vies de Peintrcs. In the frontifpiece 
 to Defchamp, will be found a little boy reading — Might not this be in- 
 troduced inlbme Vignette, with a volume of Shakefpeare in his hands, 
 and his little face might exprefs a deep and fixed attention; as if the 
 poefy of Shakefpeare had taken empire oer it's wiU'ing breajl. See the 
 arms of England, engraved by Bartolozzi. The figure holding up the 
 medallion, and the Cupid on the right hand above it, in the frontllpiece 
 to the Tableaux de Duffeldorf ; and the fourth and feventh Vignettes to 
 the 2d volume of this work. 
 
 If it fhould be thought proper in any of the Vignettes, to place a fmall 
 Head of Shakefpeare : fee then the ftyle in which thofe are drawn in 
 Defchamp ; particularly the Heads of Van Afch, and Thielen, in the 
 fecond volume — and the emblematic ftyle in which that pleafmg Head 
 of Bronkhorft is drawn in this fame volume, and thofe of Steenvvick, 
 Lucas Van Unden, Bramer, Van Goyen, and Rombouts in the firfl: vo- 
 lume. See alfo the medallion, at the bottom of a print of the Queen of 
 Hungary, publifhed in Dec. 1780, by Fielding and Walker, for one of" 
 the numbers of the Weflminfter Mao-azine. 
 
 t) 
 
 Numberless are the engravings publifhed both in England and France, 
 of the Tragic and Comic Mufe. I have ^Qtn very few of thofe publifhed 
 In France ; and not many of thofe which have been defigned by Englifh 
 artifls. It were needlefs however to catalogue them, when our own 
 country has produced a figure of the Tragic Mufe, which we may almofl 
 venture to pronounce unequalled. It is the impreffive figure of Mrs, 
 Slddons by Sir Jofhua Reynolds. It paints. 
 
 The tread majeflic, and the beaming eye 
 That Ufted fpeaks it's commerce with thefky.*^ 
 
 An 
 
 * On the late revival of the Jubilee, at Drury Lane, Blrs. SidJons perfonated the Tra<n'c Mufe, 
 Her car was fitted up cxaiftly in the ilyle of this piiture, fo that flie prefentedthe fame fubjefl to the 
 
 eye.
 
 ( 
 
 xxu 
 
 An edition of our great Poet would be ftrangely defective, were this 
 fine figure omitted. 
 
 Mr. Romney has likewife given us a very interefting print of Mrs. 
 Yates in the Tragic Mufe. And there is au expreflive figure of the fame 
 Mufe (clafping her own Lenr') in Pines prhit of Garrick fpeaking his 
 Ode. There was a portrait of Mrs. Yates (which I have not feen) in 
 the character of Melpomene, in the Exhibition of 1780, by Roberts. 
 
 We have another portrait of Melpomene, from the pencil of Sir Jo- 
 fliua, ill the print of Garrick between Tragedy and Comedy ^-and as this 
 print contains a figure of Thalia that I do not think any artifl has yet fur- 
 pafled ; and as the whole Defigu will ever remain a generous ornament to 
 ihe mojler of the pajfiom — why may it not be inferted in fome part of an 
 edition of Shakefpeare that might be appropriated to the memory of Mr. 
 Garrick ? — This figure of Comedy, has the rich archnefs of 1" hallo's face. 
 I have before hinted at two Mafks, that I thought were good ones, and 
 1 Ihould now add that which Thalia holds. 
 
 If there fhould be required a print of the Comic Mufe, in conjunilion 
 withthe above mentioned print of Mrs. Siddons ; the metzotinto portrait of 
 Baccelli, by Sir Jofhua, will immediately furnifh one. At leaflit will re- 
 f]u ire very few additions. I have not feen many prints of the Mufe of 
 Comedy — but amongfl thofe I have feen, I know none that can approach 
 tlie portrait of Baccelli : unlefs it be the Thalia of R. Cofway, engraved 
 by Bartolozzi. I have not yet feen Sir Jofhua's print of Mrs. Abingdon, 
 as the Comic Mufe. 
 
 In fo grand an edition as that announced by MelTrs. Boydells and Nicoll, 
 we may reft well afllired that Shakefpeare's volumes will receive every 
 
 proper 
 
 eye. Nothing (fay the papers) could be more grand and impreffive than her attitude and air. A 
 poem by JMr; Keate, to the memory of Mrs. Gibber, gives an interefting pitture of the Tragic 
 j\Iufe. See alfoihc Notes in page 6S and 80, of Mr. Warton's Milton, and Mr, Whalley's Verles 
 to Mrs, Siddons i
 
 ( xxlii ) 
 
 proper and graceful ornament. Would there be any improprierv' then, hi 
 introduchig in fome part of the work (either in the introdudlory, or 
 a fupplemental part) : Fancy Defgns, by eminent artifts, to the memory of 
 Sh.ikefpeare f jOneDelign might be a Fancy Portrait of the bard, with a 
 jen in hh hand, feeming to have jiiji conceived one of thofe fublime Ideas, to 
 which (fay the x^bbeGrofley) he oiveshis reputation.^ The nature of the 
 other Defigns muft be left to the imagination of each artift. 
 
 How pleafingly might an artiil: amufe himfelf, in painting Fancy Por- 
 traits of Shakelpeare, (at whole length) as at the time of compofing or 
 conceiving; fome ofthofe various and diverfified fcenes which have ions' de- 
 lighted this nation. — Either at the fombre moment of his gloomy imagi- 
 nation diving into the myfleries of Witchery and Incantation in the cavern 
 of the Weird Sifters, and there treading in that circle in which nam durji 
 walk but he. — Or when his breaft was inflamed with the rapidity of pre- 
 paration for Bofworth-field, and he was writing (a noble wildnefsflafl.nno- 
 from his eyes) thofe words, with which Mr. Garrick has fo oft eleftrified 
 not only his attentive audience, but the very aftors on the ftage :— -of with 
 
 his head! fo much for Buckingham. When fired with young Harry 
 
 Piercy-'-Or when indulging his fancy with fome of the moft pleafing 
 fi(£lions that ever poet feigned of the light Fairies and the dapper Elves.— 
 When compofuig the Prologue to Henry V.---When ruminating on the 
 murder of Duncan-"Or on thofe rifing fpe£lres which daunt the pale Mac- 
 beth. — On the awful magic of Profpero— Or when imagining fome of 
 thofe irrefiftable appeals to the humane heart, which his own good mind 
 diftated to him, and which none but his own genius could fo well ex- 
 prefs. In Defigns fimilar to this laft, his features fhould poffefs the mild 
 animation of Zoufl's metzotinto, with fome what of that calm elevation 
 
 which 
 
 * I am afraid the veneration of my good countrymen, does not extend quite fo far as the Abbe 
 Grofley is willing to bslieve it does — " I have feen (fays the Abbe) the vulgar weep, at the fiobt of 
 Shakefpeare'j beautiful and expreffive ftatue, which recalled to their memory thofe fcenes of that ce- 
 Jebrated poet, which had filled their fouls with the moft lively emotions." 
 
 Observations on Engla.vd.
 
 ( xxlv ) 
 
 wiiicli is fo well exprcflld In Mr. Romney's print of Mi 5. Yates, in the 
 Trn^ic Mule. He fliould have all the magic of the mouth open, which 
 we have fcen fo well exprefi'cd in fomc ItaHaii pi(fture3; and Milton's 
 Jim light (hoLild be admitted into a chamber, fomewhat refembling a 
 Jludiotis clo\'J\erpa!e. in the whole length of him at Stratford, Mr. Wil- 
 fon has featcd him on the very chair which tradition fays, belonged to 
 him ; has placed in the chamber fome of the old chronicles, of which he 
 was a frequent perufer; has fliewn on the table and floor, fome MSS. on 
 which -are written th-c names of fome of his plays ; and has placed in the 
 chamber an antiq-ue window of ftained glafs. JNIight not a print from 
 this piclure be fomewhere introduced? 
 
 If he fhould be drawn as revolving in his mind, more turbulent fcenes, 
 or when his a£live fpirit is borne away with the grandeur of his ideas : 
 let not his figure be difgraced as we have lately feen it, (in a large print) 
 but let fomewhat of that energy of conception be given him, and fomewhat 
 of that noble air and peculiar grace, which we fee in the whole length 
 portrait of Mrs. Stanhope in the rooms of Sir Jofhu'X Reynolds. We 
 are well affured that every mufe adorned his mind ; and from what is hand- 
 ed down to us, fand the portrait which Mr. WaJpoh thinks an original, as 
 well as the portrait by Zouft) we have fome reafons to think that (like 
 what is faid of Rafaelle) every grace adorned his body. Before an artift 
 attempts to defign, it is proper he fhould firft perufe fome few fcenes 
 from fome of the various plays — let him tranfport himfelf from Juliet's 
 tomb, to the pleading of Ifabella ; or from old Arder^s inmojljimde, to the 
 diftribution of flowers by Ophelia. This will heighten his attachment 
 to the Poet ; and he will then be the better enabled to prefent to the 
 public, what will ornament, rather than difgrace Shakefpeare's memory.* 
 
 I will 
 
 * A T his name, Fancy's pulfe, wild in -motion ihall beat, 
 
 Strnge extacks rife, and the heart glow with heat. "? 
 
 Pearce.
 
 ( XXV ) 
 
 I will tranfcribe fome paffages from thofe authors who have honoured 
 his genius ; and from which paffages, Defigns might be taken ; or at 
 leaft, fome hints caught. — 
 
 Methinks I view the laft fepulchral frame. 
 That bears infcrib'd her much lamented name: 
 See ! to my view the drama's fons difplay'd ; 
 What laurel'd phantoms crowd the awful fhade ! 
 Firft of tlie choir immortal bhakefpeare ftands, 
 Whofe fearchingeye all Nature's fcene commands : 
 Bright in his look celeftial fpirit blooms, 
 And Genius o'er him waves his eagle plumes ! 
 
 Hoolts Monody to the memory of Mrs. I raffing! on. 
 
 ■ For loftv fenfe, 
 
 Creative fancy, and inlpeftion keen 
 
 Through the deep windings of the human heart. 
 
 Is not wild Shakefpeare thine and Nature's boafl? 
 
 Thomfii 
 
 The great Shakefpeare fat upon a ClliF, looking abroad through all Creation. His pof- 
 feffions were very near as extenfive as Homer's ; but, in fome places, had not received fuf- 
 ficient culture. But even there fpontaneous Flowers fhot up, and in the ujiwecded garden, ■ 
 •which grows to feed, you might cull Lavender, Myrtle, and Wild Thyme. Craggy rocks, 
 hills, and dales, the woodland and open country, ftruck the eye with wild variety, and o'er 
 our heads roU'd Thunder, deep and awful, and the Lightning's flafii darted athwart the folemn 
 fcene; while on the blafted Heath, Witches, Elves, and Fairies, with their own Queen 
 Mab, play'd in frolic gambols. Mean time the immortal Bard fat with his eyes in a fine 
 frenzy rolling, and writers both in the Tragic and Comic ftile were gathered round him, 
 Ariftotlc feemedto lament that Shakefpeare had not ftudied his art of Poetry, and Longinus 
 admired him to a degree of enthufiafm. Otway, Rowe, and 'Congreve had him conftantly in 
 their eye, ande\'en Milton was looking for Flowers to tranfplant into his own Paradife. 
 
 Gray's Inn Journal^ zol. i . 
 
 When our Magician more infpir'd. 
 
 By charms, and fpells, and incantations fir'd, 
 
 Exerts hismoft tremendous pow'r; 
 
 The thunder gro-wls, the heavens low'r. 
 
 Ana
 
 ( xxvi ) 
 
 And to his darken'd throne repair. 
 The demons of the deep, and fpirits of the air ! 
 
 But foon thefe horrors pafs away, 
 Thro' ftorms and night breaks forth the day 
 He fmiles, — they vanifh into ait ! 
 The bufkiu'd warriors difappear! 
 Mute the trumpets, mute the drums. 
 The fcenc is chang'd — Thalia comes. 
 Leading the nymph Euphrofync, 
 Goddefs of Joy and Liberty ! 
 She and her Sifters, hand in hand, ' 
 Link'd to a num'rous frolic band, 
 With rofes and v/ith myrtle crown'd 
 O'er the green velvet lightly bound, 
 Circling the Monarch of tV Inchanud land f 
 
 Indulgent Fancy I from the fruitful banks 
 Of Avon, whence thy rofy fingers cull 
 Frefli flow'rs and dews to fprinkle on the turf 
 Where Shakefpeare lies, be prefent — 
 
 Garrlck's Ode. 
 
 Akenfide. 
 
 ■ when lightning fires 
 
 The arch of Heaven, and thunders rock the ground. 
 When furious whirlwinds rend the howling air. 
 And ocean, groaning from his lovveft bed. 
 Heaves his tempeftuous billows to the Iky; 
 Amid the general uproar, while below 
 The nations tremble, Shakefpeare looks abroad 
 From fome high cliff, fuperior, and enjoys 
 The elemental war. — 
 
 jlkenjide. 
 
 In the firft feat, in robe of various dyes, 
 
 A noble wildnefs flafhing from his eyes. 
 
 Sat Shakespeare. — In one hand a wand he bore, 
 
 For mighty wonders fam'd in days of yore ; 
 
 The
 
 ^^ xxvli ) 
 
 The other held a globe, which to his will 
 
 Obedient turn'd, and own'd the matter's fkill ; 
 
 Things of the nobleft kind his genius drew. 
 
 And look'd thro' Nature at a fingle view : 
 
 A loofe he gave to his unbounded foul. 
 
 And taught new lands to rife, new feas to roll ; 
 
 Call'd into being fcenes unknown before, 
 
 And pafling Nature's bounds, was fomething more. 
 
 ChurchUl. 
 
 What arc the lays of artful Addlfon, 
 
 Coldly correfl to Shakespeare's warbllngs wild? 
 
 Whom on the winding Avon's willow'd banks 
 
 Fair Fancy found, and bore the fmiling babe 
 
 To a clofe cavern : (ftill the fhepherds Ihew 
 
 1 he facred place, whence with religious awe 
 
 They hear, returning from the field at eve. 
 
 Strange whifperingof fvveet mufic through the air) 
 
 Here, as with honey gather'd from the rock, 
 
 She fed the little pratler, and with fongs 
 
 Oft footh'd his wondering ears, with deep delight 
 
 On her foft lap he fat, and caught the founds. 
 
 Jof. Warton. 
 
 Fancy, warm enthufiaftic maid, 
 O hear our prayer, O hither come 
 From thy lamented Shakefpeare's tomb, 
 On which thou lov'ft to fit at eve, 
 Mufing o'er thy darling's grave. 
 
 Jof, Warton' s Ode to Fancy. 
 
 But Shakefpeare's magic could not copied be. 
 Within that circle none durft walk but he. 
 
 Dry den.. 
 
 On Avon's banks I lit, whofe dreams appear 
 
 To wind with eddies fond round Shakefpeare's tomb. 
 
 The year's firft feath'ry fongfters warble near, 
 And violets breathe, and earlieft rofes bloom. 
 
 **« Here
 
 ( xxvlli ) 
 
 i/ciY Fancy fat, (her dewy finger'' i cold 
 
 Decking ivUhflowrcCsfrcJh th'unfullied fod,) 
 And balV d with tears thefadfispulchral mold, 
 Her fav rite offspring's long and lajl abode* 
 [See the whole of Cooper i Poem of die Tcmb of Shaktfpeare, in Dodjleys Collet, 
 
 Far from the fun and fummcr gale, 
 
 In thy green lap was Nature's darling laid, 
 
 What time, where lucid Avon (Iray'd, 
 
 To him the mighty mother did unveil 
 
 Her awful face. The dauntlefs child 
 
 Stretch'd forth his little arms, and fmil'd. 
 
 This pencil take ((he faid) whofe colours clear, 
 
 Kichly paint the vernal year : 
 
 This can unlock the gates of joy ; 
 
 Of horror that, and thrilling fears, 
 
 Or ope the facred fource of fympathetic tears. 
 
 Cray, 
 
 IVIethinks I fee, witli Fancy's magic eye, 
 
 The fliade of Shakefpeare in yon azure fky ? 
 
 On yon high cloud, behold the bard advance. 
 
 Piercing all nature with a fiugle glance ! 
 
 In various attitudes around him {land 
 
 The Paflions, waiting for his dread command — 
 
 Smart's Prologue to Othello. 
 
 Above controul, above each clafTic rule, 
 His tutrefs Nature, and the World his fchool. 
 On daring pinions borne, to him was giv'n 
 Th' aerial range of Fancy's brighteft Heav'n ; 
 
 To 
 
 * In a dcfcrlption of Wilton, there is mention made of a fmall ancient Tomb, fuppofed for Children, 
 in thcfe words—" At the ends of the front arc two more Cupids ; they look very forrowful with one 
 hand upon their breiift, the other hand holding a torch with the lighted end downwards, ..-•--• 
 Aftatus of Cupid lying afleep upon the aforefaid Tomb,"
 
 ( xxix ) 
 
 To bid rapt Thought o'er nobleft heights afpirc. 
 And wake each Paffion with a A'lufe of Fne. — 
 Revere his Genius — To the Dead be juft, 
 And fpare the Laurels that oe'rlhade the Dull — 
 Low fleeps the bard, in cold ohjiruilion laid. 
 Nor afks the chaplet from a rival's head. 
 O'er the drear Vault, Ambition's utmoft bound, 
 Unheard fliall Fame her airy Trumpet found ! 
 Unheard alike, nor Grief, nor Tranfport raife. 
 Thy blaft of Cenfure, or thy Note of Praife i 
 As Raphael's own Creation grac'd his Hearfe, 
 And Iham'd the pomp of ollentatious verfe, 
 Shall Shakefpeare's Honours by himfelf be paid, 
 And Nature perifh ere his Pictures fade. 
 
 Keates Eplftle lo Voltaire. 
 
 What a portrait of Shakefpeare might Su* Joihua Reynolds draw from 
 fome of the foregoing lines ! Whoever will cafl: his eye on the portrait of 
 young 'Edwin ; and obferve how wonderfully well Sir Jofhua has caught 
 the fpirit of Beatie's poem ; will not only join with me in this opinion, 
 but may apply to him part of an expreffion which has often been applied 
 to Mr. Burke — that he poffefles all the grace of cultivated fancy.^ 
 
 A pleafing fubjeft might be formed from Mr. Warton's poem ; of Fan- 
 cy mujing er the tomb of Shakefpeare. 
 
 Some few Iketches might be taken from an Ode to the Genius of 
 Shakefpeare, in Ogilvie's poems. In one part he fays : 
 
 O'er yon bleak defert's unfrequented round 
 
 See'ft thou where Nature treads the deepening gloom, 
 
 Sits on yon hoary tow'r with ivy crown'd. 
 
 Or vj'ildly vja'ih o'er thy lamented tomb. 
 
 And 
 
 * " A knowledge boundlefs as fcience, with all the fplendour of learning, and all the grace of culti- 
 i-ated fancy." Letters on England, z-jiz.
 
 ( XXX ) 
 
 And fee the conclufion (and indeed the whole) of this Ode. See alfo 
 the 7th, 8th, 9th, and loth ftanzas of Lloyd's Progrefs of Envy. 
 Page 52^ ^f the Art of rlfmg on the Stage, quarto edition. And the 
 fable of Genius, Virtue and Reputation, in Dodfley's Fables. See alfo 
 fome of thofe Prints, propofed for Vignettes— and above all fee that 
 fweetly expreflive figure of the Genius of Liberty, in the Memoirs of 
 Hollis. Many will recoiled the Apotheofis of Cooke, exhibited laft win- 
 ter at Covent-garden. 
 
 The following are the only Prints I have fecn, d/re^ll)' relative to our 
 prefent fubjeiflr. 
 
 1. TheEirthof Shakefpeare. By KaufFraan. 
 
 2. The Tomb of Shakefpeare. By Kauffman. 
 
 3. Mrs. Abingdon as Thalia, crowning the Buft of Shakefpeare. By R, Cofway ; en- 
 
 graved by Bartolozzi. 
 
 4. Mr. Garrick leaning on thcBufl of Shakefpeare. ByGainfborough. 
 
 5. Pine's grand, but imperfcft and unfinifhed print of Mr. Garrick reciting his Ode ; 
 
 in which are one or two expreffive figures furrounding the Statue uf the Poet. 
 
 6. The reader may as well look at an imperfeft Defign in Wilkes's Vie%v of the Stage. 
 
 7. And the poor Sketch or Frontifpiece in each volume of Rowe. 
 
 8. A Metzotinto by Martin, from after Carpentiers, of Roubiliac modelling a Statue of 
 
 Shakefpeare. The original, (or at leaft a very fine copy) is at Tong Caille in 
 Shropfliire. 
 
 9. No. 362, of the Exhibition of 1784, was Shakefpeare, Milton and Spencer, with 
 
 Nature dilating to Shakefpeare. I have not feen this. 
 
 10. A Head -piece in vol. i, of Piercy's Reliques of Ancient Poetry. It reprefents 
 Shakefpeare at full length, with his arm refting on a pedeftai, and attentively liftening to 
 the melody of a minftrell's harp, which accompanies a boy's chaunting fome rude carol or 
 ancient ballad. The ballad of the Jew, with fome others (famihar in his day) are before 
 
 1 him—
 
 i^ xxx'i ) 
 
 liiin — his pen is in his hand, and the uplifting of his left hand, has a pleafing effe<^. This 
 Defign is not meant to be capital — it is prefixed to thofe Ballads that illujlrate Shakefpeare ; 
 but it certainly ferves as a moft pleafing little ornament to them. 
 
 1 1. A ticket for the benefit night of Bonnor, a comedian at Bath, about the year 1782. 
 
 The fubjeit is : Shakefpeare catching a thought from Nature, This print poflefles 
 no merit in the execution. It was meant however (which it certainly isj as an 
 honeft compliment to the Poet. 
 
 12. The Nymph of Immortality, attended by the Loves, crowning the Buft of Shakef- 
 
 peare ; by Cyprlani, engraved by Bartolozzi. Three of the Loves have very little 
 to captivate; and the crowding in, and conceit of the ftream, is unworthy of 
 Cypriani, If the whole of this defign, had equalled the happy thought of the 
 weeping child, it would have been a maftcrly performance . The Buft and the 
 Nymph of Immortality are charmingly conceived.* Part of the lines under this 
 print are : 
 
 His trump of Fame fo loud, that Time's laft date 
 The deathlefs echo fliall as loud repeat. 
 
 Messrs. Boydells and Nichols, may apply to themfelves the words of 
 Sir Thomas Hanmer — " Since therefore, other nations have taken care to 
 dignify the works of their mofl celebrated poets, with the faireft impref- 
 
 ons, 
 
 * Those who hn^e the faccefs at heart of the edition now coming out, will think it unfortunate that 
 this good man Ihould have been cut off, ere his genius had produ.-ed more tributary offerings to 
 Shakefpeare. The Poet himfelf would have applied his own words to him : 
 
 His life was gentle, and the elements 
 
 So mixt in him, that nature might ftand up, 
 
 And fay to all the world : This ivas a man. 
 
 And what Cowley has fo nobly faid of Vandyck, will not be inapplicable to Mr. Cypriani ; 
 
 Nor was his life lefs perfeft than his art. 
 Nor was his hand lefs erring than his heart. 
 There was no falfe or fading colour there.—
 
 ( xxxll ) 
 
 fions, beautlhcd with the ornaments of fpulpture, well may our Shakef- 
 peare be thought to defcrve no lefs confideration : and as a frefh ac- 
 knowledgment hath lately been paid to his merit, and a high regard to 
 his name and memory, by eredting his ftatue at a public expence ; fo it 
 is defired that this new edition of his works, which hath coft fome atten- 
 tion and care, may be looked upon as another fmall monument defigned 
 and dedicated to his honour." 
 
 TITUS
 
 TITUS ANDRONICUS. 
 
 It is no incurious fpeculatiou, to mark the gradations by which he rofe from mediocrity 
 to the fummit of excellence ; from artlefs and unintereiting dialogues," to thofe unparal- 
 leled compofitions, which have rendered him die delight and wonder of fucceffive ages. 
 
 Malone. 
 
 Ah 1 if Longiaus had read Shakefpcarc ! 
 
 M. Sherlock* 
 
 Vignette.
 
 ( 3 ) 
 
 Head-piece. 
 
 THE refpedlable names who have given decided opinions againft this 
 play being the produ£tion of Shakefpeare, will rather deter the 
 propofer of this edition from being very anxious in adorning it with many 
 engravings. He muft confider it as no produftion of Shakefpeare's, not- 
 withftandlng the opinion of an Ingenious and moralizing female critic, 
 " that he would never have ftrewed fuch fweet flowers upon a caput mor- 
 tuum, if fome child of his had not lain entombed underneath." Few will 
 find themfelves much interefted In this yfl«§-«?«^ry performance *. As 
 we are told, however, that from the exceeding candour and good-nature 
 of Shakefpeare, he very frequently affifted others in their dramatic pur- 
 fuits ; and as fome fine touches of a fuperior hand occafionally (though 
 rarely) prefent themfelves, it would be hard to deny due homage to fuch, 
 as they might have been, and no doubt were, the production of his pen. 
 
 I WOULD propofe then as a Head-piece to this play, an exaft copy of 
 the whole and entire Vignette fcene print, with which Mr. De Louther- 
 bourgh has enriched Bell's lafl edition, without the leafl alteration what- 
 
 B 2 ever 
 
 * Who can fuppofe Shakefpeare to have written thefe Unes : 
 
 Sorrow conceakJ, like an even JlopfJ, 
 Doth burn the heart to cinders, ivbere it is. 
 
 We may as well fuppofc Mortimer to have given us the defigns of Henry Overton — or Hogarth to 
 have drawn thofe of Collet. I cannot but think that many parts of this play (particularly the third 
 aft) were- written with the fame defign as Fielding's Tom Thumb — if not — they are of that com- 
 plexion that his own Caliban would flirink from them ; and yet we are aiTured by an Editor of no 
 Gothic prtpojjejjions, that this third all in particular may be read viith admiration^ even by the viojl 
 delicate !
 
 ( 4 ) 
 
 ever, unlefs liuleed fome very little alteration in the face of ^infus. For 
 though the deligned print for page 497 will be relative to this unhallowed 
 and blood-Jlained hole, yet it will by no means interfere with the prefent 
 Head-piece ; and befides, fo fine a defcriptlon as this play gives us of the 
 pit, may well deferve to be the fubjedl of a fecond engraving ; and I 
 fhould be blamed for relinquishing from this projeded edition, fo well 
 executed a defign as the above moft certainly is. 
 
 Scene-Prints» 
 
 I CAN fcarce conceive a more interefting etching than might be taken 
 in the ftyle of Mortimer's Toi% and reprefenting a half-length or portrait 
 of 7;/«i, when fpeakingthe funeral oration on the interment of his fonsf.. 
 The drefs might be partly taken from the cut in Theobald's izmo. edi- 
 tion. 
 
 Page 497. 
 
 To produce a metzotinto for this page will require the invention of a 
 wild and terrible imagination — -favage as Sahator Rofa, fierce as Michael 
 
 Angelo.. 
 
 f The lines arc inexprcfTibly foothing — to give them the highefl praifc — they are worthy of Shakef^ 
 peare. They are fuch as we may fuppofe his (hade to have offered, at the tomb of his vvarmeli 
 advocate- 
 In peace and honour reft thou here O Garrici : 
 My readieft champion, repofe though here in reft^ 
 Secure from worldly chances and mifliaps ! 
 Here lurks no treafon, here no envy fwells, 
 Here grow no damned grudges ; here no ftorni„ 
 No noife, but filence and eternal fleep.
 
 C 5 ) 
 
 Angela. The gloomy terrors of Poufln fhould be aided with the 
 imagination of fuch painters as Brueghel d'enfer, Callot, P. Tefla, Al- 
 bert Durer (who has given us a hell-lcene, and a man on horfeback fol~ 
 lotved by a fpedfre, and accompanied by Death on horfeback'), the painter of 
 Ugolino, perhaps %, and others, whofe pencils have touched the terrible 
 graces. Such only can reprefent this deteftedy dark, and blood-drinking pit. 
 This admirable defcription of Shakefpeare's, well merits the exertions of 
 genius. He himfelf tells us, that in or near this abhorred pit, 
 
 at dead time of the night 
 
 A tlioufand fiends, a thoufand laiffing fnakes, 
 Ten thoufand fwelling toads, as many urchins. 
 Would make fuch fearful and confufed cries, 
 As any mortal body, hearing it, 
 Would ftraight fall mad, or elfe die fuddenly. 
 
 The ragged entrails of the pit will be feen, by means of the light ari- 
 fuio- from the ring on the bloody finger of Bajfianus, whofe ghaftly and 
 murdered carcafe m.ufl be drawn, with Marcus viewing it with ftartled 
 fear*. A human fkeleton would not be improperly i:itroduced in fome 
 
 corner 
 
 X " With whofe pencil, Beauty in all her foim?, and the Paffions in all their varieties are equally 
 familiar." Kicholl's Hogarth. 
 
 * No light, but only darknefs vifible 
 
 Serv'donlyto difcover fights of woe. Milton. 
 
 The fituation of Aaron Hill, fhocking as it was, was yet wanting in one ot the terrible gracei oi 
 Shakefpeare's pit : — the fearful and confufed cries of fnakes and fwelling toads.^— 
 
 " The celebrated Aaron Hill, when in Egypt, had the curiofity to examine a catacomb ; he was 
 accompanied in his expedition by two other gentlemen, and conduced by a guide, (one of the natives 
 of the country'.) They at length arrived at the fpot, and without taking notice of fome fellows who 
 were fauntering about the place, they defcended by ropes into the vault. No fooner were they let 
 down, than they were prefented with, a fpedacle which ftruck them with terror : two gentlemen, ap- 
 parently ftarved to death, lay before them. One of thefe unhappy vlclims had a tablet in his hand, on 
 which was written, in pathetic language, the ftory of their lamentable fate ; it feems they were brothers 
 of rank and family in Vealcc, and having, in the courfe of their travels, entrufled themfelves with one 
 of the natives, for the purpofe of vifitlng the inf;de of the catacomb, the perfidious villain had left them 
 
 to.
 
 ( 6 ) 
 
 corner of this doleful cave (with a toad crawling through the ribs) ; but 
 the addition of fiends, fweUing toads, &c. muft be introduced, ad libit um^ 
 by feme fecond Brueghel. 
 
 Page 502 '*. 
 
 The lines in this page, defcribing the powers of harmony, may pro- 
 duce from fome artift of eminence, a Fancy piece worthy of them ; and 
 the ideas which will arife in the painter's imagination, will be the fureft 
 guide to beauty, and will (hew the futility of here offering more hints 
 than briefly faying — that a kind of St. Cecilia figure may be introduced, 
 playing on a lute — whofe celeftial countenance may be expreffive of that 
 fublime harmony, which, we may prefume, the perufal of Dryden's 
 Ode would give birth to ; or the liftening to Handen's ftrains would raife 
 in the heart of a Sheridan. 
 
 The monfter ^i7ro«, that damned Moor , may be in the back-ground, as 
 liftening to her ; and (with his 
 
 cloudy melancholy 
 
 And fleece of woolly hair, that now uncurls 
 
 Even 
 
 them there to perifh. The danger to which Mr. Hill and his friends were expofed, inflantly alarmed 
 them ; they had fcarce read the (hocking tale, when looking up, they beheld their inhuman guide, 
 allifted by two others whom they had (ecn near the fpot, clofing the entrance into the vault. They 
 were now reduced to the utmoft diftrefs, however they drew their fwords, and were determined to make 
 fome defperate effort to rcfcue themfelves from a fcene fo truly dreadful. With this refolution, they 
 were groping about at random in the dark, when they were llartled at the groans of fome one feeming- 
 ly in the agonies of death; they attended to the difmal found, and at length, by means of a glimmering 
 light from the top of the catacomb, they favv a mnnjull murdered; and a little beyond, they difco- 
 vered his inhuman murderers, flying with the utmoft precipitation ; they purfiied them immediately, 
 and though they were not able to come up with them, they however had the got)d fortune to reach 
 the opening through which thefe wretches efcaped out of the cavern, before they had time to roll the 
 ftone on the top of it. Thus Mr. Hill and his friends were by a miracle faved." 
 
 [ Jcurnalfrom Baffbra to Bagtiatt. ] 
 
 * A VERY intcrefting Iketch of a head, might be taken from what Marcus fays of the boy, in fagc 
 S I J— but as this fant could not have been written by Shakefpeare, it will be paflcd over.
 
 ( 7 ) 
 
 Even as an adder, when fhe doth unroll 
 To do fome fatal execution) 
 
 as at the moment of his dark vh^didtive features, being foftened 
 and relenting from his dire purpofe, by the fweet founds of mufic— his 
 knife dropping from his hand — 
 
 He would have dropp'd his knife, and fell aflecp 
 As Cerberus at the Thracian poet's feet, f 
 
 His drefs may be taken from Hanmer's edition. 
 
 Page 545- 
 
 lam Revenge ; fent from the infernal kingdom^ 
 To eafe the gnawing vulture of thy mind. 
 
 From thefe lines might be etched a wild Fancy head (Jn ftrange and 
 fad habiliment) i fomewhat in the ftyle of Mortimer's head of Lear. 
 
 Or, fhould thefe lines not be chofen, another print of a fimilar kind 
 might betaken from p. 490, reprefenting the head of y^ar on, as proclaim- 
 ing the revenge and vengeance of his foul. 
 
 Page ^^6. 
 
 It would be difgufting to reprefent all the dead and mangled bodies 
 on the flage ; and had T'iius been an interefting character, (which he cer- 
 tainly 
 
 f — ^^— ' Scylla wept 
 
 And chid her barking waves into attention, 
 
 And fell Charibdis murmur'd foft applaufe. Milton.
 
 ( 8 ) 
 
 tainly is not) an affecting painting might have been taken at the time 
 his fon imprints his lafl kifs on his father's pale cold lips. 
 
 How then are we to introduce to adv^antage, the beautiful lines which 
 Luc/us addrefTes to the Boj — (and which, by the by, are not introduced in 
 Dod's Beauties of Shakefpeare.) — Are we to drawLwcm as fpeaking them 
 to the Boy ; whofe innocent and mildly affefted look may be glancing, 
 or fixed on his fond grandfue. — Or mufl we have a Fancy piece of ^ge 
 and Touih, reprefenting a fond, interefting, and venerable old man, ill 
 the moment defcribed in thefe lines : 
 
 Many a matter hath he told to thee *, 
 Meet, and agreeing with thine infancy ? 
 
 If the former is preferred, it would be better to omit Marcus and the 
 other charaders. 
 
 Should the latter be chofen — nature alone mufl: diiftate to a painter, the 
 fmiling expreffion of each countenance. A Fancy-piece of venerable 
 age, will be more interefting than the mangled trtink of T/'/w. t Some 
 may choofe to give to the Boy, a look different from fmiling ; and 
 fomewhat fimilar to that in Mr. Bunbury's Sad Story. And a Fancy drefs 
 may be chofen by fome, like that in Guercino's IVoman begging water, m 
 the collodion of Drawings by Rogers ; and in the fame ftilc of en- 
 graving. 
 
 "* What a pi<^urc would Sir Jofliua produce from this fcenc ! 
 
 f Can we poffibly fuppofe Shakefpeare to have written the two laft lines which the boy fpeaks ? 
 
 Tail- 
 
 piece,
 
 ( 9 ) 
 
 Tail-piece* 
 
 The touches of Shakefpeare being difcernlble in the Clown', It will 
 form a good print for this department, to have a half length etching of^ 
 
 him, as faying in page 532 — Ohl the gibbet-maker ? and it might be in 
 
 the fame ftyle of etching as Mr. Bunbury's Courier Anglois, or Ryland's 
 print from Vandyck in the coUeftlon of drawings by Rogers. The 
 expreffion of the face, mufl be left to each one's humorous imagi- 
 nation. * 
 
 A LIST of fuch Prints taken from this play, as I have feen. Thofe I kaye not feen, are printed 
 in Italics. 
 
 I, Bell's firfi and fecond edition. 
 i, Hanmer. 
 
 3. Theobald. 
 
 4. Rowe. 
 
 5. A cut by L. du Guernier, to an edit, in 8 vol. 8vo. printed for Tonfon, in 1735. 
 
 6. Pope's I imo, edition 
 
 7. J^oivriJes. 
 
 8. Taylor's piHurefiiue Beauties* 
 
 CORIOLANUS»
 
 CORIOLANUS. 
 
 Thine too thefe golden keys, immortal boy ! 
 
 This can unlock the gates of joy ; 
 
 Of horror that, and fhrilling fears. 
 
 Or ope the facred fource of fympathctic tearst Gray. 
 
 Vignette.
 
 ( '3 ) 
 
 Head-plece. 
 
 There is fcarce any other play of our author's, fo barren of fubje5:3 
 for engravings, as this tragedy of Coriolanus. Volumnia is much too grofs 
 and mafculine to be any ways interrefting ; and the modefl and amiable 
 VirgU'ia makes her appearance too feldom to be the fubjeft of more than 
 one print. Notwithftanding the many fine fentiments fcattered through- 
 out this play, we do not meet with many coacerns that touch the heart, 
 or that forcibly engage the attention. 
 
 The fituations in which Coriolanus might be drawn to moft advantage, 
 are at the pages 341, 352, 358, 367, 377, 428, 434, 437, 459, 440, 431, 
 482, 484 and 497. 
 
 I WOULD wifh to felect the Head-piece from page 352 — and it may be 
 an etching of the portrait oi Coriolanus, as he appears in that page, at the 
 moment of faying Pluto and hell! — and though there may be no neceffitv 
 to reprefent him as curjing, yet he fhould have in his appearances, (with 
 his fword drawn) that animated and feroce paflion, which the daftardly 
 Shrinking of his foldiers mufl have given rife to. The fame ornaments 
 might be thrown round this Head-piece, which decorate the Vignette to 
 Bell's laft edition. * 
 
 * His military drefs may betaken from the booki which treat on the Roman antiquities ; from the 
 |)rint in Hanmer ; or from the Vignette to Bell's laft edition. 
 
 Scene-
 
 ( H ) 
 
 Scene-Prints. 
 
 Some beautiful lines tit page 377, will fiirnlfh a good picture of C^/w- 
 hnus, and his wife Virgilm. It is needlefs to reprefent the other charac- 
 ters. The lines are thefe : 
 
 o 
 Cor. My gracious filence, hail ! 
 
 Would'ft thou have laugh'd, had I come coffin'd hoiKc, 
 That weep'll; to fee me triumph ? Ah ! my dear. 
 Such eyes the widows in Corioli wear. 
 And mothers that lack fons. 
 
 They might be drawn as half-lengths ; and his drefs maybe partly taken 
 from Gravelot's print to Theobald. Her head may be gracefully de- 
 clining ; and her hand clofed in his. The expreffion of, my gracious Jtlence 
 (fee the note to this page) fufficiently paints her charafter. 
 
 Page 428. 
 
 I FIND a difficulty, whether to give this page the preference to the 
 words : 'There is a world elfeivhcre — in page 437 — or to fele<St the words : 
 ^luft I gojloeiv them my unbar\ifconce? from this prefent page 428, for a 
 portrait of Coriolanus, in the ftyle of Mortimer's etchings of heads from, 
 Shakefpeare. I think he will appear to as much advantage in this pre- 
 fent page. 
 
 He will be drawn in the attitude of addrefling himfelf to the other 
 characters; and muft of courfe bear the marks of that auftere dignity, 
 
 and
 
 ( ^5 ) 
 
 and haughty command, which made him i'o reluctantly obey tlie entreaties 
 of his mother — and as of one, who had rather follow his enemy in a fiery 
 gulfythanjlatterhiminaboiver. Perhaps he would appear to equal ad- 
 vantage at the words : 
 
 -To the niatket place. — 
 
 Page 451. 
 
 We muft not omit adorning this page, with a very fpirited reprefenta- 
 tion of the noble Coriolanus diiclofing himfelf to his greateil: enemy, 
 ^tifidius. We may draw them both as half-lengths ; zn<\ Coriolanus tnzy 
 be in the moment of faying : 
 
 If, TuUus, 
 
 Not yet thou know'il: me, and feeing me, doll not 
 Think me for the man I am, neceffity 
 -Commands me name myfelf. 
 
 I MAY incur the cenfureof prefumptlon, in pofitively fixing on the 
 above lines, as the moft proper moment to reprelent them ; but if this 
 particular paffage fliould not be deem.ed the moft beautiful point to draw 
 rhem from; the whole fcene is very happily fo nobly drawn, that many 
 other lines will afford the fullefl fcope for an artift's pencil. If the above 
 lines are approved of, we may draw them at half-length ; and though 
 the tackle of the noble foldier is much torn-, yet he muft fhew 
 
 himfelf a noble vejfel. He may be in mean apparel — muffled up 
 
 and his fi\ce, during the time of his fpeaking the above lines, 
 fhould wear the marks of him, whom all tongues /poke of— znd to whom 
 the nobles bended, as to fove' sflatue — but whofe ufual martial andcommand- 
 ing fiercenefs may be fomewhat foftened by a dejeftion arifing from his 
 thanklefs countrymen. Equal jufticelhould be done to the noble mind- 
 ed Aufidius', and in order to imprefs us with a veneration for his pre-. 
 
 fent
 
 ( i6 ) 
 
 fent behaviour, we fhould perufe what is (aid of him in fome preceding 
 pages, where his violent enmity to Coriolantis is fo ftrongly painted : 
 
 Auf. If we and Calus Marcius chance to meet, 
 
 'Tis fworn between us, we fhall everftrikc 
 'Till one can do no more, page 345. 
 
 Auf. We hate alike; 
 
 Not Africk owns a ferpent, I abhor; 
 More than thy fame and envy, page 361. 
 
 Juf. • where I find him, were it 
 
 At home, upon my brother's guard, even there, 
 Againft the hofpitable canon, would I 
 Wafh my fierce hand in his heart. 
 
 And yet in this fcene, (extremity having brought him to his hearth) all 
 ancient malice is forgot, and every root of ancient envy. 
 
 Tail-Piece, f 
 
 The concluding page of this play will furnifli a very proper Tail- 
 piece ; as it will give an opportunity of again reprefenting Aufidius., who 
 is now generoufly touched with forrow at the untimely end of : 
 
 — The moft noble corfe that ever herald 
 Did follow to his urn. 
 
 He may be drawn at half-length ; either faying : my rage is gone, and 1 
 am /truck with forrow ; with an attitude expreffive of an elevated look to 
 
 + H.\D I not already propofcd four different reprefentarions of Coriola/iusthe raighthare been drawn 
 with Aufidlus^ in a very fpirited fcene at p. 497, at the expreflion of: thou bey oj tears.— ^Somb may 
 p'erlraps prefer this, to what 1 have tinted for the Tail-piece. 
 
 Heaven —
 
 ( 17 ) 
 
 Heaven — or he may be rather turning on one fidei as if viewing the corfe, 
 and faying, 
 
 Yet he Ihall have a noble memory ! 
 
 The nobleft figure of an ancient warrior (and which almoft gives one 
 the very defigu and figure of Corlolanus) is in The Departure of HeSlor — 
 a very fine print, and I believe, one of the latefl produdtions of the la- 
 mented Cypriani. * 
 
 * A lift of fuch Prints, taken from this play, as I have feen. Thofe I have not feen, are printed 
 va. Italics. 
 
 T. Bell's two editions. 
 
 2. Hanmer. 
 
 3. Theobald. 
 
 4. Rowe. 
 
 5. A cut by L. du Gueraier, to an edit, in 8 vol. 8vo. printed for Tonfoa, in 1735. 
 
 6. Papers iimo. til it ion. 
 
 7. LoiL'ndes. 
 
 8. Taylor. 
 
 9. Coriolanus^ ht An^ei. Kaufman — engraved Dy Bartolozzi, il. is, 1785 or 1786. It de> 
 bribes the iZKiment of Coriolanus, faying to the boy : 
 
 The God of foldiers, 
 
 With the confent of fupreme Jove, &c. p. 484. 
 
 D
 
 TAMING OF THE SHREW. 
 
 It was impoflible for Shakefpeare, in his idleft hours, perhaps when he was only revifing j/ 
 the tralh of others, not to leave fome ftrokes of the majler behind him. Hurd. 
 
 Nature herfelf was proud of his defigncs, 
 And joy'd to weare the dreffings of his lines ! 
 
 Vignette. 
 
 B. Johnson.
 
 f:
 
 ( 21 ) 
 
 Head-piece. 
 
 'TpHE InduSilon to this play (which is dignified by the expofitioii of an 
 accompllflied critic) is a delightful frolic of the poet's fancy — It will 
 furnifh an excellent print for the head piece. It may be taken from page 
 408 ; where the fervants fliould be drawn as officioufly running after Sly^ 
 with fack, conferves, and apparel — the Lord at a diftance fmiling — and 
 Sly (a drunken-looking, carelefs, lounging, unthinking jolly tinker), as 
 willing to get rid of, or avoid their attentions ; yet intreatingly, though 
 at the fame time fretfully crying out — For God" s Jake^ a pot of Jmall ale. 
 
 Should the next page be preferred ; he may appear as provoked at their 
 attentions, and paffionately, or rather very fretfully telling them. If yoii 
 give me any conferves., give im conferves of beef. 
 
 There are two other exprefGons of Sly^ in page 410 and page 412 ; 
 either of which would fuit the prefent defign ; fuch as, If fie fay I am not 
 fourteen-pence — and his catching at the name of Cicely Hacket. In the Gen- 
 tleman's Magazine for June 1767, may be feen fo very pleafuig a figure 
 from the happy pencil of M. De Loutherbourg, that we cannot but wifli 
 the figure of Sly might be given from his idea of it *. 
 
 * A VERY droll print of village fociality, might be taken by Mr.'Bunbury, from p. 412. Itmight 
 reprefent this worthy tinker, at Marian Hacket' s of Wincot, with Stephen Sly, old John Naps 'oth^ Green, 
 Peter Tur/aad Henry Pimperuell, not as fmoking their pipes, (as fcarce at that day introduced) but 
 drinking their ale \a^one-jugs. 
 
 Scene-
 
 ( 22 I 
 
 Scene-Prints. 
 
 The fTrfl fcene-prlnt that will occur in this play, is from page 439. 
 It will exhibit an admirable contrail: of the two fillers. The father may- 
 be coming in at the moment after Katharine has ftruck her filler. The 
 figure of the Shrew Ihould be commanding, and her features Ihould bear 
 the marks of haughty infolence and domineering paffion — and yet at the 
 fame t'lmQ young and beauteous — while thofe of her gentle filler Ihould be 
 foftened with that beauteous modefty, that meek and inoffenfive fpixit, and 
 thofe winning charms which caufed her lover to cry out — Sacred and . 
 fweet was all Ifaw in her. Her attitude may be that of weeping modef- 
 ty ; and her father may be turning in amazement to her, and faying (witk 
 a look of pitying commiferation). Poor girl ^ pe weeps. 
 
 Page 464. 
 
 The moll proper ornament for this page (which is " a whimfical 
 luxuriance of rifible defcription," would be a coloured etching in the, 
 manner of Mr. Bunbury, and reprefenting Petruchio and his trufty plea- 
 fant fervant on horfeback, as Biondello defcribes them. Mortimer's wild 
 fancy Ihould be joined to the humour and grotefque imagery of Mr. Bun- 
 bury. They may be galloping or plunging over a rough, or through a 
 marfhy place — Petruchio looking wild and fierce — and poor Grumio pad- 
 dling on a poney after him. To Mr. Bunbury it would be impertinent to 
 fuggeft hints ; otherwife, flafhes of that grotefque wildnefs, fo eflcntial 
 to this outre fceiie, might be caught from Coypel's, Picart's, or fome of 
 the other prints to Qulxotte ; or from Hogarth's quarto prints to Hudi- 
 
 bras
 
 ( 23 ) 
 
 bras. There are threfe horfes In Mr. Bunbury's prints, which inftantly 
 prefent themfelves as proper for Grumio: — the fervants poney In Mofes 
 which may either be on a canter or not) — that on which Dr. Dauble rides 
 — and that whimfical one in the City Hunt, on which a butcher is 
 mounted -f. 
 
 Page 474, 
 
 This Is the only fcene where we fliall fee Katharine and Petruchlo at 
 high wrangling ; and the chara£teriil:ic pafTions of each, (hould be ex- 
 prefled in a manner worthy of fo fpirited a page. There ought to be no 
 lefs than nine figures in this fcene ; yet even this fhould not weigh againft: 
 the Introduftioii of fome print ; as there is only one other page where the 
 parties are downright quarrelling, which is at page 499, (and a print of 
 another kind will be there Introduced) — for the fcene of their courtfhip 
 confifts more of the bullets of the brain than quarrelling. 
 
 Suppose Katharine and Petruchio only are drawn, and the other charac- 
 ters left out (as they will appear elfewhere) ; if fo, we may drefs Petruchio 
 as Biofidelh defcribes him, (and a whip In his hand, like thofe the French 
 poftillions have, and which are frequently met with in Mr. Bunbury's 
 prints), in the moment of grafping the injured and infulted Katharine 
 firmly by the hand, and faying, with a look of ilern determination, 
 
 But for my bonny Kate, Jhe mujl with me. 
 
 The fine countenance of Woodward, in Bell's firfl edition of Shake- 
 fpeare, will eafily be empaflioned with a more confirmed refolve. Katha- 
 rine 
 
 * Some may prefer the fcene defcribed in page 479, where Katherlne may be drawn with the horfe 
 tumbled on her j and Petruchio belabouring his man hccanfe her horfc Jlumikd,
 
 ( 24 ) 
 
 rine may be eying her furly groom with a big look, and as feemlng willing, 
 (if (he could get looie from him) to Jlamp, ^ndjiare, and fret %. 
 
 Pao-e 482. 
 
 Amidst the numberlefs paflages from this wonderful poet, which corr- 
 tinually prefent themfelves as obje<fls for our prefent defign, we find it 
 every difficult to determine which fhall be chofen, and which rejected ; as 
 many of them muft unavoidably be, from their becoming too numerous, 
 fuch is the arch and imprudent waggery of Biondello (page 424), when 
 he a(ks his mafler, whether he hzsftolen his cloaths — (Edwin, with thefe 
 words, would fet an audience in a roar) — fuch the gibing courtfliip of 
 Petruchio and Katharine in atl the fecond — fuch, the droll figures that 
 might be taken from page 479, where Grumio ftrlkes his fellow fervant 
 on the ear — fuch the ludicrous impertinence oi Grumio (page 405), when 
 he offers his miflrefs the muftard without the beef ; — and the rich lines 
 in the laft page but one, would furely furnifh a fine reprefentation of the 
 humbled Katharine. Thus are we fituated in the prefent page, being at 
 a lofs whether to fele£l the fubjeft here prefented, or that in page 484. 
 
 If the former is preferred, we may draw Petruchio in a boifterous atti- 
 tude and ftorm of paflion, as having Juft fmacked his whip ; and in the 
 fame drefs B ionM/o defcnbes — with the draggled Katharine, fcarce reco- 
 vered from her fall ; yet bearing ftill the marks of flubborn peevifhnefs — 
 and Grumio in the attitude of faying : Here, Sir ; as foolijli as I ivas before. 
 Strokes of humour may be thrown into the fearful countenances of the 
 amazed fervants ; but Curtis may be advancing a little forwards, as arch- 
 ly enjoying the fcrape poor Grumio is in ; who is not now quite fo pert and 
 courageous as when heftruck Curtis on the ear. To thofe who have feen 
 Woodward in Petruchioy Cllve in Katharine, and Yates in Grumio, additi- 
 onal 
 
 j It is impoffibk to recommend the unmeaning Vignette, in Bell's laft edition. 
 
 I 
 
 I 
 I
 
 ( ^5 ) 
 
 onal ftrokes of chara6i:er muft prefent themfelves. I have a faint recol- 
 leflion of Baddely in this laft chara£ler — his figure feemed an incompa- 
 rable one — it was the very pifture of a little fot. To do juftice to Gru- 
 mio will well exercife the pencil of commicallity. 
 
 Should the preference be given to the latter page, the wild fantaftic 
 Petruchlo may be drawn in the moment of dafhing the mutton at their 
 heads ; and it will confiderably heighten this fcene, to introduce as much 
 confufion as poffible. The table may be on the point of tumbling over ; 
 the trenchers, tup's, &c. falling down ; Katharine leaning back on her 
 chair, as wifhihg to get fafe out of the wav ; the fervants fcampering 
 off, and one ef them knocked down by another running againft him, or 
 tumbling over the ^^«/V/ Troilus ; and Grumio fhould be pourtrayed in 
 fuch a manner as will beft defcribe the peculiar dry archnefs of fo droll a 
 creature §• 
 
 E Page 
 
 § In- one of Petruchio's mad fits, when he and his bride were at fupper, Woodward ftuck a fork, it is 
 faid, in Mrs. Clive's finger ; and in pufhing heroflfthe ilage, he was fo much in earneft, that he threw 
 her down. This inimitable comic adiei's (\v\\o for more than forty years was the delight of the town) 
 was a perfeifl mlllrefs of Katharine's humour. 
 
 There is another chara£ter of Shakefpeare'a ; in the performance of which llie acquired uncommon 
 applaufe j though flie certainly performed it in a manner very different from what the author in- 
 tended — it was Portia — for that fine fcene in which the appeal to mercy is introduced, was no doubt dc- 
 figned by Shakefpeare to he folcmn, pathetic 3.x\i affe^ing : — " the comic finlfhing, therefore, f fays Vidor) 
 which Mrs, Cllve gave to the different parts of the pleadings, (though marked with her delightful fplrit 
 of humour,) was very far from being in charafter : yet fuch were the fafcinating charms of this dar- 
 ling of the public, that fhe forced the town to follow, and beftow on her the loudeft plaudits." I do not 
 know that any of Shakefpeare's other characters were graced by her pre-eminent powers ; or whether 
 ihe ever appeared in Audrey — in JuUet^s nurfe — in Tearjhcct, or in dame Ridley — in Maria in 
 Twelfth Night — or in Margaret'm Much Ado. I cannot find any mention of her having appeared iii 
 thefe parts ; or even in that of the fprlghtly Beatrice ; and yet the writers on the fVage have been par- 
 ticularly fond of dwelling on Clive's excellencies : fhe having been highly complimented, not only by 
 Churchill, but by thofe pleafing biographers Wilks, Vidor, and Davies. " Happy vvas that author, 
 ("fays Davles) who could write a part equal to her abilities! flie not only in general, exceeded the 
 
 writer's expedation; but all that the moft enlightened fpedator could conceive. 1 (hall as foon 
 
 expeft to fee another Butler, Rabelais, or Swift, as a Clive." I quote this from the Dramatic 
 •Mifcellanies ; but in the life of Garrick, her excellencies and merit, are recorded with the pen 
 of a Cibber. 
 
 SiNCS
 
 ( 26 ) 
 
 Page 500* 
 
 Peiruchlo and Katharine having already made more than one appearance, 
 there is no great neceflity to introduce them, or Hortenjio in this page. 
 And though, by this means we fhall mifs a moft comic reprefentation of 
 the Taylor s face, when in the moment of teUing Petruchio—JJie fays^ your 
 ivorjhip means to male a puppet of her — as well as the fudden ftart of Gru- 
 mio, when he fays — 1 gave him no orders., I gave him the Jtuff- — and muft 
 alfo mifs that droll attitude and look of Grumio, when faying to his maf- 
 ter — if ever I /aid a loofe-bodied gown — and yet, perhaps, thefe omifTions 
 may be amply recompenfed by giving the figure of the 'faylor., with Gru- 
 mio faying to him — marry., Sir, with a needle and thread; or, thou has faced 
 many things. 
 
 It muft be left to each one's imagination, toimprefs thefe figures with 
 charafleriftic humour. Was Petruchio to be introduced, what a fine con- 
 traft there would be, from his tyrannic roughnefs and the Taylor's figure. 
 As the fcene lies at Petruchio^ country-houfe, the room may be orna- 
 mented in the ufual manner of old halls, with ftags horns, pikes, and 
 rufty armour. 
 
 Page 
 
 Since I wrote the above, Mrs. Clive is dead : — Some nioiulis after her deceafe, the following tri- 
 bute appeared in the Morning Herald for January 1786. — " What, not a fingle verfe to the memory 
 oi Kitty Clive? — ^flie who has indeed kept ' theatres in a roar,' and by the ncateft playing, and moft 
 chafle humour that ever adorned the mimic world !"
 
 C ^7 ) 
 
 Page 514 
 
 As Biondello has not yet been introduced, we may in this page draw 
 liim to advantage. He fhould be a fly arch-featured rogue, with that kind 
 of peculiar humour which we have feen on the ftage, when fuch parts 
 as Marplot — Tom, in the Confcious Lovers — Brafs — and poor Timothy 
 Sharp, have been performed by eminent comedians. He may be in the 
 moment of faying— ^r / never faw you before in all my life. Vincentio may 
 be preffing his cane, to lay it about him ; the Pedant may be looking out 
 at the window, and Petruchio at a fmall diftance, with Katharim ; who 
 has not yet appeared otherwife than as the haughty Shrew ; but who may 
 now be drawn as her father has defcribed her, young and beauteous, lean- 
 ing on the arm of her hufband, with features inclining to, orexpreffive 
 of thofe meek and conciliating fentiments which fhe delivers at the end 
 of the play. The atrendants may be left out. 
 
 Page 527. 
 
 It appears, at if Petruchio % fantaftic drefs was continued to the end of 
 the play ; and yet we have liberty to prefume he may have changed it at 
 Luce?itio''s apartments; and tliis is feemingly confirmed in page 496 ; if 
 fo, it will be more pleafant to fee him in his natural drefs, which no 
 print for this profpe£lus, has yet exhibited him in. The print therefore 
 that I could wifh might adorn this page, is that beautifully exprelFive 
 one of Woodward, in Bell's firft edition of this play. The cotempora- 
 ries of Woodward will be much pleafed, in feeing fo fine a memorial of 
 that worthy ornament of the flage. There is a half-length print of 
 
 £ 2 Woodward
 
 ( ^8 ) 
 
 Woodward in the fame charaaer, engraved by Smith, after Van- 
 dergucht; and I do not know but what the print in Bell, is partly taken 
 from it. 
 
 Tail-piece. 
 
 The church-fcene as defcrlbed by Grumio, in page 470, will form the 
 beft print for this department; and will be a connic finifhing to this ad- 
 mirable comic piece. Petruchio muft be in the drefs defcrlbed by Bion- 
 dello ; and may be fternly and roughly quaffing off the mufcadel, with his 
 eye glancing towards the fimple Sexton, and as on the point of dafhing 
 the fops into his face — but the chief beauty in this defign will be the 
 Sexton s look and attitude. He may be drawn in the moment of feeming 
 to ajk hhn fops as he ivas drinking; and the kind of face that would beft 
 fuit him, is that of the laft monk, in the portrait of Ghezzi, in the firft 
 volume of the colledlion of drawings by Rogers — or fimilar to the look 
 of Tom Wefton, as it appears in a fmall print of him, in Dr. Laft, in 
 Smith's fet of prints of dramatic chara£lers dedicated to Mr. Garrick — or 
 at leaft fomething like this look. His look fhould be one of thofe which 
 Edwin very frequently exhibits Katharine may be withdrawing on one 
 fiJe : fearful, yet frowning. Gremio may be very well left out, as he might 
 have been a fpedator of this wedding at a diftance in the church — but 
 the poor Vicar, being juft recovered from his cu//~ and tumble, may be 
 pulling wry faces in a corner. It would confidcrably heighten this 
 little piece, to introduce one of thofe dogs which we fee in Mr. 
 Bunbury's prints, either looking diredly at the pained Ficar, or 
 peeping up at the fexton. It would be too ludicrous (cum facris) 
 to have the fame dog whicli is near the wall in Pont-Neuf, in a 
 corner with the Ficar ;— but fuch a dog as the little one in the Chriftmas 
 Academics, might, I think, be well introduced ; or that in the Shaver 
 
 and
 
 ( 29 ) 
 
 and the Shavee^ of a lefs fize, though with the fame eye, lookhig at the 
 Firar ; or perhaps a little (harp, impudent looking dog, with his tail 
 cocked up (peeping behind a pillar) and juft catching the Ficar's look *. 
 
 * A LIST of fuch Prints as have been publiflied from this play. Thofe I have not feen, are printed 
 in Italics. 
 
 1. Bell's two editions, 
 
 2. Hanmer. 
 
 3. Theobald. 
 
 4. Rowe. 
 
 5. A cut by Fourdrinier, in an edition, in 8 vol. 8vo. printed for Tonfon, 1735. 
 
 6. Pope. 
 
 7. Loivnt/et. 
 
 8. Taylor's puhUcation. 
 
 9. IFood^.vard in Petruchio. Engraved by Smith, from after Vandergucht. 
 
 MERCHANT
 
 If
 
 MERCHANT OF VENICE, 
 
 Each line, each verfc. 
 
 Here Ihall revive, redeem thee from thy hearfe. 
 Befurc, my Shakefpeare ! thou can'ft never die, 
 But, crown'd with laurel, live eternally I 
 
 L. D I o o £ s. 
 
 Vignette/
 
 i
 
 ( 33 ) 
 
 Head-piece. 
 
 T 
 
 'HE Vignette Scene-print to Bell's laft edition by M. de Louther- 
 bourg, is fo well defigned, and the ornaments fo happily imagin- 
 ed, that I would propofe a fac fimile of it, for the head-piece. No alter- 
 ation whatever I think {hould be made, unlefs indeed the dre{s of Gratiafto 
 were lefs cumbrous, and his face more expreffive — and the lafl look of 
 Shylock {hould be direded more to Gratiano than to the audience. The 
 figure of Shylock is as finely drawn, as that by Ramberg is meanly fo. 
 Mr. Bell, is indeed right, when in his addrefs he fays — '* The public 
 have much to expedl from the fuperior talents of Mr. Loutherbourg — 
 his having long-lived in habits of intimacy with Mr, Garrick, his fami- 
 liarity with the flage, and dramatic efFe(fl, added to the renown he has 
 acquired in every line of his profeffion, promifes to foar flill higher on 
 the prefent occafion." His figure of this maflerly charafter, fhews 
 Jlrorig conceptions of deep malevolence. It is indeed infinitely fuperior to any 
 defign yet given of the Jew, nor can any other bear the leaft competi- 
 tion with it, unlefs it be the print mentioned for page 225. 
 
 Scene-Prints. 
 
 As Launceiot is no fmall favourite on the ftage, and poflefles a good 
 fhare of the drollery of Shakefpeare's clowns, I would exhibit him for 
 page 158 ; where I think this unthrifty knave will appear to more advan- 
 
 F tage
 
 ( 34 ) 
 
 tage than in any other pnge, and he will there appear with old Gohhoy as 
 faying : 
 
 Do I look like a cudgel, or a hovel pofl, 
 
 A flafF, or a prop ? — do you know me, father ? 
 
 And if the figure oi Launcelot^ m the print which reprefents that very 
 fcene in Taylor's " Piilurefque Beauties of Shakefpeare," fliould not be 
 entirely approved of: we may fele£l from this fame print, the figure of 
 Gobbo, which I think will be liable to no objeftion. And from Canalet- 
 ti's Views of Venice, or froirt the Views of Venice, engraved by Luca 
 Carlevarlis, or any of the other books on the buildings of Italy, may be 
 fele6led fome fmall buildings to fill up the back-ground. Of the comedians' 
 who have moft fhone in the charafter of Launcelot, I believe the follow- 
 ing names have been the moft confpicuous — Neale*, Shutert (or " co- 
 mical Need of Covent-Garden,") Woodward |, W. Palmer §, Yates ||,. 
 Qiiick, and our favourite Edwin. This part might have been given in 
 Shakefpeare's time to JVill. Ketnpe, who was " as well in the favour of 
 her Majeflie, as in the opinion and good thoughts of the general audi- 
 ence." 
 
 Page 
 
 * Neale was a fort of grotefque aftor, whnfe particular talent was fiiited only to fbme very pecu- 
 liar charafters, in which he was fure to excel every body elfe. He excelled in Shakefpeaie'^s Laun~ 
 eelot. Davies's Life of Gar rick. 
 
 •f Shuter's Laa«cc/o? is equal to our warmcft vvifhes. Wilkes. 
 
 % Launcelot, another child of laughter, was reprefen'ed with extreme plcafant propriety by Mr. 
 
 Woodward. The archnefs and fimplicity requifxte, were blended by him judicioudy. 
 
 Dram. Censor. 
 
 § Old Gelho, by Mr. Parfons, is the character Shakefpeare intended; and his foil Launccloi, is plea- 
 fantly hit oft" by Mr. W. Palmer. Theat. Rev. v. i. 
 
 II Mr. Yates is perhaps the only a^lor living who feems to have a juft notion of Shkcfpeare's fools • 
 there is achaftnefs about his playing thofe charafters, that forms the befl comment on that great poet, 
 and illuftrates the true force of his pen;— add to all thefe, he dreffes his parts with fmgular propriety; 
 
 Theat. Biography, 177. 
 I
 
 C 35 } 
 
 Page 178. 
 
 In this page, the warm affection of generous friendfhip is thus beautl^* 
 fully exprefl'ed : 
 
 Sal. A kinder gentleman treads not the earth. 
 I faw Baffanlo and Jnthonio part. 
 
 ***** 
 * * * ♦ • 
 
 And even there, his eye being big with tears, 
 Turning his face, he put his hand behind him. 
 And with affe£licn wond'rous fenfiblc 
 He wrung Bajfanlo's hand and fo they parted. 
 
 Salan. I think, he only loves the world for him. * 
 
 To feel the full force of thefe lines, we fhould refer to the feveral 7- 
 tuations of thefe two perfons throughout the whole courfe of this play — 
 particularly at the pages 138, 200, 201, 204, and 224. 
 
 There might be a half-length metzotinto of them ; and the drefs of 
 Bajfanio may be partly taken from the print to Bell's firft edition, from 
 
 F 2 the 
 
 * This noble fpirit of friendfhip might have been realized, when my lord Southampton (the dear 
 and generous friend of Shakefpeare) embarked for the feige of Rees in the Dutchy of Cleve. 
 
 A SITUATION {between ^nthonio znd Bajfanio) fomewhat fimilar to that in the text, and which 
 offers a very fine fubjeft for the pencil will be found in the tryal fcene, at the line of : 
 
 fpeak me fair in death :«- 
 
 I think the preference will be given to this hit.
 
 V 36 ) 
 
 third plate of Taylor's work ; and from that prefixed to the edition of 
 Lowndes. Perhaps the Habiti della donne Venetiane, by Giacomo Franco, 
 publiflied in 1606, might be ufeful in referring to for the article of drefs. 
 I have fomewhere read, that the Venetian fchool painted moft of their 
 hiftorical figures in their own habits, thinking them more noble and pic- 
 turefque than any other +. The countenance of Anthonlo fliould be mark- 
 ed with an embraced heavinefs. 
 
 Page 187. 
 
 This is the firft page in which Shy lock might be well introduced. 
 
 The paffages (throughout the courfe of this play) from whence he 
 might be drawn to moil advantage, in my humble opinion, are at the 
 following pages. 
 
 Page 146. If I can catch him once upon the hip, 
 
 I will feed fat the antient grudge I bear him. 
 
 Page 159. Though the whole of this page is attended to with great attention 
 in the Theatre, particularly when Macklin with a peculiar firm 
 look,) fays. 
 
 Hath a dog money ? is it poffible 
 
 A cur can lend three thoufand ducats? 
 
 Or, 
 
 f A VERY good fubjedl offers itfelf in A(\ i. Sc. i . when Morochim fays : 
 
 Even for that I thank you. 
 
 But this play will offer a fufficient number of engravings without this— and yet one is loth to 
 overlook it.
 
 ( 37 ) 
 
 Or, when he afterwards fays, 
 
 Fair Sir, yon fpit on me on Wednefday laft.— 
 
 Yet, as a great part of the beauty of this page depends on the tone of 
 voice in which it is delivered, it would of courfe be loft in engraving. * 
 
 Page 169. Let not the found of Ihallow foppery enter 
 My fober houfe. — 
 
 Page 186. let him look to his bond. — 
 
 Page 187—188 and 189. 
 
 Page 202. I'll have my bond ; I will not hear thee fpcak. 
 I'll have my bond ; and therefore fpeak no more. 
 
 Page ai3 — 217 — 220 — 223 — 225 — 226. 
 
 Page 228. In chriftening thou fhalt have tv?o godfathers. 
 
 As the above pages are too numerous to reprefent Shylock in each of 
 them ; I will endeavour to fele£l fuch fituations as may be deemed moft 
 proper for the bringing forward fo celebrated acharailer. 
 
 In the fcene at page 187, there are many fituations, in each of which 
 Mr. Macklin exhibits fuch infernal beauties, that it is impoffible to fay, 
 from which particular line Shylock ftiould be drawn. This prefent fcene 
 is certainly one of the mafter ftrokes of Shakefpeare ; and Mr. Macklin 
 (even now in his advanced age) wonderfully fupports the fudden tranfi- 
 tions from one pafTion to another — from diftradion bordering on defpair, 
 
 for 
 
 ' I HAVE very frequently attended the theatre at Mr. Macklin's performance o£ Shjloik; and I have 
 always waited with impatience for his fpeaking one fliort line in the next page, which he delivers with 
 a tone of voice fo fuited to the occafion, as to imprefs every aviditor with a high fenfe of his niafterly 
 conception of this chaiaifter. It is the line of: 
 
 This is kind I ofE«r.
 
 ( 38 ) 
 
 for the lofs of his jewels — to joy, malevolence, and vindicative revenge, 
 at the news oiAnthonios lofles. % It is impoilible to fay which particular 
 fituation in this prefent fcene with 7«^^/ would furnifh the befl: painting, 
 and I will therefore only add the following paflages which flrike me as 
 
 the 
 
 X Mr. Macklin was born In the b(l century. His age therefore creates wonder, when we reflcA 
 upon his vigour of body and llicngth of intellecTual faculties. The boxes are crowded with perfons of 
 the fiifl diflindion, on each night of this veteran's appearance in a charader in which he never had an 
 cqu.il. It is unaccountable to many of Mr. Garrick's friends, why he never attempted this part ; and 
 whoever perufes the above fceiic with Tuhal, mufl: think it written almoft purpofcly to call forth fuch 
 powers as he poflcfled. And this indeed is the opinion of Wilkes, who in his general view of the 
 flage, page 260, fays, " I have heard one of the bed judges of the Drama, I ever knew, fay, that if he 
 were to perform Shylock only, it would furpafs all his other charaiSers." — I find no mention in any of 
 the old books, written on the fubjcd of the theatre, of any other perfon excelling in the part oiShy'ock ; 
 but we may fuppofe the excellent aftor, Sandford performed it, from Colley Gibber terming him the i^og-- 
 r.oUttooi the theatre. Mr. King has received much appluufe in this parr, and on the deceafe of Macklin 
 will ftand unrivalled. Thofe who have feen the late Mr. Henderfon in this part, will bear teftimony 
 of his excelling powers. In a prologue written for Mr. Macklln's comedy of the Man of the World, 
 is the following tribute to it's author: 
 
 In days long part our bard your fathers knew. 
 Who has not heard of Shakefpear's matchlefsjew ? 
 Still like an oak in green old age he thrives, 
 Fann'd by your breath, the fire of youth furvives. 
 His fpring was fofter'd by a genial ray. 
 Till time had ripe'd him to his fummer's day. 
 Now winter's come, protcd him from the blaft, 
 And fhield a vet'ran genius to the laft! 
 
 The Dramatic Cenfor pays him the following compliment : — There is no doubt but Mr. Macklin looks 
 the part as much better than any other perfon as he plays it; in the level fcenes his voice is moft hap- 
 pily fuited to that fententious gloominefs of expreffion the author intended ; which, with a fullen fo- 
 Icmnity of deportment, marks the charadler ftrongly; in his malevolence, there is a forcible and ter- 
 ntymg ferocity ; in the third aft fcene, where alternate paffions reign, he breaks the tones of utterance, 
 and varies his countenance admirably ; in the dumb aftion of the trial fcene, he is amazingly defcrip- 
 tive ; and through the whole difplays fuch unequalled merit, as juflly entitles him t,o that very com- 
 prehenfive, though concife compliment paidhim many years ago, " This is the Jew, that Shah/. 
 J>cart drew." 
 
 And
 
 i 39 ) 
 
 the moft proper to exhibit Shylock ; and in each of thefe fituations, he 
 fhould be accompanied by 'fubal. 
 
 I would my daughter were dead at my foot and the jewels in her ear \ would flic were 
 hears'd at my foot, and the ducats in her coffin ! No news of them? — Why fo : — 
 
 and no fatisfaftion, no revenge: nor no ill luck ftirring, but what lights o' my 
 
 Ihoulders ; no fighs, but o* my breathing; no tears, but o' my fliedding. 
 
 I thank thee, good Tubal; — Good news, good news : ha! ha! — Where ? in Genoa ? * 
 
 I am glad of it; I'll plague him ; I'l' torture him ; I am glad of it. 
 
 I would not have given it for a wildernefs of monkies. 
 
 I will have the heart of him, if he forfeit ; for were he out of Venice, I can make what 
 tnerchandife I will ;— 
 
 P ^ 
 
 rage 190. 
 
 And the author of the New Rofciad, fpeaks thus of his Shjhck : 
 
 How does chill horror all the foul invadej 
 Whffn Shylock, unrelenting, whets his blade ! 
 What rooted rancour, and what fteadfaft hate, 
 Appears to urge the unhappy merchant's fate ; 
 Whilft in the Jew's keen vifage is expreft, 
 Whate'er fpite, envy, malice can fuggeft ! 
 In future times when Shakefpeare fliall be read, 
 V\' hen Shylock is no more — when Macklin's dead— ■ 
 Then fliall pofterity revere thy name 
 And future Shylocks wiflj to match thy fame. 
 
 * At the words ah > ah ! the countenance of Macklin difcovers fuch a mixture of vindiaive joy, 
 and deadly revenge, as can never be conceived by thofe who have not feen him. And he fpeaks the 
 Ime of : 1 would not have given it for a viiUkrnsfi of monkies, with a fpirit of wildnefs which terrifies the 
 audience.
 
 ( 40 ) 
 
 I 
 
 Page 1 90. 
 
 I WILL fele£t for my reader thofe paflages throughout the courfeof this 
 play, which appear to me, the mofl favourable for the exhibiting Bajfanio 
 in company with Portia. They are thefe : 
 
 Page 190. Bafs. Let me chufe ; 
 
 For as I am, I live upon the rack. 
 
 For. Upon the rack Bajfanio ? then confefs 
 
 What treafon there is mingled with your love. 
 
 Page 196. A gentle fcroU; — Fair lady, by your leave.— 
 
 Page 197. I give them with this ring ; 
 
 Which when you part from, lofe, or give away, 
 Let it prefage the ruin of your love, 
 And be my 'vantage to exclaim on you. 
 
 Page 200. Bajf. O fweet Portia, 
 
 Here are a few of the unpleafant'ft words, 
 That ever blotted paper J 
 
 Page 201. For. Is it your dear friend, that is thus in trouble ? 
 
 Ba(f. The deareft friend to me, the kindeft man — 
 
 Page 243. For. What ring gave you my lord ? 
 
 Not that I hope, which you receiv'd of me. 
 
 BaJf. If I could add a lye unto a fault, 
 
 I would deny it ; but you fee, my finger 
 Hath not the ring upon it, it is gone. 
 
 Or in this fame page : 
 
 Bajf. Sweet Portia, 
 
 If you did know to whom I gave the ring, 
 If you did know for whom I gavetlie ring. — 
 
 Again
 
 ( 41 ) 
 Again, in the fame page: 
 
 For. If you had known the virtues of the ring, 
 Or half her worthinefs that gave the ring. 
 Or your own honour to retain the ring, 
 You would not then have parted with the ring. 
 
 From the above paffages, one fcene print (at the Sefl) fhould be taken ; 
 and if the preference be given to that part where Portia fays : 
 
 Upon the rack, Bajfanlo P— 
 
 it will admit of her being drawn in a fine attitude, and with expreffive 
 pafiions. This rich fcene of the cafkets, m:>y Introduce much magnifi- 
 cent ornament in the chamber ; and fome very im.perfedl hints towards 
 this part of the fcene, may be caught from the print to Hanmer's edition, 
 as well as from that in Taylor's work. The drefs to Baffanio In this laft 
 print is well defigned, and worth referring to. Gratiano, and the refl of the 
 attendants, may be partly Introduced, at a proper dlftance in the back- 
 ground, refpedlfully waiting the anxious declfion oi Portia s fate.* 
 
 Page 213. 
 
 Shy. I have poflefs'd your grace of what I purpofe; 
 And by our holy Sabbath have I fworn, 
 To have the due and forfeit of my bond ; 
 
 G It 
 
 * Many of our moft capital aclrefles have gained diftingulflied applaufe in the part oi Portia. The 
 late Mrs. Woffington is fpoken of in terms of the higheft excellence. And the late Mifs Macklin's 
 performance (through the excellent tuition of her father, aided by her own accompllfhments) would 
 have been unexceptionable, had her figure been lefs petite. Mrs. Abington is alfo mentioned in high 
 terms. I have had the pleafure of feeing Mrs. Yates, Mifs Yonge, and Mrs. Bulkley in this charaiflerj 
 and though Mrs. Yates was fuperior to competition, yet the mofl generous applaufe has ever been 
 given to thefetwo laft aiftrefles. I have not fcen Mrs. Siddons perform this part (to IMr. King's Shy- 
 lock), but there is little doubt of her excelling.
 
 ( 43 ) 
 
 Thou almoft mak'ft me waver in ray Talth, 
 
 To hold opinion with Pythagoras, 
 
 That fouls of animals infufe themfelves 
 
 Into the trunks of men. Thy currifla fpirit 
 
 Govern'd a wolf, who, hang'd for human flaughter, 
 
 Ev'n from the gallows did his fell foul fleet : 
 
 >\nd, whilft thou lay'ft in thy unhallow'd dam, 
 
 Infus'd itfcif in thee ; for thy defires 
 
 Are wolfifl^, blaody, ftarv'd, and ravenous. 
 
 Shy. Till thou can'Ji rail the fea! from off my bond, — 
 Thou but ofFend'ft thy lungs to fpeakfo loud. 
 
 What lines can poffibly afford a finer fubjefb for the pencil !' — for 
 Macklin, immediately and diredly after Gratiano has ended his generous- 
 inveflive, gently draws the bond from out of his pocket, and with his 
 knife pointed to its feal, and a moil cool malignant fuUeu facer on: 
 QratianOt fays : 
 
 Till thou canfl rail the feal from off my bond — 
 ■Thou but offenji'iL thy lungs to fpeak.fo loud. 
 
 The other chara£lers had better be omitted ; and the only two fTgures^ 
 therefore, will be, Gratiano znA Shylock, at full length. The countenance 
 of the former fliould be frronglj^ marked with an aniinated and generous in- 
 dignation ; his figure fhould be fpirited and graceful ; and his drefs may 
 be partly taken from M. De Loutherbourg's Vignette to Bell: To feel 
 the force of this fcene, we fhould fee the attitude axid look of Macklin. 
 
 Page 2 2.1.. 
 
 This play win ever continue, ** one of the darling reprefentations of 
 the theatre" ; and the nervous and benevolent recommendation of mer- 
 cy in this page (the favourite fuhjeft of Shakefpeare), has been confider- 
 ] ed
 
 ( 42 ) 
 
 It would be unpardonable to pafs over the above lines without giving 
 a portrait of Sfr\'lock as fpeaking them. The other charafters need not 
 be introduced ; and this portrait fliould be marked with that determined 
 firmnefs, that bloody defgnation of cruelty and fulkn folemnity^ with, which 
 Macklin always Ipeaks them. * 
 
 Page ziy. 
 
 Mr. Mortimer has given us a head of Shykck. It is drawn from the 
 lines in this page, of: If every ducat infix thouf and ducats, ^c. — and though 
 I cannot think the ufual excellence of the rapid Mortimer ^ is vifible in this 
 portrait ; yet for fear of giving an erroneous opinion, and from a refpeft 
 to the name of the artill:, I wifli to propofe a fac-fmiile of the portrait, to 
 accompany this page. 
 
 Page 220. 
 
 Gra. O, be thou danin'd, inexorable dog ! 
 And for thy hfe let juftice be accus'd. 
 
 G 2, Thou 
 
 • I.v the Senate fcene (fays Mr. Ireland, in his life of Henderfon, and fpeaking of Macklin) the 
 judicious conception of this patiiarch of the theatre, fecures him from every competitor. And the 
 fame gentleman tells us, that previous to Mr. Macklin's performance e{ Shylock, it was looked upon as 
 a part of little importance and played with the bufFoonry of a Jew pedlar; and that to the underftanding 
 of that venerable performer, we arc obliged for the firft true reprefen^ation of the charader. 
 
 Mr. Rowe in his Life of Shakefpeare, fpeaks thus oi Shylock : — " To thefe I might add, that* in- 
 comparable charadler of Sl-yhck the Jew, in the Merchant of Venice ; but though we have fcen that 
 play received and afted as a comedy, and the part of the jew performed by an excellent comedian, 
 yet, I cannot but think it was defigned tragically by the author. There appears in it fuch a deadl;^ 
 fpirit of revenge, fuch a favage fiereenefs and fellnefs, and fuch a bloody defignation of cruelty and 
 mifchief, as cannet agree either with the Ilyle or charaifters of comedy. *;''':'«-''■
 
 ( 44 ) 
 
 ed one of the happleft efforts of immortal genius. No adrefs can have 
 ever delivered that fpeechwith more emphatic elocution, than Mrs. Yates. 
 The dignity of her air, her unrivalled powers of declamation, and that 
 glow of colouring which fo wonderfully animated her expreffion of this 
 part, will never be erafed from the memory of her delighted audience. 
 
 If the exaft appearance which Mrs. Yates made when fhe performed 
 this part, could be now obtained, I would propofe, (as the nobleft and 
 moft grateful ornament to Shakefpeare's page) an engraved portrait of 
 her, as fpeaking the lines on mercy, for art could fcarce produce a figure 
 of more expreflive grace. 
 
 If no artift can retain the exadl appearance this lady made ; I would 
 then propofe, a fancy head of Portia might be drawn, as fpeaking them. 
 It will be fcarce poffible perhaps for the pencil to attain the magic of 
 Shakefpeare's mufe. * 
 
 Pas 
 
 :e 2 2 
 
 3" 
 
 In this page, there are two fituations fo well calculated for the pencil, 
 that I will fubmit them both to my readers. The one is : 
 
 Jlnt. Moft heartily I do befeech the court. 
 To give the judgment. 
 
 For. 
 
 * GuERciN'o painted a Magdalen, (now near Naples) and the account that is given of it, is what 
 Ciou'.d be faid of foinc portrait to acompany the lines on mercy — " To celefiial beauty, her counte- 
 nance adds expreffion as afFceting as it is fublime ; and reprefents with perfed truth all the reflections 
 to which fuch meditations might be fuppofcd to give birth." 
 
 And fee the very interefling figure of the principal woman, in Weft's RaiCug of Lazarus. 
 
 z
 
 ( 45 ) 
 
 Por. Wijy ihf»f thus it is : 
 
 Tou muft ■prepare your bofom for his knife. 
 
 Shy. noble jud^e ! O excellent young man I 
 
 The Other is 
 
 Por. Therefore lay bare your bofom. 
 
 Shy, Ay, his hreajl ; 
 
 So fays the bond ; — Doth it not noble "Judge? 
 Neareji his heart, thefe are the very words. 
 
 If we prefer this laft felefted paffage, it may be proper then only to give 
 a figure of Shylock alone ; leaving out all the other characters ; for Portia 
 will not appear I think quite to fo much advantage if drawn as faying : 
 
 Therefore lay bare your bofom, 
 
 as fhe would in repeating the firft lines. I will therefore recommend 
 the figure of Shylock, in the print to Taylor's work.* It is fo well de- 
 figned that I think it will be proper to engrave this fingle figure by itfelf. 
 
 * When I have recommended this, as well as many other of the foregoing print', it has been, Itcaufe 
 they tui rf the heft that ka~je yet been puhltjhed. Had I fcen (at the time mofl of the above pages were 
 written) any profpedt of an edition coming out, like that of Meflrs. Boydells, and the names of fuch 
 -artifis as are now anonuncedj it would have made me reje£l fome of thofe which I have now en- 
 deavoured to perfuade the reader to look at — ftill however let thofe hold their places of merit, 'till 
 replaced by future defigns of fuperior execution : 
 
 Si quid novifti redlius iUis, 
 
 Candidas impcrti ; fi non, his utere mecum. 
 
 - What have we not to expeft, if a late paragraph in the St. James's Chronicle fliould prove true :— 
 " We liften alfo with pleafure to a report that Sir Jolhua means very foon to give up Portrait Painting, 
 and apply himfelf wholly to the decoration of our great dramatic Author." The variety of defigns 
 then that Sir Jolhua may yet live to complete, will have the fame effeft as what Dr. Johnfon attri- 
 butes to the writings of Shakespeare \—jiUingtbe ejeivitb awful po/np, and gratfying the mind -with end- 
 Icfs diverjify" ! oHCii dviilw
 
 ( +7 ) 
 
 Page 22^' 
 
 Among the few good prints which have yet appeared of Sfy/ock, there 
 IS one, wliich (in my poor opinion) pofleires eminent merit. The copy 
 of this print in my pofleflion, has neither the name of painter, engra- 
 ver or publifher ; nor any date or letters wiiatever. The impreflion 
 f^ems t<) be a very fine one. It is of an 8vo. fize, and is evidently drawn 
 from the fpirited line of 
 
 a fentence ! come, prepare. 
 
 There is a kind of border or frame round it, and at the top is a very 
 griitt headof Shakefpeare, furrounded with laiu-el. I cannot recolleft 
 from whence I came into poffenion of it — it may have come from fome 
 Magazine, but wherever it came from, or whoever was thedefigner of it, 
 it mufl: be confidered as a happy ornament to this page. I think few 
 painters could have more happily exprefl'ed the fire and triumphantjoy 
 of the favage Shylock. He feems as if he had whetted his knife on the 
 floor, and, having juft brandished it, is now cafting his looks at the 
 bankrupt Antonio. This print need only to be enlarged to a proper fize, 
 and it will merit thebeft engraving ; and may accompany this page, with- 
 out the addition of the other charaders. * 
 
 The print in Bell's firft edition is taken from the above words ; and as 
 there is certainly much merit in this print, I purpofe recommending it 
 for the Tail-piece. 
 
 * This page offers another line where Shyleck nright be drawn in flron^ chara<?ters— for when he 
 fays : Is that the Lavj ? he darts a look on Portia^ which none but Macklin can exhibit.
 
 ( 46 ) 
 
 to accompany thefe laft lines — but yet, notwithftandlng its merit, it 
 certainly does not reach that idea of the Jew which we form, when he 
 is repeating the above fejitence — his countenance fhould exprefs fomewhat 
 of exulting joy, as well as favage fellnefs. A figure of Shylock from the 
 above lines by the pencil of Loutherbourg, would give us the very Jew 
 that Shakefpeare drew — for he would exprefs the animated rapidity of 
 Macklin, and point the countenance glowing with rapturous adoration 
 to Portia, and yet at the fame time mixed with malevolence and terrifying 
 ' ferocity. The expreflion of nearefl his heart — -is perhaps one of the fir ft 
 fituations in the play to dirzw Shylock from. 
 
 If we reje£l the giving a fingle figure of Shylock to this paffage ; or if we 
 wifh to retain that which is in Taylor's work, (in cafe no better is produ- 
 ced) we may even then decorate this fame page with an engraving from 
 the above firft fele£led lines ; for no liues can offer a fitter opportunity ta 
 draw the whole chara>Slers from, whocompofe the trial fcene. 
 
 We fhall now for the firft time view Portia, as drejfed like a doctor of 
 laws : and the gracefuhiefs of her attitude will be finely difplayed, when 
 pronouncing the Merchant's fentence. It will admit of all the grace of 
 expreflion. Her fentence is uttered with a look of mild firmnefs, and 
 not with one of fallen or morofe harfhnefs. And the Jew's fpirited 
 lines of 
 
 O noble judge ! O excellent young man ! 
 
 is almoft equal to his rapturous exclamation of 
 
 A Daniel come to judgment ! yes, a Daniel!— 
 
 and will therefore require his appearing to every poffible advantage. 
 When Portia pronounces her fentence on the Merchant, the paffions in his 
 countenance, as well as on thofe of his dear friend, and of Gratiano, will 
 form a very interefting fcene. It is ojie of thofe fituations, which fixa 
 €xpe£fation. 
 
 Page
 
 ( 48 ) 
 
 In this concluding part of the trial fcene, are many anxious fituations, 
 where both Shylock and Portia, the Merchant and Bajfanto, as well as the 
 other charaders, might be well reprefented. I will point out that paf- 
 fage, which flrikes me as the moft proper to draw them from.* 
 
 Shy. Is that the Law ? 
 
 Port. Thyjelfjhaltjee the all : 
 
 For, as thou urgejl jtijiice, be affur'd 
 
 Thou fhalt have juflice, more than thou dcfir'll. 
 
 Shylock (with his knife and fcales in his hand) may be receding from 
 the attitude in which he pronounced his late triumphant joy ; and with 
 his favage eyes fternly rivetted on Portia, may be addrefling to her the 
 above queftion — and this animated defender of the injured Merchant will 
 appear to every advantage, as on the point of fpiritedly enforcing his lines. 
 The other characters may be drawn in intereflhig fituations, particularly 
 the delivered Antonio, and his kind friend — as well as the generous Gra- 
 tiano. Joy will be painted in each countenance, except in thofe of the 
 two friends, whofe minds are now agitated with fofter paflions, and whofe 
 countenances fliould exhibit that pathetic exprefiion which frlendfhip 
 claims. 
 
 Page 236. A61 ^. Sc. 1. 
 
 We fhall be interefted in paying fome tributary efteem to the writer of 
 this fweet fcene, from the attachment he fo frequently difcovers for that 
 fcience : to the effects of which — even 
 
 fell Charybdis murmur'd foft applaufe. f 
 
 but 
 
 * Instead of having quoted many of the foregoing pafTages, I fliould have obferved the advice 
 of Dr. Johnfon, who fays that " The reader is feldom pleafed to' find his opinion anticipated — it is 
 natural to delight more in what we find or make, than in what we receive. — Judgment, like other fa- 
 culties, is improved by pra(flice, and its advancement is hindered by fubmiffion to dldatorial decilions." 
 
 + Though a very refpeiSlable Commentator does not.
 
 ( 49 ) 
 
 but more fo, from a divine religious (train which illumines this page— 
 and which fo frequently ennobles the poetry of Shakefpeare : 
 
 There's not the fmalleftorb, which thou behold'ft, 
 But in his motion like an angel fings, 
 Still quiring to the young eye'd cherubim S; 
 Such harmony is in immortal fouls, 
 But, whilft this muddy vefture of decay 
 Doth grofly clofe it in, we cannot liear it. 
 
 The many paffages of this fine nature, fo frequently met with In the 
 writings of Shakefpeare, tend forcibly to ftrengthen the traditionary 
 reports of the fweetnefs, benevolence, and goodnefs of his heart. It Is 
 fcarce poffible for an irreligious mind to have written that paflage with 
 which the Fryar fooths the parents of Juliet, on her fuppofed death — 
 aiid Ben Johnfon tells us: " that he was indeed HONEST, and of an 
 open and free nature ; had an excellent phantfie, brave notions, and 
 gentle expreffions." — If the countenance is the mirror of the foul — the 
 traits of the moft pkafing qualities are flrongly exprefled in the metzotinto, 
 by Simon, from after Zouft. * 
 
 We could have wifhed the figures in this fcene, had been drawn 
 by Mr. Cypriani ; and that the landfcape might come from the 
 pencil of Mr. Gainlborough. They might be drawn as liftening to the 
 mufic which firfl plays, — which I think would be better than at the fub- 
 
 H fequent 
 
 * The child of Fancy, by the Firtues crown'd, 
 
 Universal Magazine, July, 1784^ 
 
 And a Poem in vol. 2. of Pearch's Colleftion, fpcaks thus of him : 
 
 Where were ye Graces, where ye tuneful Nine, 
 When Shakefpeare's active fpirit foar'd away ? 
 Where were ye Virtues when the /park divine^ 
 Forfook it's tremiling tenement tf day ?
 
 ( so ) 
 
 iequent paffage of, mark the mufic — as the (eninntnw Lorenzo utters be- 
 fore the founds of the firft mufic, will permit his being drawn with an 
 adion more elevated. Something of that very fine attitude and expreflion 
 fliould be given to Lorenzo, which we meet with in the figure of the 
 prince, in Pine's beautiful print oi Miranda. This print is worth referring to. 
 The fcenewill reprefent a grove or green place, with a view of part of the 
 houfe of Behnont, " bofom'd high in tufted trees," with the rich foliage 
 and other wildnefles of luxuriant nature, and the moon Jleep'mg (not 
 ftiining) upon the bank. Caii painting exprefs this happy word of the 
 Poet ? 
 
 To feel this fcene properly, an Englifhman fhould tranfport himfelf 
 into the warmer climate of Italy ; which he may do in imagination by a 
 perufal of Martin Sherlock's Letters from an Englifh traveller. * 
 
 Page 
 
 Naples, Feb. 3, 1779. 
 
 * LETTER XIV. v. i. 
 
 It b not furprifrng that Virgil fliould make fuch fine verfes at Naples : the air there is fo foft and 
 f> pure, the fun fo brilliant and fowarm, and the face of nature fo rich and diverfified, that the ima- 
 gination feels a vivacity and vigour which it fcarce ever perceives in other countries. 
 
 L E T T E R IX. V. 2. 
 
 A great enjoyment for a man who loves letters, is to have in his walks, his Horace in one pecker, 
 and his Virgil in the other, and to look at a thoufand objeds which have been painted by thefe Maf- 
 ters. - . - - A great writer never throws out a word at random J all his expreflions 
 are precious, and there are a thoufand paflages in Virgil and Horace which can fcarce ly be under- 
 ftood, but which it is impodible to feel without having feen Italy. PraccpsAmo — to- feel praecfs, you 
 muft gp to Tivoli. I could quote numberlefs examples, but I Ihall only mention one or two : 
 
 NuUus in orbe locus Baiieprsflucetam«ui»>i ^^ -^ ,\ot anv-Vil iav.h 
 It is impoffible to feel praluctt but at Bai*.
 
 ( SI ) 
 
 Page 226. 
 
 For. — — ^— — nay, if the fcale turn 
 But in the eftimatioii of a hair, 
 Thou dieft, and all. thy goods are coufifcate. 
 
 Gra. A fecond Daniel, a Daniel, Jew ! 
 
 Now, infidel, I have thee on the hip. 
 
 For. Why doth the Jew paufe ? — 
 
 The firft lines in the above feledllon, will be a fine fituation to paint 
 the animation of Portia — -and they will admit of the paffions of Shylock 
 being advantageoufly introduced — as well as the fplrited retaliation of 
 Gratiano. The other charailers who compofe the court, will be in the 
 fame fituations as at the lafl: feleded lines. 
 
 If flie is drawn in faying : — PFhy doth the Jew paufe ^ — (which will be 
 a truly fine fituation to draw him from) his countenance fliouldthen, 
 I think, be rather altered. . 
 
 In this fame page another fituation is offered : — 
 
 Shy. Shall I not barely have my principal ? 
 
 For. Thou fhalt have nothing but the forfeiture. 
 To be fo taken at thy peril, Jew. 
 
 Shy. Why then the devil give him good of it ! 
 I'll (lay no longer queflion. 
 
 I fele£l thefe lines for the purpofe of introducing Shylock ; who may 
 •either be drawn as fpeaking the firft of them ; or the laft line but one. 
 
 H 2 Each
 
 ( Si ) 
 
 Each fituation will be fpiiited. All the other charatflers will appear as 
 at the former lines. I will not prefume to fay from which of thefe fe- 
 leded paflages an artift might choofe thebeft point to draw the whole of 
 the charadlers who compofe the trial fcene from — as that muft be left to 
 the fancy and judgment of each artill, aided by hxs familiarity with the 
 J\age and dramatic effects 
 
 Tail-Piece. 
 
 The print of Shylock which is in Bell's firft edition, poffefles a good 
 deal of merit ; and I cannot but recommend it for the Tail-piece ; and 
 though it is drawn from the fame lines that the print which I have recom- 
 mended for p. 225 is taken from — yet it cannot be difpleafing to preferve 
 two defigns of Shyloch, which are fo well executed. An ornament might 
 be thrown round this print, fomewhat fimilar to that very happy one 
 which graces M. de Loutherbourg's Vignette fcene-print. It certainly 
 muft not be the fame, but yet it may be allufive to the play. A fmall, 
 but by no means an imperfed hint towards it, may be feen in the cut to 
 Lowndes's edition to this play. * 
 
 *A lift of fuch Prints as have been publifhed from this play. I have feen all the Prints, except that 
 in Pope's edition. 
 
 T, Bell's two editions, 
 3. Hanmer. 
 
 3. Theobald, 
 
 4. Rovve. 
 
 5. Lowndes. 
 
 6. A cut in an edition in 8 vol. Syo. printed for Tonfon, 1735. 
 
 7. Mortimer's head of Shylock, from his etchings of charadlers from Shakefpcare. 
 
 8. Taylor's publication. 
 
 I 9. Night
 
 I S3 ) 
 
 9. Night, a Landfcape, engraved by C. Taylor, from after Smirke, It is taken from the line* 
 
 of: How fweet the moonlight, ice.—' 
 
 10. A print of Shylock, mentioned for page 225. 
 
 1 1. Mr. Macklin in Shylock, from after Kitchinman, an oval, 1784. 
 
 12. Mr. Macklin in Shylock, from Smith's 24 Charafters of the Hage, in umo, 
 
 13. Mr. Clark, in the charafter of Anthonio, from the fame. 
 
 14. Mr. Macklin in Shylock, from the Weftminfter Mag. for Oftober 1775. This is copied' 
 
 from a print by Lodge, of the fame fize. 
 
 15. Fope.
 
 LOVE'S LABOUR LOST. 
 
 In the wild extravagant notes of Shakefpeare, you every now and then encounter ftrains 
 that recognize the divine compofer. 
 
 In his moll negligent hours he could never fo totally diveft himfelf of his genius, but tluit 
 it v\rould frequently break outwith aftonifhing force and fplendour. 
 
 Theobald. 
 
 Vignetted
 
 k
 
 ( 57 ) 
 
 Head-piece. 
 
 This play will not afford many fubjeds for engravings. The mafterly 
 hand of Shakefpeare appears not in many places of this chequered per- 
 formance ; and it is the opinion of his beft commentators that it was not 
 altogether the entire produftion of his pen There are however fome 
 fcenes, and fome paflages, that grace him in the difgrace of death — and 
 have bought him that honour which makes him an heir of all eternity. 
 
 I would propofe as the Head-piece, an half-length figure of Cojlard In 
 p. 388, when faying : — Not a word of Cojlard yet — and it may either be 
 a copy of Tom Weflon's performance (if it can hut faintly glimmer through 
 the memory^ or imperfect atteflation of a few furviving fpeSlators) — or fuch. 
 a figure as will be moft defcriptive of xKis fi allow vaJfaL His features 
 will be entirely different from what they are in p. 389, or 390 ; and he 
 well dcferves to be drawn in more than one look. • There are other pa- 
 ges where he might appear to much advantage, as at p. 499 * or 509. 
 And I would recommend this figure of Cofard to be inclofed in the very 
 fame frame as is given in that beautiful Vignette to Bell's lafl edition to 
 this play, with an exa£l fac-fimile of the infignia at the top. The artifl 
 who defigned this rich embellifliment, may perhaps join in opinion that 
 Armado may appear to equal advantage in page 472, and it is for this 
 reafon only that 1 have prefumed to hint a mutilation of this Vignette 
 print, and not give it entire as a Head-piece. 
 
 I Scene 
 
 * Edwin, with O LordSif.-^viould fet the houfe in a roar.
 
 ( 58 > 
 
 Scene-Prints. 
 
 The firft fcenc I would choofe, is at page 389; The figures and drefles 
 of Longaville, and Dnmain^ may be taken from a very pleafmg defign by 
 Gravelot, in Theobald's edition ; or the drefs in which Biron appears, ia 
 Bell's firlt edition, may perhaps be preferred: their charafter swill befeen 
 in page 400. Thefe three lords may be fignificantly looking at, and en- 
 joying the fituation of Coftard. The King's figure in this defign by 
 Gravelot, is a very graceful one, and in that of Bell's firft edition, he is 
 fingularly interefting — though his foftened air of melancholy may more 
 properly become him when he has feen her, nvhofe glory through his grief is 
 JJiewn. His drefs is extremely elegant ; and in this fcene, he will be in the 
 attitude of reading the letter, and juft glancing his eye on Coftard. The 
 two remaining characters are Anthony Dull, and Coftard. I know not what 
 performer on the ftage has exhibited y^w/Z^owy Dull; or whether he has 
 had the good luck to be reprefented by a comedian of merit ; but a 
 pencil of humour will ftrilce out a conflable worthy of the author's crea- 
 tion. He would appear to the mofi: advantage in faying the words which 
 are given him in this page of: — Me, anU- pleafeyou; I am Anthony Dull, — 
 but he cannot be reprefented as immediately faying them — for in the 
 propofed print he will be a mere looker on. As for Cojiard, it were to 
 be wiflied that no one would attempt to draw him, who has not beheld 
 that unparalkd fon of fimpiicity, Tom Weflon. The original flrokes of 
 fimple nature which he could throw out, cannot be conceived by thofe 
 who have not feen him. And to fuch only who have feen him, fliould he 
 configned the execution of this part of the propofed print. In Bell's firfi: 
 edition, he is drawn as fiiying — I ivas taken with none Sir; — probably fome 
 may think he would appear to equal advantage in faying — l^Fith a wench — • 
 or, / had rather pray a month with mutton and porridge ; — but this can- 
 only be determined by his furviving admirers. 
 
 Page
 
 C 59 ) 
 
 Page 407. 
 
 A PLEASING print might be annexed to this page, o£Boyet and Maria, 
 (who is the beautiful emprefs of Longaville's love) — and the other ladies 
 may be left out. Maria may be faying : My lips are no common. The 
 character or appearance which Boyet fhould make, may be feen in that ad- 
 mirable defcription in page 490. A print in the ftyle of Guercino's 
 Woman begging water, in the drawings publifhed by Rogers, would have a 
 pleafing effect. 
 
 Page 447, 
 
 There are two fuch exquifite lines in this page, and which breathe fo 
 much the language of nature, and of Shakefpeare, that it were in- 
 juftice to the poet to pafs them over without fome deiign to accompany 
 them : — 
 
 Do but behold the tears that fwrell in ire. 
 
 And they, thy glory through my grief will fliew. 
 
 Such lines from the pencil of a Cypriani, would produce a drawing of 
 exquifite delicacy. It might reprefent a half length of the King (in a 
 fancy drefs perhaps) with the influence of the paffion they exprefs, im- 
 printed on his features. 
 
 I 2 Page 
 
 * The fprightly Bircn, and his Rofalinc^ cannot well appear in page 403, as (lie is malked.
 
 ( 6o y 
 
 Page 472. 
 
 This page gives us a happy opportunity of reprefenttng to much ad- 
 vantage, feveral of the charafters. And we have one of thcfe characters 
 already drawn in a mafterly manner, by the pencil of M. de Louther- 
 bourg ; — for in the Vignette \vhich I have before referred to, may be 
 feen the true and lively portraiture of that j^rmado h'lght — and the only 
 alterations it might be proper he fhould undergo for this prefent page, 
 would be, to have his arms perhaps a kimbo (as having juft pronounced 
 his boifterousoath) and cafling a fignificant glance at the poor enraptu- 
 red Cojiard, who is giving his fmall pittance (the beft he has) to his 
 figeon-egg of difcretion. And this XitiXe friip f nap youth is fo well drawn in 
 the above Vignette, that he will admit of no improvement. — (I am fure 
 the pofition of his toes will not) — unlefs indeed a very little more fharp 
 archnefs were thrown into his face for this prefent page. Cojlard can no 
 where be drawn to more advantage than in this fcene ; and the figures of 
 Holofernes, Nathaniel, and Dull, cannot but enliven the group ; and they 
 deferve to be drawn with truth and nature. 
 
 Tail-piece. 
 
 It would form no unpleafing print for this department, were we to 
 reprefent the Khg in 
 
 fome forlorn and naked hermitage, 
 
 Remote from all the pleafures of the world. 
 Where he is to ftay, 
 
 Until the twelve celeftial figns 
 
 Have brought about their annual-reckoning. 
 
 I That
 
 ( 6i ) 
 
 That foft air of tender melancholy, and the fame beautiful drefs 
 fliould be given him, in which he appears in Bell's firft edition. And 
 his attitude may be fomewhat fimllar to that penfive one of Sir Philip 
 Sydney, (under a tree), by Vertue. The landfcape may be a romantic 
 view of fome fequeftered hermitage. In fome of the impreffions of this 
 print in Bell's firft edition, the air of the King's face is materially dlifer- 
 ent. In the impreffion before me, it is very interefting.* 
 
 * A LIST of fuch Prints as have been publiflied from this plajv * Thofe I have not fcen, are printed 
 in Italics, 
 
 1. Bell's two editions. 
 
 2. Hanraer. 
 
 3. Theobald. 
 
 4. Rowe. 
 
 5. A cut by Lud. du Gaeruier, in an edition, in 8 vol, Svo, printed for Tonfon, i 735, 
 
 6. Pope. 
 
 7. Lo'vnifes, 
 
 8. Taylor's
 
 i
 
 ALL'S WELL THAT ENDS WELL. 
 
 Wh a t age, what fex, what charafter, ftation, or office of life, efcapes the touches of 
 Shakefpeare's plaftic hand ! 
 
 Mrs. Griffiths. 
 
 He that has read Shakefpeare with attention, will perhaps, find little new in the crowded 
 world. 
 
 Mrs. Lenox- 
 
 Vignette.
 
 C 65 ) 
 
 Head-piece. 
 
 The moft proper ornament for this part, would be a beautiful coloured 
 print of the head of Helen, as faying thefe words : 
 
 It were all one 
 
 That I fliould love a bright particular ftar, 
 
 And think to wed it, he is lb abase me. Page 9. 
 
 Her attitude may be fomewhat fimilar to that of the principal female 
 figure ill the firft ftudy by Corregio, In the 2d vol. of the colle<5tIon of 
 drawingf) by Rogers — but more ferenely mild and lefs elevated. She will 
 of courfe have the traits of that beauty which ajloniped the furveyof r'lchejl 
 eyes : and of thofe interefting qualities which won her the warm friend- 
 fhlp of the good old Countefs of Roujillon, * 
 
 Scene 
 
 ■* Of all the cliaraflers of Shakefpeare : none more rcfemblcs Ihs beft female advocate, (Mr'f. 
 Montague) than the Countffs of Ronjtllon. 
 
 The following lines, which Helen fpeaks in p. 10, of 
 
 ————— virtue's fteely bones 
 
 L(X)k bleak to the cold wind. 
 
 might well apply, or be written under, a very fine print from Gainftoroughj called a SJjepbcrd (bad 
 he lefs enibon-point)— or they would equally well apply to a piflure by Opie (one of his earliefl per- 
 formances) which was exhibited at Somerfet-houfe, in 178^, It is well remembered by the name of 
 the Boy and Dog.
 
 r €(> ) 
 
 Scene-Prints. 
 
 The good old King (notwithftanding his misfortune in htix\g fjlulat If- 
 Jimus) win appear to much advantage if drawn (in the ftyle of Morti- 
 mer's etchings of Heads from Shakefpeare) to accompany p. 22. He may 
 be drawn with that penfive dejedion with which this time honoured Lan- 
 cajler utters the lines of: — /, after him, &c. — and his time of life may 
 be gathered from his fpeech to Bertrand, when he tells him, that haggifli. 
 age has flolen on, and wore him out of acl» 
 
 Page 35' 
 
 This page gives us an opportunity of reprefentlng to great advantage 
 the Coimtefs of Roufllon, in company with Helen. And on perufal of a 
 character of fuch worth as the Countefs is — of fo much piety — fine 
 fenfe — of fo noble an education — and of the tendereft aifedtion for Helen — 
 there is no doubt but fome artifl: will adorn this page with a venerably 
 graceful portrait (in rich metzotinto) of her, who throughout every 
 fcene, irrefiftlbly commands a reverential efteem. Shakefpeare no doubt 
 had great delight in drawing this charadler ; and we may hope to fee ex- 
 preffed in her countenance, that mild luftre of calm thought which the 
 mind alone gives, and that certain expreflive air which can only proceed 
 from virtuous paffions. 
 
 She
 
 { ^7 ) 
 
 She jnight be drawn at half length, with Helen, as repeating this 
 paflage : 
 
 Count. Wherefore ? tell true. 
 • Hel. I will tell truth ; by grace itfelf I fwear. — 
 
 The attitude of He/en may be fomewhat like that which I have propo- 
 {ed for the Head-piece : and there might be added to the animation with 
 which fhe ought to fpeak this fentence, *' une douceur feduifante." * 
 
 Pacre 66* 
 
 Of all the different fituations in which ParoUes appears, it is neceflary 
 to know which is the moft comic one ; as a bare perufal of the play may 
 not befufficieut to afcertain that with certainty — for it is well known that 
 good comedians frequently introduce many exquifite ftrokes of chara6ter 
 and humour, which were evidently defigned by the author ; but which 
 may have efcaped the eyes of literary critics. The admirers therefore of 
 fuch comedians as Woodward and King (who I believe have {honemoft In 
 this charafVer) will be the moft proper to feledl the fcene beft fuited to 
 our prefent purpofe. It is impoffible for the writer of thefe pages to fe- 
 
 K 2 led 
 
 * She would appear to yery great advantage, in fayinj 
 
 I follow him not 
 
 By any token of prefumptlous fuit ; 
 
 Nor would I have him, 'till I do deferre him. p. 34.
 
 ( 68 ) 
 
 le£l the beft fituation, as he has never feen this comedy on the ftage. * 
 He will therefore only mention thofe pages which ftrike him as giving 
 the beft views oi Parolles. They are page 40, 66, 90, 91, 97, 98, 118, 
 119. Page 131 is omitted to be hereftated, as that page will certainly be 
 accompanied with him a^d the Clown. 
 
 Perhaps 
 
 * When this play was revived In 1741, Milward, who afted the King, is faid to have caught a dif- 
 temper which proved fatal to him, by wearing in this part, a too light and airy fuit of clothes, which 
 he put on after his fuppofed recovery. He felt himfelf feized with a fliivering ; and was aflced by 
 one of the players, how he found himfelf ? " How is it poffible, he faid with fome pleafantry, " to 
 be fick, when 1 have fuch a phyfician as Mrs. WofHngton." This elegant and beautiful aftrefs was 
 the HcLn of the play. His diftemper however increafcd, and foon after hurried him to his grave. On 
 its revival in 1757, under the direftion of Mr. Garrick, the part of the Countcfs was given to Mrs. 
 Pritchard, Helen to Mifs Macklin, and ParoUa to Woodward. 
 
 Yet am I thankful. If my heart were great, 
 T'would burft at this. Captain I'll be no more. 
 
 This fcene always afforded much pleafure to the audience. Upon its laft revival, it was at^ed with 
 fuch theatrical ikill as excited general merriment. The unbinding ParoUes, who looked about him 
 with anxious furprize and terror, redoubled the burfls of laughter which echoed round the theatre. 
 
 Davies's Dramatic Miscellanies. 
 
 When this Play ws got up at the Haymarket, in 1785, anew Prologue was written on the occa- 
 fipH by Mr. PiUon— and the fpUpwing are the concluding lines : 
 
 — — — — — a mightier charge we boaft-^ 
 
 'Tis Shakefpeare lleers to night upon our corft ; 
 To cut him down from firfl rate fize we've dar'd 
 Finding fome planks and beams by time impair'd ; 
 The heart of oak of genius is the fame ; 
 You fend the gale that blows him on to fame. 
 One glowing, bold, energic, golden line, 
 Drawn with the fire of Shakefpeare's pen divine, 
 Genius and Tafte can never prize too high, 
 For whilft he lives, thofe twins can never die.
 
 ( h ) 
 
 Perhaps he would appear to as much advantage in the following pages, 
 as any where elfe — namely, at page 40, at the words : — 
 
 it was thii very f-.vord entrench'd it. 
 
 At page 90, at the words — But a drum ! or. 
 
 At page 9 1 , when he fays — I would have that drum — or another, or hlcjacet. 
 
 On xhejlage, it certainly would have a fine effedl (in the moment of 
 Lafeus re-entry) to behold Parolles, as in page 66 ; but this effe6l would 
 be much leffened in a print. And the fame objedlion would be againft 
 introducing hun in page 98, when he is told of feventeen poinards being 
 at his bofom — merely on account of his being blind folded. The drefs 
 and figure of this jackanapes with fcarfs, may be partly gathered from 
 what Lafeu {Tiys of him :— " I did think thee, for two ordinaries, to be a 
 pretty wife fellow ; thou didft make tolerable vent of thy travel ; it 
 might pafs : yet the fcarfs, and the bannerets about thee, did manifoldly 
 diffuade me from believing thee a veffel of two great a burthen-" And 
 yet in page 132, we . are fo interefted in the deje(flion of poor Tom 
 DrufUf 
 
 fMy Lord, I am a man whom fortune 
 hath cruelly fcratch'd : — ) 
 
 and fo ftrucken with the relenting and generous Lafeu (Cox' my pajjtonl 
 give me your hand: — how does your drum?') who is not willing that he 
 Should at laft hefuffered tojiarve: that we can fcarce — and ought not indeed 
 to leave this laft page without reprefenting them. Some may think the de- 
 jedlion oi Parolles will appear equally to advantage in the preceding page, 
 in company with the Clown ; where he may be faying : — Nay, you need not 
 tojlopyour nofe^ Sir, IJpake but by a metaphor — with a look rather turned up, 
 
 and
 
 ( 70 ) 
 
 and by "no means dlre£led to the Clown. * His drefs may be partly ga- 
 thered likewife from the Vignette to Bell's laft edition ; in which print 
 the mulket and drum are charaderiflic ornaments. 
 
 In the print to Hanmer's edition, is introduced Lafew, whofe figure 
 (though poflefling much grace, and worth looking at) is by no means 
 charafteriftic. 
 
 Page 78, 
 
 I CANNOT for"bear recommending another fcene of the Countefs and 
 her beloved -ward. They may be finely drawn in this page, at the 
 words of: 
 
 But I d.0 wifli his name out of my blood, 
 ^nd thou art all my child. 
 
 And fhe may be tenderly grafpiug the hand of, and foothing the dc- 
 jeded and weeping Helen; who may hold the letter in her hand, which 
 ihe has jufl read, f 
 
 * ThaxLafcu is made fo relenting we muft attribute to our author's great Tcnowlcdge of man, and 
 hli large nature as Ben Johnfon exprefles it. He knew that thofe who are molt prone to vehement anger 
 are the fooneft pacified. Hot fpirits make quicker ha(ie to repair the milchiefs of their efcapes from 
 jeafon, than thofe who are more temperate and fedate. 
 
 Davies's Dramatic Miscellanies. 
 
 ■f- Norwithftanding the virulent inveftives which the authorefs of " Shakefpeare illuftrated" has 
 rtirown out againft Hf/ra, (as well as againft Shakefpeare in this play) I believe all readers are intcr- 
 efted ia her charafter— and indeed the Countefs is only attached 10 her, from her being 
 
 a maid too virtuoui 
 
 For the contempt of empire. 
 
 The
 
 ( 
 
 Page 88, 
 
 We fliall now fee the pretty Helen in that drefs, in which fhe has 
 barefoot plodded the cold ground^ in her pilgrimage to St. Jacques — led 
 thither ^^ttr^ love. The old J'Fidow, and her beauteous daughter, will of 
 courie be introduced; to whom ihh holy pilgrim may be addreffing her. 
 invitation : 
 
 Pleafe it this matron, and this gentle maid, 
 
 To eat with us to-night ; the charge and thanking. 
 
 Shall be for me. 
 
 The pilgrim'^s drefs in Gravelot*s print to Theobald's edition, is 
 wanting in that grace which we often meet with in his defign's. % The- 
 
 mo ft. 
 
 The late Thomas Davies fpeaks more candidly of her : 
 
 i///^7i'j love is as hoiieft as her parentage. Ir appears throughout the whole- play, that the paffion 
 of this fweet girl is of the nobleft kind : " Nature, fays Shakefpeare in Hamlet, is fine in love ;" 
 that is, it purifies and refines our paffiorrs. Before marriage Helen diminifhes the blemilhes of Parolics, 
 becaufe he is the conftant companion of Bertram, and after marriage, though flie might rtafonably 
 exclaim againft the feducer of her hufband, with the utmoft delicacy (he reilrains heri'eif from the 
 leall reproach : nay,^ converts a queflion, implying cenfure, to a mark of honour. 
 
 Dram. Miscellanies. 
 
 J It isfcarce pardonable to pafs over the fpirited lines with which the widow's daughter encounters 
 Bertram, in p. 88, without wifhing they may give rife to fome animated (half-length) portraits of 
 them, from the words : 
 
 Mine Hondur*s fuch 3 ring ••■ 
 
 My chaftity's the jewel of our houfe,— •• 
 
 I The
 
 ( 7^ ) 
 
 mofl pleafing ftile of engraving, for this propofed print of Helen, would 
 be that, in which Celia appears : a beautiful coloured print from after 
 KaufFman, and engraved by Bartolozzi. The drefs may be likewife partly 
 gathered from the print oi Helen m Bell's laft edition. And fee a lately 
 publifhed print of a Nun. I do not immediately recolle£t its title ; but 
 I think it is defigned from a poem of Mr. Jerningham's. 
 
 Tail-Piece. 
 
 A MOST interefling portrait o^ Helen, may be taken from p^ge 79, as 
 fondly fupplicating her abfent hufband : — 
 
 Poor lord ! is't I 
 
 That chafe thee from thy country, and expofe 
 
 Thofe tender limbs of thine to the event 
 
 Of the none-fparing war > and is it I 
 
 That drive thee from the fportive court, where thou 
 
 Waft fhot at with fair eyes, to be the mark 
 
 Of fmoky mufkets ? O you leaden meflcngers, 
 
 That ride upon the violent fpeed of fire. 
 
 Fly with falfe aim. 
 
 She may be drawn In half-length, in the ftyle which is recommended 
 for page 88 — and a peiufal of the whole of her tender addrefs ia this 
 
 prefent 
 
 The drefs of Bertram, might be partly talcen from Bell's firft edition ; and partly from a very fpi- 
 rited figure in the print of Tarquin and Lucrece, engr. by Bafan, from after Luc. Jordans ; and the 
 features of Bertram, might poflefs foraewhat more (perhaps) of that keen impatience which is fo 
 finely exprefled in this print. It appears from what the C/oww fays in p. ii8, that Bertram fliould 
 Baveone^ the delicate fine hats^ and moft courteous feathers.
 
 (. 73 ) 
 
 prefeat page 79, will be the beft guide, and the beft incitement to an 
 artift, for producing a fpirited and graceful portrait of this fweet de- 
 jefted girl. * 
 
 * She would appear well in page 14.9 : as {zj\ag-*-Tis lut thcfl;adovj of a wifeyoufee — but it would 
 be impoffible to receive any fatisfadion in introducing Bertram with her ; for the reafons given by 
 Dr. Johufon, v.\ his concluding obfervations on this play. If flie were to appear in this page, (lie 
 might poffefs fomethlng of that foftened melancholy which is feen in the figure of iVIifs Macklin, in 
 Bell's iirft edition — or there might be a group of half-lengths, of the Kiug, Countcfs, and the other 
 charafters, looking afFeftionatc'.y on her. 
 
 The Kirg faimfelf niight be well drawn from page 1 38, as faying ; 
 
 This ring was mine.— » 
 
 Or, as fa} ing ; 
 
 Had you that craft, to reave her 
 
 Of what fliouid i^cad her moft f 
 
 A LIST of fucb Prints as liare been publiflied fr,om this play. Thofel have not feen, are printed 
 la Italics. 
 
 1. Bell's two editions. 
 
 2. Hanmer. 
 5. Theobald. 
 
 4. Rowe. 
 
 5. A cut by Fourdriiiier, in au edition, in 8 vol. Svo. printed for Tonfon, 1735. 
 
 6. Pope. 
 
 7. Lovjndes. 
 
 3. Taylor^
 
 L I3i7/ji f.'.ih io 3iiaJiu(j ]i/io:jfc"i^! Jjiij; bv^JnAii ^.^a^ijiiUOiij n
 
 COMEDY OF ERRORS. 
 
 No author had evi.-r fo copious, fo bold, fo creative an imagination, with fo perfeft a 
 knowledge of the paffions, the humours, and fentiments of mankind. He painted all cha- 
 rafters, from heroes and kings, dov.-n to Inn-keepers and Peafants, with equal truth and 
 with equal force. If human nature w^s quite deftroyed, and no monument left of it, 
 except his works, ether beings might learn what man was, from thofe writings. 
 
 Lord Lyttletox. 
 
 Vignette.
 
 a^o^iia '^o Yaaiiy.o:) 
 
 /
 
 ( 77 ; 
 
 Head-piece,. 
 
 'T^HE admired fpeecH of ylegeon In the firf^ fcene, %vrll furnlfh a very 
 proper Head-piece. It may reprefent the veflel in a tempeftuous 
 lea, at the moment of the obfcured light, conveying to their fearful minds 
 a doubtful warrant of immediate death. The inceffimt weepings of the 
 wife, and the plainings of the pretty babes will be the chief paiiions to 
 attend to, v/ith the interefting fituation of the hufband Aegean. The 
 failors may be efcaping out of the veflel into their boat. The little chil- 
 dren may be difpofed of in afFe£ling attitudes, notvvithftanding they are 
 fo very young. I was going to obferve, that they might have been painted 
 in the entreatin.g fituation of throwing their little arms out to im.plore 
 a paflagein the boat — but I recoUea the poet fays, they mourned for 
 fci/l/ion., ignorant ivh at to fear. 
 
 Scene-Prints. 
 
 There- are feveral fituation^, where Dromio of Ephefus might be 
 drawn to advantage; but I think he will- appear beft in p. 172, at the 
 words : 
 
 0h, — fixpence, that I had o'Wednefday laft, — 
 
 In p. 173. If I flaould pay your Worfliip thofc again.— 
 
 la
 
 ( 78 ) 
 
 In p, 224. Why fir, I gave the money for the rope. 
 
 Or in p. 225. I would 1 were feiifelels, iir, that I might not feci your 
 blows. 
 
 And his brother of Syra<uf-e appears equally to advantage iu p. 184, 
 at the wo ids : 
 
 J m uft get a fconce /or my head . 
 
 Oj in p. 205, where he gives tlie admirable defcriptloii of the kitchen 
 wench. 
 
 It mav be difficult then, to feled the bell: and moH: comic fituation 
 for a whole length figure of one of the Dromios. Were 1 to tix on one, 
 it (liould be at p. 172 — and his look Ihould be lomewhat fimilar to the 
 very droll one of Tom Wefton's, in a fmall print of him in Dr. Lall, 
 in Smith's fet of dramatic chara6lers. 
 
 Bell's firft edition, has a print of Dunflall in Dromio, with the rope, 
 which is certainly a very good situation to draw him in ; but I think his 
 features are not arch enough ; nor is the drefs an luiexceptioiiable one- 
 Was he to be drawn as direftly faying : JFhy fr, I gave the money for the 
 rope, and with that look which Edwin would put on, as correlponding to 
 that faucy impertinent fternefs of voice, with which (in charaders like 
 the prefent) he fo often pleafes — it would (under thefe advantages) be 
 fele£led as fuperior peihaps to any of the other fituations.* 
 
 A painter will prefer fuch of them, as ftrikes him with mofl: humour 
 on the perufal ; and if he ha.s feen fome favourite comedian in this cha- 
 racter, he will acquire new lights. Tarlton, who lived in Shakefpeare's 
 
 days, 
 
 * Those: will comprcheiul my meaning, who have heard Edwin fpeak the fdlo'.ring words to the 
 Uncle, in the Maid of the Oaks — " Why did you noc tell me yovi were a geiitlemai^ r — for I'm lure, 
 I never Ihould have t.ikcu vou for one."
 
 C 79 ) 
 
 days, very probably fhone in this part — for Sir R. Baker tells us — " and 
 to make their comedies complete, Richard Tarlton, for the clown's part, 
 never had his match, nor never will have." Tlie names of Dunftall, 
 Sliuter, Woodward, Wefton, Yates, King, Dodd, Parfons, Quick, 
 and Edwin, immediately flrike one as th« moft proper comedians for the 
 charafi:er of Droinia. From what I have heard of Mr. Yates, perhaps he 
 may have been the foremoft. For the drefs of Shakefpeare's clowns, fee 
 Mr. Tollett's conjecture in p. 434, of vol. 5, by Johnfon and Steeyens. 
 
 This comedy was altered for the ftage by Mr. Hull, in 1779, and ad- 
 ed at Covent Garden ; and it was again revived in T785. I have been 
 told that Mr. Hull's Aegecn was refpeclable and intereding — and that the 
 paliages which procured him a very loud applaufe from an attentive audi- 
 ence, were, his firli: fpeech to the Duke — and : 
 
 periiaps my fon, 
 
 Thou lliam'li to acknowledge me in miferv. 
 
 Page 1 8 7. 
 
 The perfon next prefented will be Adr'tana. Throughout every feene 
 Ihe is plcafnig and interefting; and fhe appears in a light fo amiable in 
 page 179, and page 1B7 — that it will not be eafv to determine which to 
 tix on. But as this laft page will give an opportunity of reprefenting 
 Anlipholh of Syracuje (her feeming unkind mate) in the fame plate, 
 I would propofe drawing them at half-length, in the fame ftyle of co- 
 loured etching as the ivoman begging water ^ in the ad vol. of tlie collec- 
 tion of drawings by Rogers. 
 
 She
 
 ( 8o ) 
 
 She may be faying (with that forrowing look of kind embracement fo 
 becoming her charader)* 
 
 Ah, do not tear away thyfeJf from me ; 
 
 Per know, my love, as cal'y may'ft thou fall 
 
 A drop of water in the breaking gulph, 
 
 And take uiimingled thence that drop again. 
 
 Without addition, or diminifliing. 
 
 As take from me thyfclf, and not me too. 
 
 or, fhe maybe fpea'king the lines which immediately follow the above, 
 -with the alluring foftnefs of her modeft looks, fomewhat heightened 
 with that firm confcioufnefs of virtuous dignity, with which that true 
 and ardent admirer of our poet, Mrs, Yates, lo nobly graces her Shakef- 
 peare's page. — 
 
 How dearly would it touch thee to the quick, 
 Should'ft thou but hear, I were licentious? 
 And that this body, confecrate to thee, 
 By ruffian lull fliould be contaminate ? 
 Wouldft thou not fpit at me, and fpurn at me. 
 And hurl the name of hufband in my face. 
 And tear the ftain'd fkin off my harlot-brow, 
 And from my falfe hand cut the wedding-ring. 
 And break it with a deep-divorcing vow ? 
 
 "It might add to the effed of this fcene were fhe to clafp him by the 
 hand, in the above expoflulation. Her attitude would gain a firm 
 
 and 
 
 * .idtiana does not feein one of thole who are only taught " to irurder a tune on the harpficord, 
 or guittar, to dance a. cotillion, and to chatter a little barbarous French — NordoMihon'sJines apply 
 to her : 
 
 completed to the talle 
 
 Of luftful appetite, to fing, to dance, 
 
 To drefs, to troule the tongue, and roll the eye.
 
 ( 8i ) 
 
 and graceful dignity by it. Ant'ipholh wxa^ of courfe look Jlrange and 
 frown. * A beautiful drefs for Adr'iana may be partly taken from Bell's 
 laft edition of this play, where her figure would pleafe more, were it lels 
 ^fteded. 
 
 Page 243* 
 
 For this page may be drawn a portrait of the old father Aegeofi, in the 
 ftyle of Mortimer's heads from Shakefpeare; and as he is now going 
 to execution — to the melancholy vale — it may not be improper to have his 
 hands bound. Theperufal of an airedlirig fpeech, will be the beft guide 
 to the painter. 
 
 Or, inftead of this fingle portrait, there might be drawn the affect- 
 ing interview between Aegean and his fon. — 
 
 Mgeon. Not know my voice ! Oh, time's extremity ! 
 
 Haft thou fo crack'd and fplitted my poor tongue, 
 In feven Ihort years, that here my only fon 
 Knows not my feeble key of untun'd cares ? 
 
 M Though 
 
 ^ I CANNOT omit obfervhig, how fweet a portrait might be taken from her faying, in page 179, 
 
 :■■■ ■;! 
 
 Hath homely age the alluring beauty took 
 From my poor cheek r then, he hath walled it. 
 
 Or, from the following lines in the fame fpeech 
 
 my decayed fairne(s 
 
 A funny look of his would foon repair. 
 
 Her whole fpeech muft be read. Her portrait fliould be marked with that melancholy forrow fo ten- 
 derly interefting.
 
 ( 82 ) 
 
 Though now this grained face of mine be hid 
 In fap-confuming winter's drizzled fnow, 
 And all the conduits of my blood froze up; 
 "Vet hath my night of life fome memory, 
 My wafting lamps fome fading glimmer left. 
 My dull deaf ears a little ufe to hear : 
 All thefe old witnefles (I cannot err) 
 Tell me thou art my fon Antipholis. 
 
 E. Ant. I never faw my father in my life. 
 
 jEgeon. But feven years fince, in Syracufa, boy, 
 
 Thou knoweft, we parted : but perhaps, my fon. 
 Thou lliam'ft to acknowledge me in luifery. * 
 
 What high pleafure (hould we receive la feeing this page ornamented by 
 that artift vvliofe genius fo highly compHmented the late Dr. Goldfmith in 
 producing Rejigtwtion — from which is taken a print, of fcarcity, and of 
 •uncommon merit. 
 
 Tail-Piece 
 
 Wfi have now the choice of two fubjecls for the conclufion of this 
 play. Either a half-length figure of t\\t faffron-fac^ d pinch — or,, a view 
 of the dankijli vault, in which Ani'ipholh and Dromio are confined. 
 
 If we are to have the figure of Pinch, it will be no intrufion on the 
 rights of Romeo's Apothecary — for though their figures may be fome- 
 
 what 
 
 * Was it not for introducing this fame Antipholis, fo vciy foon again, we might draw him to great 
 advantage in page 203, when he fays : 
 
 Oh, train mc not, fweet mermaid, with thy note.
 
 V 83 ) 
 
 what fimilar (fliarp mifery having worn them both to the bone) — yet, 
 we fliall find ourfelves more interefled with the poor Apothecary, and fhall 
 therefore wifh his figure may not be omitted in Meffrs. Boydells edition. 
 It is not probable that any edition upon fo grand a fcale, and fimilar to 
 Meffrs. Boydells, will ever again make its appearance. If" this edition 
 is to have one error then, it fliould be that of having too manv engra- 
 vings, rather than too few. It was the extreme poverty, and nut the 
 will of the Apothecary^ that confented to mix the potent poilon — aiul 
 though the circumftances of Mr. Pinch may not be in a very affluent 
 and flourifliing flate — yet we view him with eyes very different from the 
 forlorn Apothecary. The latter we (hould have given a dinner to — (to 
 have gotten him intoflefh) — but I am afraid Finch mufl have paid for his 
 dinner at fbme alehoufe in Ephefus. A look of c/cjeffeii poverty mufl be 
 given to the Apothecary — but to the other, T^parp- looking one of villainy. 
 The delcription of him in p. 240 will caufe his appearance to be that, of 
 a thing dead man; and if the engraving is a coloured one, it might add an 
 eftccl to his drefs. 
 
 If the above (hould be rejected (for I do not think it a very great ac- 
 quifition), we may then (unlefs the defigns offered in p. 179, and p. 203 
 are preferred) fix on the appearance which AntiphoUs and Dromio exhibit in 
 the vault. They are bound it feems together ; and the mafler may be 
 very bufily gnawing with his teeth — whilfl his man, whofe humour ne- 
 ver forfakes him, (as we may fee in p. 229) may exhibit fome droll cha- 
 ra6lerifiic look — and Pinch may be feen peeping through an iron grate to 
 view his patients. There is a figureof P/«C/6 in Hanmer's edition, but 
 it is not worth while to refer to it.* 
 
 A LIST of fuch Prints taken from this play, as I have feen. Thofe I have not feen, are printed 
 ,5n Italics. 
 
 1. Bell's two editions. 
 
 2. Hanmer, 
 
 3. Theobald. 
 
 4. Rowe. 
 
 5. A cut in an edit, in 8 vol. 8vo, printed for Tonfon, in 1735. 
 
 6. Pope. 
 
 7. Lo-,x;ndes, 
 %. Taylor. 
 
 M 2
 
 TROILUS AND CRESSIDA, 
 
 Or felt great Shakefpeare's pow'rs controul 
 Each various movement of the foul. 
 From pity's fource compel the tear, 
 Or chill my throbbing breaft with fear, 
 Tranfport me through the yielding air. 
 And place me how he would, and where. 
 
 Keate 
 
 Vignette. 
 
 For this department might be engraved afac-fmiile of the entire Vignette title page, pre- 
 fixed to the tenth volume of Lowndes's Englilh Theatre. This print contains the figure 
 of the tragic mufe, attended by the child of anguilh, and the child of grief i and underneath 
 is pictured the burning of Troy.
 
 ( 87 ) 
 
 Head-piece to the Prologue. 
 
 Now expeftati'on, tickling fkittifh fpirits. 
 On one and other iide, Trojan and Greek f. 
 Sets all on hazard : — 
 
 The above lines ought not to be paffed over, without affixing an en- 
 graving correfpondent to them. The un-affuming lines immediately fol- 
 lowing them, will be an inducement to an artiftto accompany the above, 
 with every mark of grateful efteem. 
 
 The moft proper defign then might be — a half-length portrait of a gal- 
 lant youth — one, whofe fpirit lifts him from the earth. He may be drawn 
 as at the moment of his youthful breaft, catching the flame of glorious 
 war, and wifhing to plunge into the approaching battle. He fhould 
 have fomething of the wild young Ha?'rji Piercy in him — and that foftened 
 glow of the lumen purpiireum juventa-, which we fee in the late Mr. 
 Hone's Spartan Boy, fhould be animated v/ith the quick and proud fire of 
 ardent youth. His drefs may be either 'T'rojan or Grecian — or perhaps 
 a fancy drefs, well chofen, with a waving feather in his cap, may be 
 more pleafing. His young hand may be grafping afword. 
 
 Head-piece. 
 
 TviOVKis Helen is a charadler immortalized by Homer:* the charm of 
 whofe poefy intercedes fo much in her behalf, as to make us forget even 
 
 her 
 
 • The phihfophy of portrait painting, could fcarM produce a more divine portrait, than what the 
 lines in which Homer s Helen joins the lamentation over HeiSor, raig^ht give rife to, in the breaft of that 
 
 Engiiili
 
 . ( ^^ ) 
 
 her frailties and vices ; yet flie appears only in one fcene of this play, and 
 that fcene is notfufficiently interefting to be the fubjed of an engraving. 
 Her name however caufing a very, interefting fcene in the fecond adl ; and 
 her ^f<?«^K fuff^niigJitt^e ^'"^^i""tion from the p.en of Shakefpeare (parti- 
 cularly at p. ^S and 58) it would beunjuftnot to adorn one of his pa- 
 o-es with the portrait of this frail fair. It may ferve as the Head piece ; 
 and thefc lines may be engraved under it : 
 
 She is a pearl, 
 
 Wliofe pi ice hatli launched aliove a tboufand fhips, 
 And turu'd crown'd kings to merchants. 
 
 A necefl'ary queftion then now arifes — how are we to obtain an original 
 piclureof, or a real view of Hckns features ? The Grecian artifts drew 
 her, and particularly Zeuxis* — tho' from his placing before him no lefs 
 than five of the mofl: beautiful naked girls in Greece, in order to compofe 
 his figure from a feledtion of fuch parts from each of them as approached 
 neareftto perfedion, we find his Helen (though of perfed beauty) was 
 but an imaginary one.-f As an original picture ofthis daughter of L^i/^, will 
 certainly never be landed at the cuftom-houfe — (nor undergo the fate 
 which even Rafaelle and Guido are not exempt from — that of being mea- 
 fured Uke tanner's hides, and paying fo much per yard for being permit- 
 ted to land in this country) wemtift therefore refort to thofe imaginary 
 ones, which the ingenuity of fucceeding artifts (ancient or modern) has 
 given us. As I have not feen many paintings or prints of Helen, I will 
 
 not 
 
 Engli(h artlft, ivhofe tajie (we are told) and imagination an incxhaujiilh. The/oitl alone (fays Whj- 
 kelman) can imprint upon the body, the charafter and expreffion of truth. 
 
 * With Zeuxls' Helen, thy Bridgewater vie. 
 And thefc be fung, till Granville's Myra die. 
 
 Pope. 
 
 •f NicoMACHUs paffed an hour or two every day with the Helen of Zeuxis, and on hearing a 
 perfon find fault with the compofition of that famous picture, " Take my eyes," faid he, " and you 
 will think her a goddefs."
 
 mot •prerame'to feleffc'Oiie ; 'but muft refer it to thofe :more tGonveiTant m 
 the books of antiquity, and who have feen a greater variety.* In a let- 
 ter of Rafaelle, to his friend CaftigHone, concerning a Galatea he had 
 painted for him, he fays — " to paint a beauty, 1 ought to fee many beau- 
 ties, oncondition you were with me to choofe tlie beft ; but there being 
 at this time afcarcity both of good judges and fine women, I make ufe 
 •of a certain divine form or idea which prefents itfelf to my imagination." 
 One part of this letter, (reprefenting the fcarcity) will not hold good 
 when applied to England — rand unlefs the Englifh artift wlfhes to follow 
 the example d Zeuxis: he muft (if he wiilies to form a portrait af 
 HeleTi)^ make ufe af a certain divine form or idea, which may prefent it- 
 felf to his imagination. We have aflurance however of one part of He- 
 lens beauty — for Mr. Felibien fays : *' outre que la blancheur et la deli- 
 ;catefle du cou leur eft tres reeommendable, it leur fied bien quand il eft 
 un peu long. Helene I'avoit de la forte ; et c'eft pourquoi on a dit aflez 
 plaifamment, que I'oa voyoit bien qu'elle etoit fille d'un Cigne." 
 
 Scene 
 
 "* P<z/«;»^j.— L'Enlevement d' Heie^ par Paris ; par G. Hoet ; being No, So, in the catalogue of 
 the grand fale of Le Comte d'Elz's piftures, at Mayence, in the fummer of 1785. The departure of 
 Helen with Paris, by Guldo, at Stourhead. Paris and HeleK, by L'Araife, in the colleftion of the late 
 Sir G. Page. The celebrated rape of Helen, by Guide, is one of the fine piftures In the magnificent 
 gallery of 1' hotel de Touloufe, at Paris. The rape oi Helen, by V. de Caftro ; being No. 80, in the 
 catalogue of Mr. Timmernan's pidu res, fold by Greenwood, in 1785. The interview of Helen and 
 Paris, after his combat with Menelaus, by Dance; exhibited at Somerfet-houfe in 1770. Zeuxis 
 painting a pifture for the Agrigentines, of a naked Helen, by Solemene ; in the colieiTtion of the Duke 
 • of Devonfliire. From this piflure Mr. Boydell publifhed a print. 
 
 Pr/«/i.— The flight of Paris and Helen, by Kaufman, The carrying off /ff/r«, h. fli. by Marc 
 Antonio, from after Raphael. The Rape of Helen, a fmall plate, copied from this laft print by Jac. 
 •Grandhomme, The carrying off Helen, a. fli. etching by A. Schiavone, from after bis own defign. 
 
 Statues, Gems, fe'r. — In the 33d. chap. ofPaufanias, mention is made of a figure of Helen, by Phidias, 
 Among Taffie's Gems, are three of Paris and Helen. In the catalogue of Mr. Wedgwood's manufac- 
 tory, is a head of Helefi*
 
 C 9^ ) 
 
 Scene-Prints. 
 
 There is nofcene in this play where we can well reprefent Troi/us and 
 CreJJida too"ether. For though he interefts us in almoft every fcene — yet 
 the jilt CreJJida does not appear to equal advantage.* The fcenes where 
 we Ihould have mofl wilhed to fee them painted together, would have 
 been at p. 103 — p. 109 — p. no — where he fpeaks thefe two lines : 
 
 We two that with fo may thoufand figbs 
 Did buy each other 
 
 Or at page 113, when he fays : 
 
 Entreat her fair : and, by my foul, fair Greek, 
 If e'er thou ftand at mercy of my fword, 
 Name Crcffid, and thy life fliall be as fafc 
 As Priam is at Ilion. 
 
 But unfortunately in each of thefe fcenes, fhe Is too unlnterefting to 
 appear with 'Troilus. As we are deprived then of feeing them together; 
 we cannot do juftice to 'troilus without giving two portraits (at the leaflj 
 of him, under the different pafTions in which he appears in the courfe of 
 this play. 
 
 The 76th page then, will furnifh us with the firfl portrait of Troj/us : 
 as the lines he there fpeaks are very beautiful. It may be a rich raetzo- 
 
 tinto. 
 
 • Sbi fpeaks a few good lines at page 84— but thsy could cot well be drawn here together, is the 
 Hou which Trtilui fpeaks immediately preceding themj are aot wonh aa eDgraviog.
 
 ( 91 ) 
 
 tlnto. The drefs of this prince In Gravelot's print to Theobald, Is much 
 fuperlor to the cumberfome trappings in Bell's firfl: edition — and though 
 the bare arms In the former print, might not be pleafing in a portrait — 
 yet, the melancholy luftre which fuch a comparlfon as ajlrangefoul upon 
 the Stygian banksjiaying for waftage mufl: throw o'er his countenance, will 
 fuffer the eye to dwell on no other part. Page 103, would have offered 
 a pleafing portrait of him, had the lines above referred to, been lefs beau- 
 tiful* 
 
 Page 1 25. 
 
 There Is fomething fo pleafing In the embracement of thefe noble 
 chiefs, that we may ornament this page, with the half-length figures of 
 the old Nejlor, HeSlor, and Aeneas. This lafl perfonage Is by no means 
 interefting in this playf — unlefs Indeed In this prefent page, where the 
 
 N 2 words 
 
 « 
 
 It may be much better to give no reprefentatlon of CrcJJida at all. For though flie might have 
 been drawn tolerably well from pnge 8r, page 84, or page 107 — yet, as wc, on viewing her portrait, 
 muft well know, that.all the generous fentiments flie there breathes, quickly vanijhed into air : we can- 
 not be much interefled in her appearance. The bcft that can be faid of her, is, that 
 
 her wanton fpirits look out 
 
 At every joint and motive of her body. 
 
 f Shakespeare's favourite charaifler is certainly Ulj/Jfes. The lines he fpeaks at page 92, are to* 
 true — but (as AkenJide fays :) 
 
 He walk'd in every path of human life. 
 Felt every paffion. 
 
 There is fine fancy in the fpeech of Nefior, at page 28— it is indeed worthy of the poet.
 
 ( r- ) 
 
 words he there fpeaks, though few, are beautiful— and we may therefore 
 reprefent hlui, as mildly fmiiing at the generous warriors. They may 
 be drawn as at the moment of Nejlors faying : Let an old man embrace 
 thee. The drefs of Nejlor may be partly gathered from paflages in the 
 Iliad. The leopards /potted hide^ might have a good effedl if gracefully 
 thrown over his Ihoulder ; and the lines I have fubjoined in the note, 
 will give an artift a pleafing idea of the man.* The drefs of HeSior and 
 of Aeneas^ may be chofen from the remains of antiquity ; t and the lines 
 of Shakefpeare in this page, will be the beft guide to the artifl's pencil. 
 
 Page 150, 
 
 * To calm their paffion with the words of age, 
 Slow from his feut arofe the Pylian fage, 
 Esperienc'd Xeftor, in perfuafion ikill'd, 
 > Words fweet as Honey from his lips diitill'd ; 
 
 Two generations now had pafs'd away, 
 Wife by his rules, and happy by his fway ; 
 Two ages o'er his native realm he reign'd. 
 And now th' example of the third remain'd. 
 All view'd with awe the venerable man : 
 Who thus with mild benevolence began.—* 
 
 Iliad. Book i* 
 
 ■f Potter's Grecian Antiquities may be confulted. See the graceful figure of PanJarus, In Grave- 
 lot's print to Theobald. For the error of HeHor's face hnnghck'J injleel, fee the note of Mr, 
 Stevens, in page 38. The drefs in Cyprlani's fine print of the departure of ifyj!?tfr, will prevent mc 
 referring to more prints ; or to the catalogue of Taffie's Gems, or Mr. Wedgwood's manufadory. 
 
 I riN-D in the Iliad, fome few lines fo applicable to our prefent purpofe, that I cannot forbear estra(5l« 
 ing them. The^chiefly refpc(5l the drefs of Hc^er— 
 
 Now rufliing in, the furious chief appears, 
 ; Gloomy as night ! and fliakes two fhining fpears. 
 
 E. 12. 
 
 •Beneath his gloomy broWj 
 
 Like fiery meteors his red-eye balls glow ; 
 
 The
 
 ( n ) 
 
 Page 150. 
 
 Mr. Mortimer has given us a portrait of Cajfandra, of much merit. 
 ■He has drawn her, as exclaiming thefe lines from p. 56 : — 
 
 Cry, Trojans cry ! praftife your eyes with tears ! 
 Troy muft not be, nor goodly Ilion ftand. 
 
 But as this prophetefs in a fubfequent fcene (in p. 150), utters ftrains 
 of higher divination, and poffefles a more frenzied and prophetle enthu- 
 fiafm ; and as this very print of iVIr. Mortimer's will be equally expreffive 
 for this laft page : (the uplifted finger and the wild frenzy of the eye 
 being perfeftly fulted to the fcene alluded to) — I cannot but take the li- 
 berty (with deference to Mortimer's memory) of fubflltuting in the 
 
 flead 
 
 The radiant helmet on his temples burns, 
 Waves when he nods, and lightens as he turns. 
 
 B, 15. 
 
 ■' — . The filence HeUor broke ; 
 
 His dreadful plumage nodded as he fpoke. 
 
 How loft is all that formidable air ; 
 
 The face divine, and long defcending hair 
 
 Purple the ground.— 
 
 B. 22. 
 
 B. 22. 
 
 It is cruel to mangle Homer thus : but no artift will ever think of drawing HtHor, without peruf- 
 ing his whole hiftory throughout the whole Iliad,
 
 ( 94 ) 
 
 {lead of the above lines, that which follows — it is taken from p. 1 50 — and 
 this print of Cajandra will then beautifully ornament this propofed page :— • 
 
 Hark, how Troy roars ! — * 
 
 Tail-piece. 
 
 There are three paffages in the remaining part of this play, that 
 would each of them furnifh a good portrait of the bold, but defperate 
 Iroilus — either at p. 145 — at p. 158: 
 
 I reck not, though I end my life to day— 
 Or, at p. 164, at the words : _ ■ jf 
 
 Strike a free march to Troy ! — with comfort go, 
 Hope of revenge fliall hide our inward woe. 
 
 But on confidering each paflage — this animated character may perhaps 
 be drawn to equal advantage in page 145. The point I could wifli him 
 drawn from, would be at the moment of thefe fpirited lines : 
 
 Diomed, 
 
 Stand faft, and wear a caftle on thy head ! 
 
 He 
 
 * At Wilton houfe, is a buffo of CafanJra, in white marble. In the above print, fliould not part 
 of the upper row of teeth have been vifible, and the under row concealed ? — 
 
 I HAVE feen a picture by Mr. Mortimer (hung up in his parlour) which may be termed an offering 
 to Shakefpeare. If my memory does not fail me, it reprefented himfelf and a young family in a garden 
 or grove, viewing or ornamenting with flowers, the poet's buft. a
 
 ( 95 ) 
 
 He Is in this fcene, diftrafted with various paffions — with the defpe- 
 rate frenzy of an agitated mind — with grief, at the perfidy of his mif- 
 trefs (for never did young man fancy with fo eternal and Jo fix" d a foul)— -zw^ 
 with rage and honourable revenge on the detefted D'lomed — whom he is 
 foon to view in the field, tauntingly bearing on his helm that fleeve which 
 is to grieve his fpirit. Rage and defpair rekindle now his injured fpirit, 
 and with his fword brandifhed in the air (and all the courage of the 
 crook-back'd Richard) he is rufhing to the field.* 
 
 Should the line of: — were it a cafque compofed by Vulcari s Jhill, be pre- 
 ferred to thofe I have quoted ; it would then be proper to give him lefs 
 rage and wild revenge in his countenance — and to introduce partly in their 
 flead, more of a determined and folemn refolution. 
 
 This refolution of Troilus is fomewhat fimilar to that of Macduff whtn 
 (after the murder of his wife and all his pretty ones) he wifhes to meet the 
 fiend of Scotland front to front.f 
 
 * JoNSON tranflated the antients, Shakefpeare transfufed their very feul into his writings. 
 
 Walpole's Anecdotes v. 3. p. 271, 8vo. edit. 
 
 ■j- A LIST of fuch Prints as have been publiflitd dire£ily from this play of Shakefpeare's. Thofe I 
 have not feen, are printed in Italics. 
 
 1. Bell's two editions. 
 
 2. Hanmer. 
 
 3. Theobald. 
 
 4. Rowe. 
 
 5. A cut by Fouidrinier, to an edition, in 8 vol. 8vo. printed for Tonfon, 1735. 
 
 6. Mortimer's CalTandrai 
 
 7. Pope, 
 
 8. Loviindes, 
 
 9. Taylor,
 
 MIDSUMMER NIGHT's DREAM. 
 
 The poet's eye, In a fine frenzy rolling. 
 
 Doth glance from heaven to earth, from earth to heaven ; 
 
 And, as imagination bodies forth 
 
 The forms of things unknown, the poet's pen 
 
 Turns them to Ihapes, and gives to airy nothing 
 
 A local habitation, and a name. 
 
 Vignette. 
 
 In page 78, 1 have taken the liberty of hinting at one artift designing the portraits of 
 Helena and Hermia. And there could not be a more pleafing Vignette (nor a more fweet 
 portrait of infantine fondnefs) than vrhat the fame artift would form of the fame perfons, 
 at a different age from what they will appear at, in page 78, viz. at their age of chi/Mood-i>f 
 nocence, or at that early period, when with their needles they created both one flower, both 
 on one fampler, 
 
 - ■ fitting on one cnjhion \ 
 
 Both warbling of one fong, botli in one key.— 
 
 The fame artift is as capable of painting the tender lovelinefs of innocence, as of producing 
 afublimeand moft expreffivc portrait from the lines of; The poet' t eye,-^
 
 ( 99 ) 
 
 Head- 
 
 piece, 
 
 A Fac-fimile of M. de Loutherbourg's Vignette print to Bell's Lift 
 edition, might be given for this department. Should not the mry fpi~ 
 W/i however, have had lefs of mortal gi-offrufs about them? — P«f/& is ra- 
 ther too fat to gofivifter than the 'wind. 
 
 Scene-Prints. 
 
 True love was never better painted than by Shakefpeare. What has 
 been applied to Euripedes, may well apply to our poet: 
 
 He fteep'd in tears the piteous lines he wrote, 
 The tendereft bard that e'er impaffion'd fong. 
 
 Some of the interviews of HennJa and Lyfander are tenderly intereft- 
 ing. And it requires an artift of the feeling foul of Cypriani to exprefs 
 the tender defigns which Shakefpeare has left vis.* 
 
 I will firft mention the feveral pages from which (\n my opinion) Het' 
 mia might be drawn to mofl advantage, and I will then recommend fuch 
 
 O 7, few 
 
 * Dr. Armstrong tells us, that Tome French Abhe has fomewherc aflerted, that Shakefpeare uV 
 derftood every paffion but love.
 
 ( 100 ) 
 
 few of them, as ftrike me, as being moll proper to be {elected from the 
 reft, for the purpofe of ornamenting fome of the pages with her por- 
 trait. 
 
 p. 7. So will I grow, fo live, fo die, my lord— 
 Ere I v/ill yield my virgin patent up 
 Unto his lordfhip, to wrhofe unwifh'd yoke | 
 
 My foul confents not to give fovereignty. 
 
 p. 9. Lyf. How nowr my love ? Why is your cheek fo pale ? 
 How chance the rofcs there do fade fo faft ? 
 
 p. Her. My good Lyfander f 
 
 I fwear to thee by Cupid's ftrongeft bow, * 
 
 p. 15. Andin the woed, where often you and I 
 
 Upon faint primrofe beds were wont to lie, 
 Emptying our bofoms of their counfels fweet.— 
 
 Or, at the fubfequent line of: 
 
 Farewell fweet play-fellow. 
 
 p. 52. Lyf, One turf fhallferve as pillow for us both. 
 
 One heart, one bed, two bofoms, and one troth. 
 
 Or, at the lines almoft immediately following of: 
 
 Lyf. O, take the fenfe, fweet of my innocence ; 
 
 Love takes the meaning, in love's conference. 
 J mean that my heart unto yours is knit ; 
 So that but one heart can you make of it : 
 Two bofoms interchaLniCd with an oath. — 
 
 * The reader will be much pleafed by looking at page 42* of Heath's Revifal j at well as at page 
 ;te7i vol. I, of the laA edition of Dod's Beauties.
 
 i lOI ) 
 
 p. 78. Is all the counfel that we two hare fhar'd, 
 
 The lifter's vows , &c. 
 
 Those pathetic touches of nature which are given in all the above fcenes 
 with Hermia, render it impoflible to determine, which of them would 
 furnifli to an artift the beft defigns. Were I to fele£l, I would give the 
 folk)v/ing portraits of her : 
 
 p. 7. So will I grow— 
 
 A portrait from thefe lines, with fomewhat of the fame kind of fweet 
 expreffion which is in the print of Mrs. Barry in Conjlance, in Bell's firft 
 edition of King John. The arms and the attitude will be of courfe fome- 
 what altered : expreflive of her addreffing herfelf to heaven, as well as 
 to the Duke ; and there fliould be imprinted in her face, the marks of 
 that generous love, that prompted her to rilk all for Lyfander — and of that 
 firm attachment to him, who had bewitched her bofom, and who had 
 JloPn the imprejjion of her fantafy with bracelets of his hair, and other mef- 
 fengers of ftrong prevailment in unharden d youth. Somewhat of the fame 
 attitude might be given that we fee in No. 108, and No. 201, of the 
 Eftampes de Dufl'eldorf. 
 
 p. 9. How now my love ? Why is your cheek fo pale ? 
 How chance the rofes there do fadefo faft. 
 
 The above lines will give an opportunity of introducing 'Lyfander with 
 Hermia. They may be drawn at half-length — or their portraits only 
 may be taken. And this page will exhibit Hermia in a very different light 
 from what fhe appears in, in the lafl page ; and fomewhat different from 
 what fhe will appear in, at p. 52. Her appearance may be fomewhat 
 iimilar to that of Helena, as defcribed in A. 3, Sc. 6 —
 
 r, loa ) 
 
 And Helena of Athens fee tliou find. 
 
 All f';incy fick Hie is, and pale of cheer, 
 
 With fighs of love that coft the frefh blood dear. 
 
 p. 52. Lj/f. One turf Hiall ferve, &:c.— Or, at that tender line of: 
 
 I mean that my heart unto yours is kiut. 
 
 If fomewhat of the fame neat wildiiefs of romantic fcenery, and the fame 
 khidof engraving were hitroduced, as appears hi the beautiful prints of 
 CeliiJ, by Kauffman, and oi Marcella by Shelley: the above page might 
 be pleafingly ornamented with half-lengths of Lyfander and Hennia as 
 met in the wood, a league without the town, where he met her once with 
 Helena to do obfervance to the morn of May ; and the time they meet (a mld- 
 fummer's night) is at that time, 
 
 when Pha-he doth behold 
 
 Her filver vifagc in the vvatry glafs, 
 ]3ecking with liquid pearl the bladed grafs. 
 
 The drefs of H^rw/^ in Bell's laft edition, may be looked at ; and the 
 landfcape in this print is far from unpleafuig. 
 
 Pa 
 
 ge 50- 
 
 and fome keep back 
 
 The clamourous owl, that nightly hoots, and wonders 
 At our quaint fpirits. 
 
 This play is only the dream of a fummer's night — but it is a dream in 
 which Shakefpeare has mofi: pleafingly indulged his vifionary fancy and 
 wild imagination. It was no doubt the produftion of thofe years " in 
 which imagination is on the wing," and it ib indeed the fi.ne enthufiafm of 
 
 age-
 
 ( I03 ) 
 
 a genuine chfld of fancy and of genius. The magic of his mufe has bo- 
 died forth things unknown, and he has trans fufed a portion of that divine 
 fpirit which nature gave him, to airy nothings — to whom he has given a 
 charm that will never fade. The fairies have been very properly termed 
 thefa'Oourite children of his romantic fancy — many of his defcriptions of them 
 are wonderfully fanciful ; and their pleafing fportfulnefs and mirthful de- 
 lufoHs, were never recorded by a pen like Shakefpeare's. He was (to 
 life Mr. Garrick's words) the monarch of the enchanted land: and 
 
 What mortal, fprite, or fairy can deny 
 To fing their mailer's immortality. 
 
 G. S. Carey. 
 
 The genius of Collins aflembled them round the tomb of h'lr Fidele — 
 and they may well afiemble to do homage round that of their fo potent 
 mafler : — 
 
 No wither'd witch fhall there be feen. 
 No goblin lead their nightly crew ; 
 But female fays fliall haunt the green 
 And drefs thy grave with pearly dew.* 
 
 Mr. 
 
 * The fairies by moon-ligbf, dance round his green bed, 
 Por hallow'd the turf is, that covers his head. 
 
 Garrick's Ode, 
 
 yhett Is a pleafing thought in the following lines of Mr. Holcroft.— 
 
 Clad in the wealthy robes his genius wrought 
 
 In happy dreams was gentle Shakefpeare laid ; 
 His picas'd foul wandering through the realms of thought. 
 
 While all his elves and fairies round him play'd : 
 
 Voltaire approach'd; ftraight fled the frolic band, 
 (For envy's breath fuch fprights may not endure) 
 
 He pilfer'd many a gem, with trembling hand, 
 Then IlabbM the bard to make the theft fecure ! 
 
 Uno-rateful
 
 ( 104 ) 
 
 Mrs. Montagu, in her chapter on the preternatural Beings of Shakef- 
 
 peare, has honourably dlftinguifhed and defended the fupremc power 
 
 which he pofleffed over the fairy land ; and the prefent Bifhop of Wor- 
 
 cefler, in his letters on chivalry and romance, has not been lefs anxious 
 
 in adorning the poet's memory, by treating in a very delightful manner 
 
 on the cajl of Shake/pear e^s magic — or on his prediledlion for the popular 
 
 tales of elves and fairies and other enchantments of the gothic kind (in 
 
 preference to pagan divinities) : the allujion of which is fo grateful to the 
 
 charmed fpirit,* 
 
 If 
 
 Ungrateful man ! though vain thy black defign, 
 The attempt, and not the deed, thy hand defil'd ; 
 
 Preferv'd by his own charms, aud fpells divine. 
 Safely the gentle Shakefpeare flept, and linil'd I 
 
 * An anonymous female writer, has very pleaCngly thanked Mrs. Montague for being the advo» 
 eate of Shakefpeare. I will extradl part of the lines : 
 
 Fair blooms the wreath thy generous hand has wove. 
 With laurels green thou deck'll thy Shakefpeare's head. 
 
 Immortal genius doth the tafk approve. 
 
 And bids his poet's glories round thee fpread. 
 
 O ! could his fliade, where peace, where wifdom reigns, 
 
 Thy nervous page behold, with wond^^r fraught, 
 E'en there the bard would blefs thy friendly drains, 
 
 And own his magic felt, his genius caught. 
 
 There would he wifii, (if there a wifhcan be) 
 
 Whene'er his Montagu from earth retires. 
 Her form on thofe feraphic realms to fee. 
 
 And tell the gratitude his bofom fires. 
 
 lit, Sheridan has Hkewife paid her the following compliment : 
 
 Our hearts are pledg'd to Montagu's applaufe, 
 While Shakefpeare's fpirit feems to aid her caufe- 
 
 Well
 
 ( '^5 ) 
 
 If I am to propofe a reprefentatlon or drawing of thefe ideal beings, 
 -I am afraid no pencil will ever equal the paintings that Shakefpeare has 
 given of them — and with refpect to their perfons I muft confefs myfelf 
 
 rather 
 
 Well pleas'd to aid : fince o'er his facred bier 
 
 This female hand did ample trophies rear, 
 
 And gave the greeneft laurel that is worfliip'd there. 
 
 '.I will extrafl a few pafTages from Mrs. Montagu's Eflay ; as well as from fome other writers, who 
 .Tiave teftified the excellence of our poet on the fubject of preternatural beings.— 
 
 The poet, who can give to fplertdid inventions, and to fictions new and bold, the^ir and authority 
 X)f reality and truth, is mafter of the genuine fources of the Caftalian fpring, and may juiily be faid to 
 draw his infpiration from the ivcll-fjeaJ of pure poe/~y. Page 135. 
 
 When the Pagan temples ceafed to be revered, and the Parnajp.an mount exifted no longer, it would 
 have been difficult for the poet of later times to have prefervcd the divinity of his mufe inviolate, if the 
 wefiern world too had not had its facred fables. While there is any national fuperftition which credu- 
 lity has confccrated, any hallowed tradition long revered by vulgar faith ; to that fan(ftuary, that 
 afylum, may the poet refort. — Let him tread the holy ground with reverence ; refpeft the ellabliflied 
 do<5lrine ; exactly cbferve the accuftomed rites, and the attributes of the obje(5l of veneration ; then fliall 
 he not vainly invoke an inexorable or abfent deit)-. Ghofls, fairies, goblins, elves, -were as propitious, 
 were as afliftant, to Shakefpeare, and gave as much of the fubJime, and of the marvelous, to his fictions, as 
 nymphs, fatyrs, fawns, and even the triple Geryon, to the works of ancient bards. Our. poet never 
 carries his preternatural beings beyond the limits of the popular tradition. It is true, that he boldly 
 exerts his poetic genius, and fafcinating powers in that magic circle, in ix-hkh none Jurft. <u;alk but 
 he: but, as judicious as bold, he contains himfelf within it. He calls up all the flatcly phantoms in 
 the regions of fuperftition, which our faith will receive with reverence. He throws into their man- 
 ners and language a myCerious folemnky, favourable to fuperftition in general, with fomething high- 
 ly charafteriftic of each particular being which he exhibits. His witches, his ghofts, and his fairies, 
 ictmfpirits of health or goblins damiid ; bring ii'ith them airs from Heaven or blafsfiom Htll. His 
 ghofts are fullen, melancholy, and terrible. Every fentence, uttered by the witches, is a prophecy, 
 or a charm ; their manners are malignant, their phrafcs ambiguous, their promifcs delufive.— The 
 witches cauldron is a horrid collection of what is moft horrid in their fuppofed incantations. Arid 
 is a fpirit, mild, gentle and fweet, pofleffed of fupernatural powers, but fubjeift to tiie command 
 •of a great magician. 
 
 Tre 
 P
 
 ( 10(5 y. 
 
 rather at a lofs In defcribing them — and fhall therefore only pomt out 
 what has been occafionally hinted at, or conjedtured, ia refpe^ to their 
 
 appearance, or modes of life. — 
 
 Bourne,, 
 
 The fairies are fportrve and gay ; the innocent artificers of harmlefs frauds, and mirthful delufions, . 
 Puck's enumeration of the feats of a fairy, is the moft agreable recital of their fuppofed gambols. - 
 
 Page J 36. 
 
 After the confecrated groves were cvt down, and the temples demolifhed, the tales that fprung 
 from thence were ftill preferved with religious reverence in the minds of the people. 
 
 The poet found himfelf happily fituated amidft enchantments, ghofts, goblins ; every element fup- 
 pofed the refidence of a kind of deity : the genius of the mountain, the fpirit of the floods, the oak. •■ 
 endued with facred prophecy, made men walk abroad with a fearful apprehenfton, . 
 
 Of powers unfeen, and mightier far than they. 
 
 On the mountains, and in the woods, flalked the angry fpeftre ; and in the gayeft and-moft pleafmjf , 
 fcenes, even within the cheerful haunts of men, amongft villages and farms, 
 
 Tripp'd the light fairies and the dapper elves. 
 
 The reader will eafily perceive what refources remained for the poet in this vifionary land of ideal 
 forms. The general fcenery of nature, conf.dered as inanimate, only adorns the dcfcriptlve part of. 
 poetry ; but being, according to the Celtic traditions, animated by a kind of intelligences, the bard 
 could better make ufe of them forhis mtfral purpofes. That awe of the immediate prefence of the deity, . 
 which, among the reft of the vulgar, is confined to temples and altars, was here diffused over every 
 cbjeift. They pafled trembling through the woods, and over the mountain, and by the lakes, inhabited ; 
 by thefe invifible powers ; fuch apprehenfions muft indeed ^ 
 
 Deepen the murmur of the falling floods - 
 And ilied a browner horror on the woods ; 
 
 give fearful accents to every whlfper of the animate or inanimate creation, and arm every fliadow 
 with terrors. Page 144, 
 
 Shakespeare had fojuft a tafie that he never introduced any preternatural character on the ftage, 
 that did not alTift in theconduft of the drama. Indeed he had fuch a prodigious force of talents, he 
 could mak* every being his fancy created, fubfervient to his defigns. The uncouth ungainly monfter, 
 
 Calibaa
 
 ( *o7 ) 
 
 Bourne, in Ills Antiquities of the common People, tells us, that 
 '^' T^hey 2irealw!Lys clad in green, and frequent the woods and fields; when 
 ■they make cakes (which is a work they have been often heard at) they 
 
 are 
 
 Caliban, is fo fubjefl to his genius, as to affill in bringing things to the nropofed end, and perfeiflion. 
 And the light fairies, iveak majlcrs though they he, even in their vvautou gambols, and idle fports, per- 
 form great talks by his fo potent art. Page 16^. 
 
 Shakespeare, from his low education, had believed and felt all the horrors he painted; for though 
 the univei Gtits and inns of court, were in fome degree freed from thefe dreams of fuperftition, the bank! 
 .ot the Avert were then haunted on every fide- 
 There tript with printlefs foot the elves of hills, 
 Brooks, caves, and groves ; there forcery bedimn'd 
 The noon-tide fun, call'd forth the mutinous winds, 
 And 'twixt the green fea, and the azur'd vault 
 Set roaring war.— 
 
 So that Shakefpeare can fcarce be faid to create a new world in his magic : he went but-back ^0 hi$ 
 tiative country, and only drefs'd their goblins in poetic weeds. — 
 
 The Editors of B. and Fletcher's works. 
 
 The good fenfe of Shakefpeare, or perhaps the felicity of his genius was admirable; infteadofthc 
 deep tragic air of TafTo, and his continuance of the paftoral ftrain even to fatiety, he only made ufe 
 of thefe playful images to enrich his comic fcenes. He faw that pafloral fubjeds were unfit to bear a 
 tragic diftrefs. To make up iuyar/r/zc, what was wanting in />a^ff«, he hath with great judgment 
 adopted the popular fyflem of fairies — which, while it fo naturally fupplies the place of the old fylvaa 
 theology, gives a wildnefs to this fort of paftoral painting, which is perfe£ily_inimitable. 
 
 Hurd's Horace. 
 
 It is true another poet, who poflefled a grcatpart of Shahefpeare's genius, and all Johnfon's learn- 
 ing, has carried this courtly entertainment (ofMalks) toils laft perfeiSlon ; but the " Malk at Lud- 
 low Caftle," was in fomemcafure owing to the Fairy fcenes of his predeceflbr, who chofe this province 
 of tradition ; not only as moll fuitable to the wildnefs of his vafl creative imagination, but as the fafefl 
 far his unlettered mufe to walk in. 
 
 Kurd's HoKACE. 
 
 P z Ta»
 
 ( io8 ) 
 
 are very noify ; and when they have done, they are full of mirth and 
 paftime. But generally they dance in moonlight when mortals are 
 afleep, and not capable of feeing them, as may be obfcrved on the fol- 
 lowing 
 
 The Fairy land is Shakefpcare's own ; he gives charafters that never had exiftence, and defcribes 
 afllons it is impoffible for mortals to fee ; yet his dcfcriptions are fo forcible, that while we knovA wc 
 are deceived by the poet, we almofl incline to think, that we are inftru6lcd by the hiftorian. 
 
 ^loRNiNG Herald; 
 
 Our forefathers looked upon nature with more reverence and. horror, before the world was enlight- 
 ened by learning and philofophy, and loved to aftonifli themfclves with the apprehenfions of witch- 
 craft, prodigies, charms and inchantments. There was not a village in Er/j^ltznii that had not a ghoil 
 in it, the church-yards were all haunted, every large common had a circle of fairies belonging to it, 
 and there was fcarce a lliepherd to be mot with who had not fcen a fpirit. 
 
 Among all the poets of this kind, our Enj^lijh are much the bed:,, by what I have yet feen ; whe- - 
 ther it be that we abound with more ftories of this nature, or that the genius of our country is fitter for 
 this fort of poetry. For the EngUJl.> arc naturally fanciful, and very often difpofed by that gloomi- - 
 nefs and melancholy of temper, which is fo frequent in our nation, to many wild notions and viiions, 
 to which others are not fo liable. 
 
 Among the KngVJJ?, Sbaiefpcare has incomparably excelled all others. That noble extravagance »f 
 fancy, which he had in fo great pcrfeftion, thoroughly qualified him to touch this weak fuperllitious 
 part of his reader's imagination ; and made liira capable of fucceeding, where he had nothing to 
 fupport him befides the flrength of his own genius. There is fomething fo wild and ye^ fo folemn 
 in the fpeeches of his ghofts, fairies, witches and the like imaginary peifons, that we cannot forbear 
 thinking them natural, tho' we have no rule by which to judge of them, and mufi: confefs, if there are 
 fuch beings in the world, it looks highly probable they fliould talk and aft as he has reprefented them. 
 
 Spectator, No. 419. 
 
 1\\z TempeJI isi&xht Midfi/mmer Nights Dream, are the noblert efforts of that fublime and ama- 
 zing imagination of Shakefpeare, which foars above the bounds of nature, without forfaking fenfc, 
 or more properly, carries nature along with him beyond her eftablifhed limits. Fletcher feems parti- 
 cularly to have admired thefe two plays, and hath wrote two in imitation of them, The Sea Voyage, and 
 
 The Faithful Shcpherdcfs After him, Sir John Suckling and Milton catchcd 
 
 the brightcft fire of their imagination from thefe two plays ; which fliines fantaftically in The GobiinSy 
 but much more nobly and ferencly in The Mnfijue at Ludlow Cajlk. 
 
 Warburton. 
 
 Thrice
 
 I 109 ) 
 
 lowing morn ; their dancing places being very diftlnguifhable. For as 
 they dance hand in hand, and fo make a circle in their dance, fo next day 
 tliere will be feen rings and circles on the grafs." 
 
 Mr. 
 
 Thrice happy the nation that Shakefpeare has charm'J,. 
 More happy the bofom his genius has warm'd ; 
 Ye children of nature, of fafliioii and whim. 
 He painted you all — all join to praif? him. 
 
 From higheft to lowefr, from old to the young, - 
 All dates and conditions by him have been fung, 
 All paffions and himiours were rais'd by his pen, 
 He could foar with the eagle and fing with the wren» 
 
 To praife him, ye fairies and genii repair, 
 He knew where ye haunted — in earth or in air; 
 No phantom fo fubtle could glide from his view. 
 The wings of his fancy were fwifter than you. 
 
 Garrick; 
 
 Take from that original genius of our own country, the popular belief in his ghofts and hobgob- 
 lins, his light fairies and his dapper elves, with other fanciful perfonages of the gothic mythology— 
 and you fap the true foundation of fome of the moft beautiful fidions that ever poet's imagination pro- 
 duced. 
 
 Wood's Essay on Homer.- 
 
 Next Shakefpeare fat, irregularly great,' 
 
 And in his hand a magic rod did hold. 
 Which vifionary beings did create, 
 
 And turn the fouleft drofs to pureftgold : 
 Whatever fpirits rove in earth or air, 
 
 Or bad or good, obey his diead command j 
 To his behefts thefc willingly repair, 
 
 Thofe aw'd by terrors of his hragic wand, 
 The which not all their pow'rs united might withftand. 
 
 Befide the bard there flood a beauteous maid, 
 
 Whofe glittering appearance dimm'd the eyen ; 
 Her thin-wrought vefture various tints difplay'd, 
 
 Fancy her name, yfprong of race divine j 
 
 Hei-
 
 1 
 
 ( no ) 
 
 Mr. Ste-evens, in a note, on the line oi\ for the third part of a m'mufe,f 
 fays : 
 
 *' The perfons employed ^ve fairies, to whom the third part of a mi- 
 nute might not be a very (hort time to do fuch work in. The critick 
 
 .might 
 
 ■■Her mantle wimpled low, her filkeii hair, f 
 
 Which loofe adown her well-turn'd flioulders ftray'dj 
 She made a net to catch the wanton air, 
 
 Whofe love-fick breezes all around her play'd. 
 And feem'd in whifpers foft to court the heav'nly nxaid., 
 
 And ever and anon flie wav'd in air, 
 
 A fecptre, fraught with all-creative pow'r: 
 She wav'd it round : Eftloons there did appear 
 
 Spirits and witches, forms unknown before : ■* 
 
 Again file lifts her wonder-working wand ; 
 
 Eftfoons upon the flowry plain were feen 
 The gay inhabitants of fairic land, 
 
 And blithe attendants upon Mab their queen 
 Jii myftic circles danc'd along th' enchanted green. 
 
 On th' other fide flood Nature, goddefs fair ; 
 
 A matron feem'd file, and of manners ftaid ; 
 Beauteous her form, majeflic was her air, 
 
 In loofe attire of pureft white array'd : 
 
 A potent rod flie bore, whofe pow'r was fuch, 
 
 (As from her darling's works may well be fliewn) 
 That often with it's foul-enchanting touch. 
 
 She rais'd or joy, orcaus'd the deep-felt groan. 
 And each man's paffions made fubfervient to her own. 
 
 Lloyd's progress of Envy, 
 
 See alfo the Tomb of Shakefpearc, a poem by Cooper — Ogilvie's Ode to the genius of Shakefpeare— 
 the Preface to the works of Maffinger — Duff's Critical Obfervations — Shakefpeare's Jubilee, a mafque 
 ■fcy Carey— The Fairies, an opera— a Fairy Tale in two aif^s— and a Midfummer Night's Dream, al- 
 tered
 
 ( ni ) 
 
 might as well have objefted to the epithet tall, which the fairy beftows 
 on the cotvjlip. But Shakefpeare, throughout the play, has preferved the 
 proportion of other things in refpe^t to thefe tiny beings, compared with 
 
 whofe 
 
 trredfor Di'ury-lane, 1763 In thefe two laft pieces is infertcd a fong, which cannot be unplealiig; 
 to thofc who admire Shakefpeare's play : 
 
 Kingcup, daffodil and rofe, 
 Shall the fairy wreath compofe ; 
 Beauty, fweetnefs, and deUght, 
 Crown our revels of the night : 
 
 Lightly trip it o'er the green 
 
 Where the Fairy ring is feen ; 
 
 So no ftep of earthly tread, 
 
 Shall- offend our Lady's head. • 
 
 Virtue fometimes droops her wing, . 
 Beauties bee may lofe her iHng ; 
 Fairy land can both combine, 
 Rofes v^iih the eglantine : 
 
 Lightly be your meafures feen. 
 
 Deftly footed o'er the green ; 
 
 Nor a fpeftre's baleful head 
 
 Peep at our nofturnal tread. 
 
 If the reader wifhes to perufe more matter on Paries in general, he may confult Brand on Popular 
 Antiquities — Warton on Spnicer — Spencer'3 poem — Profpero's addrefs io the fpirits before he difmiifes 
 them — Mtrcutio's defcription of Queen Mak — The third volume of Piercy's Reliques, where a very 
 agreeable entertainment is prefenteJ — The beautiful Ode to Indifference by Mrs. Greville, which the 
 extreme length of this note alone prevents me from giving at large. It is however, univerfally known, 
 and may be referred to in any coUeftion of poetry. It is fet to mufic in a ftyle worthy of its poetry. 
 NicoU's Poems, v. 5. p. 176, and p. 207 — In book ift. and verfe ;8i of Paradi'.e Lofl, the midnight ■ 
 revels of the fairies are mentioned — and in Comus, Milton thus fpeaks of their Iports ; 
 
 On the tawny Tinds and fhelves 
 Trip the pert fairies and the dapper elves,- 
 By dimpled brook, and fountain brim, 
 The wood-nymphs deck'c with daifies trim. 
 Their merry wakes and pailimes keep ; - 
 What hath night to do with fleep ? 
 
 I In
 
 ( l^^ ) 
 
 whofe fize, a cowfllp might be tall, and to whofe powers of execution, 
 a minute might be equivalent to an age,*' 
 
 Their 
 
 In the tliird volume of Mr. Warton's Hiftoiy of Englifh Poetry, be has infcrted the following elegant 
 lines, which Browne wrote on Occleve, a difciple of Chaucer. The reader I am fure will forgive me 
 (and will excufe the length of this note) if I fubflitute the name of William Shakefpeare to that of 
 Pccleve : if it were only for the application of the two lall lines : — 
 
 ISIany times he hath been feene 
 
 With the faeries on the greene. 
 
 And to them his pipe did found 
 
 As they danced in a round ; 
 
 IMickle folace would they make him. 
 
 And at midnight often wake hira, 
 
 And convey him from his roome 
 
 To a fielde of yellow broome, 
 
 Or into the mcdowes where 
 
 Mints perfume the gentle aire, 
 
 And where Flora fpreads her treafure 
 
 There they would beginn their rocafure. 
 
 If it chanc'd night's fable flirowds 
 
 Muffled Cynthia up in clovvds, 
 
 Safely home they then would fee hira. 
 
 And from brakes and quagmires free hinit 
 
 There are few fuch fwaines as he 
 
 Now a days for harinonie. 
 
 1 will clofe this note, wifh an extraft from Mr. Warton's third volume :— 
 
 But the reformation had not yet deftroyed c\-ery delufion, nor difinchanted all the ftrong holds of 
 fupcrftition. A few dim characters were yet legible in the mouldering creed of tradition. Every 
 goblin of ignorance did not vanifli at the firft glimmerings of the morning of fcience. Reafon fufFer- 
 ed a few demons flill to linger, which {he chofe to retain in her fervice under the f^uidance of 
 poetry. Men believed, or were willing to believe, that fpirits were yet hovering around, who brought 
 with them ainfrom hetfuen or blaftsfrom hell, that the ghoft was duly releafed from his prifon of 
 torment at the found of the curfew, and that fairies imprinted niyfterious circles on the turf by moon- 
 light. Much of this credulity was even confccrated by the name of fcience and profound fpeculation. 
 Profpero had not yet broken and buried hisjlaff, nor droivtied his book deeper than did ever plummet 
 
 .J'tUtldi
 
 ( 113 ) 
 
 Their ftature cannot have been very large ; for when jealoufy reign- 
 ed between their king and queen (caufing the nine-mens morris to be 
 filled with mud — the nights to be unblefs'd with hymn or carol — and 
 the pale and angry moon fo to alter the feafbns, that frofts fell in the 
 frefh lap of thecrimfon rofe), the elves for fear, crept into acorn cups, 
 and hid them there. The dainty Ariel flept in a covvflip's bell"-and has 
 hung many a pearl in many a cowflip's ear-'-and will, to the end of 
 time, live merrily under the bloffom that hangs on the bough : for 
 Shakefpeare might have well applied tohimfelf, the laft lines of Ovid : — 
 Jamque opus exegi, &c. And from his virtues and good qualities, he might 
 have enfured to himfelf the bold pafsport of RoufTeau : — ^e la trompette 
 dujiigement dernier fonne qtiand elle voudra ; je 'ciendrai ce livre a la main me 
 pre [enter devant lejouverainjuge. — Thefe fairies mufl: have been formed 
 with pretty elegance, for they hopp'd as light as bird from briar, and 
 fang and danced it trippingly; and Queen Mab (in the fong in 
 Piercy) tells us : 
 
 Pearly drops of dew we drink, 
 In acorn cups fill'dto the bi'ink. 
 
 The grafshopper, gnat, and fly. 
 Serve us for our minftrelfie ; 
 Grace faid, we dance awhile, 
 And fo the time beguile : 
 And if the moon doth hide her head, 
 ' The glow-worm lights us home to bed. 
 
 On tops of dewie grafs. 
 
 So nimbly do we pafs. 
 
 The young and tender ftalk 
 
 Ne'er bends when we do walk ; 
 Yet in the morning may be feen 
 Where we the night before have been. 
 
 Some attempts have been made to defcribe their perfons. I will give 
 a lift of fuch Prints of them as I have feen ; however badly defigned fome 
 of them may be. — 
 
 Q. I. The
 
 ( lu ) 
 
 1. The print by Fourdrinier in Rowe. The landfcape part may be looked at. 
 
 2. The print in an edition in 8 vol. printed for Tonfon, in 1735. This is a copy 
 of the above, with fome fmall variations. 
 
 3. The print in Theobald, There is fomething pleafing in this defign by Grave- 
 lot. The fleeping attitude of Lyfander is well drawn. 
 
 4. Titania is drawn in the print to Bell's firft edition ; and her hair is dreffed like 
 that of a modern raiUiner. 
 
 5. See M. de Loutherbourg's vignette to Bell's laft edition. 
 
 6. Two figures of Robin Goodfellow, at the end of the third volume of Dr. Pier- 
 cy's Ancient Englilh Poetry. 
 
 7. Oberon and Titania, and 
 
 8. Oberon and Puck — a pair of fmall oval prints, not worth referring to^ 
 
 Q. A figure of the delicate fpirit Ariel, may be fcen in Pine's print of the Ode. 
 
 10. Anotherfigure of Ariel is in his print of Miranda. 
 
 11. A figure of Ariel, is in Hanmer's print to the Tempeft. 
 
 12. Another, in Lowndes' edition of the Tempeft. 
 
 13. There is a figure of Ariel, in a print of Ferdinand and Miranda, by Harding, 
 publifhed by Macklin. 
 
 74. There either is, or was a painting at Vauxhall, of the failles dancing on the 
 green by moonlight. I have not feen it. 
 
 In the play-bill of the Tempeft at Drury-lane, in 1785,15 in aft 2d. 
 a dance of Jp'irhs ; — and in aft 3d. a dance oi fantqjlic fpirits. They, or 
 fairies, have been introduced on the London theatres, in the Merry Wives 
 of Wliidfor, and have been clad in green, or in w^hite. 1 have not feen 
 
 the
 
 C 115 ) 
 
 the cuts to Kent's edition of Spencer's poem, nor thofe in tlie edition 
 by Hughes, which laft I have heard have much merit. * 
 
 The paffages in this play, from whence they might be drawn to mofl 
 advantage, are I think the following : — 
 
 P. 32. And never fince the middle fumraer's fpring. 
 Or at the affeding line of: 
 
 No night is now with hymn, or carol bleft : 
 
 ?. 41. I^ 
 
 * Since I have written the above, Meffrs. Boydells and Nicols have informed the public, of the 
 Rames of thofe artifts who are to ornament the four firft numbers. A fcene from this play, is to bs 
 defigned by Fufeli, in which will be introduced Titania, Puck, and the Fairies. This information of 
 the fcenes which the different artifts have fixed on, will tend to increafe the anxiety of expedlation — > 
 and perhaps in no inflance more than in the following : 
 
 Plate III.— Ad III. (A Hall in Macbeth's Caflle. A Banquet. Macbeth, Lady Macbeth, 
 Rofle, Lenox, &c. — Ghoftof Banquo.) 
 
 /[vaunt ! and quit vy fight /— 
 
 Painted by Romney. <• \ 
 
 Plate IV.— Aa IV. (A Cavern. Cauldron blazing. Macbeth, Hecate, Witches, Shadows of 
 the eight Kings, Banquo, &c. &c.) 
 
 Horrihk Jight ! — Now I fee 'tis true f 
 
 For the blood holtcr'd Banquo fmiles vponme^ 
 And faints at them for his. 
 
 Painted by Sir Jofliua Reynolds.—*
 
 ( "6 ) 
 
 p. 41. If you will patiently dance in our round, 
 
 And lee our moon-light revels, go with us,- 
 
 P. 43. Tiiat very time I faw, but thou could'ft not, 
 Flying bet\veen the cold moon and the earth, 
 Cupid all arm'd. — 
 
 Puck may be drawn as moft attentively liftening. See the counte- 
 nance of Oberon, in M. de Louthcrbourg's vignette. 
 
 p, 4-. and be thou here again. 
 
 Ere the leviathan can fwim a league. 
 
 P,^0. and feme keep back 
 
 The clam'rous owl, that nightly hoots, and wonders 
 At our quaint fpirits. 
 
 I have before quoted thefe lines for the purpofe of exhibiting the 
 quaint fpirits, and their quaint fports, and of exhibiting the fcenery of 
 that hour, 
 
 When fairies in their ringlets there 
 Do dance tlieir nightly round. 
 
 In the fong in Plercy's Ancient Poetry, Robin Good-fellow tells us^ 
 that 
 
 By wells and rills in meadows greene, 
 
 We nightly dance our hey-day guife ; 
 And to our fairye king, and queene. 
 
 We chant our moon-light minftrelfies. 
 
 When the charmed fpirit of an artift fhall have indulged in the magic 
 of Shakefpeare's tales, he will then (and then only) be enabled to draw 
 from his fairy-land. The landfcape may be enriched with the favour- 
 ite
 
 ( ^^7 ) 
 
 he flower of the fairies, the cowjlip — and on a bank may blow the tvUd- 
 ihyme^ and the nodtHng-violet — for 
 
 There fleeps T'ltan'ia fome time of the night, 
 LuU'd \\\ thele flowers with dances and delisht. 
 
 If the above fliould be reje£led, we might then draw them (with 
 the lame advantage of m.oon-light fcenery) from the fubfequeut 
 lines of : 
 
 Sing me now afleep ;. 
 
 Then to your offices and let me reft. 
 
 P. 54. Night and filence ! who is here ? 
 Weeds oi Athens he doth wear. 
 
 Fuck may be drawn as throwing the charm (being the juice of a 
 little weftern flower) upon the eyes of Lyfander. And the only other 
 characters will be Hennia, as fleeping near him, (for which fee p. 52.) 
 and the Fairy ^een. Somewhat of the fame ftill repofe may be given, 
 as we fee in Gravelot's print to Theobald. 
 
 P. 37. I go, I go ; look mafter, how I go — 
 
 Swifter than arrow from the Tartar'''s bow. 
 
 P. 85. My fairy lord, this muft be done with hafte ; 
 
 For night's fwift dragons cut the cloud's full faft^ 
 
 And yonder fhines Aurora s harbinger ; 
 
 Atwhofc approach, ghofts wandering here and there, 
 
 Troop home to church-yards ; damned fpirits all, 
 
 That in crofs-ways and floods have burial, 
 
 Already to their wormy beds are gone ; 
 
 For fear left day ihould look their Ihames upon. 
 
 They wilfully exile themfeives from light. 
 
 And muft for aye confort with black-brow'd night. 
 
 Tna
 
 ( 1^3 ) 
 
 THE-awfulnefs of this narration will caufe the countenance of Puck to 
 be marked with a very different expreflion to what he wouM have in the 
 recitalof his fp rightly merrimentr>— and though at the time of his fpeak- 
 ing the above lines, the ftarry welkin is not then covered with drooping 
 fog, a^ black as Acheron : yet night's clouds are not quite departed— and 
 ylurora's harbinger might therefore be painted as fliining or flriking through 
 tliem. 
 
 P. 94, Be, as thou waft wont to be ; 
 See, as thou waft wont to fee: 
 Dian's bud o'er Cupid's flower. 
 Hath I'uch force and blefled power. 
 
 P. 94. Now thou and I are new hi amitv; 
 
 And will, to-morrow midnight, folemnly. 
 Dance in Duke Thefcui houfe triumphantly. 
 
 J*. 95. Puck. Fairy kin^, attend, and mark ; 
 I do hear the morning lark 
 
 'a 
 
 Oh. Then my queen, in filcnct fad 
 Trip vjc after the night's JJ^ade : 
 We the glrbe can compafs foon, 
 Swifter than tlie wand'ring moon. 
 
 P. 122. The half length figure, or the countenance of P«f /J (in the gloom 
 of midnight) as reciting his terrifying description of night. 
 
 Page 6 
 
 The curious interlude performed by the clowns, will furnifli a very 
 icomic defign. I will feled fuch paflages as relate to that wife Jlage pro-^ 
 
 jeclof 
 
 %
 
 ( "9 ) 
 
 jeSlor Bottom^ and to ^ilnce, and the reft of their dramatis perfonze, and 
 which ftrike me as offering the beft fituations to draw them from. 
 
 P. 19. Bot. I could play Ercles rarely, or a part to tear a cat in, 
 
 P. 21. Snug. Have you the lion's part written ? pray you, if it be, give 
 it me, for I am flow of ftudy. 
 
 P. 21. ^I'ln. and that were enough to hang us all. 
 
 ^IL That would hang us every mother's fon, 
 P. 58. Snout, By'zlakin, a parlous fear. 
 
 Star. I believe, we muft leave the killing out, when all is done, 
 
 P. 58. ^in. Well, we will have fuch a prologue ; and it JhaU le writ- 
 ten in eight andjtx. 
 
 P. 59. Bot. for there is not a more fearful wild fowl, that 
 
 your lion, living — 
 
 P. 61. ^iin. Ninus' tomb, man : Why you muft not fpeak that 
 yet ; that you anfwer to Pyramus : you fpeak all your part 
 at once 'cues and all.* — 
 
 P. 62. ^in' 
 
 * Edwin woula fpeak tbefe lines admirably. This play was performed at the Haymarketa few years 
 ago, under the title of a Fairy Tale; when Edwin played .^kmc^, and Parfons i?o«(j«. The above 
 lines are omitted in this Fairy Tale. The print in Hanmer belongs to this page 61, but pofTefles a 
 poor fl-.are of humour; though the figure of Bottom is a good one, as well as that behind him. The 
 print in Bell's firft edition, is taken from the next page, and though the figure of the Trnker\% an ex- 
 ceeding good one, and that of Jio.tom n.ot amifs, yet its general merit is not fufficiently attradive ta 
 recommend it wholly. In p. 66, Bottom might have been drawn to advantage in his confab with the 
 Fairies, if the expreflion of his facchad not been loft, by his transforiuation.
 
 ( I20 ) * 
 
 P. 62 ^ii>i. Blefs thee Bottom ! blefs thee ! thou art tranflatcd. 
 
 P. loi. Dot. I will get Peter Quince to write a ballad of this dream. 
 P. 102. Out of doubt, he is tranfported. 
 
 V. 103. Bot. And inofl dear a£lors cat no onions nor gatiick, for we arc 
 to utter fweet breath ; and I do not doubt but to hear thcni 
 fay, it is afweet comedy. 
 
 At his injun«fllon agaiiift the onions, they might be all drawn as flar- 
 ing at him. 
 
 If the preference be given to the lines in p. 61, it will admit of all the 
 other clowns being drawn, (except Bottom) ; and the figure of Robin 
 Goodfellow may be introduced in the back-ground. Either one of the 
 figures of this merry ivanderer of the night which Dr. Piercy has preferved, 
 may be given ; or elfe {omc fancy fketch might be drawn. 
 
 The ^^^« of the Fairies may be lying afleep near them ; and the fcene 
 is in a wood, near to an hawthorn brake, and under the Duke''s oak. If it 
 were not for the Fairy Slueen being introduced as well as Puck, the cha- 
 rafters might have been etched in the manner of fome of Mr. Bunbury's 
 prints. And may no artift attempt to defign any character from Shake- 
 fpeare, who does not pofl'efs fome fparks of Mr. Bunbury's genius.* 
 I do not know what efFe£l the figure of a Fairy would have ; but as they 
 are harmlefs merry fprites, their looks might exhibit an archnefs of 
 furprize, or merriment, at the figure of Bottom. 
 
 Page 
 
 * There is one line in this play, from which this gentle man might draw a very good print. It it 
 In Puck's recital of his merriments : 
 
 The •wifeftaunt, telling thefaiil;Ji tale —
 
 ( 121 
 
 Page 78- 
 
 Is all the counfel tliat we two have fhar'd, 
 
 The fifter's vows, the hours that we have fpent^ 
 
 When we have chid the hafty-footed time 
 
 For parting us, — O, and is all forgot? 
 
 All fchool-day friendfliip, childhood-Innocence ? 
 
 We, Herm'ia, he. 
 
 A nobler ornament could not grace this page (and It merits the mo{t 
 expreffive one), than what the pencil of Sir Jofhua Reynolds would pro- 
 duce, when Helena aff^ftingly reminds her fweet playfellow of their fchool- 
 day*s friendfliip.* They might be drawn in rich metzotinto ; and the 
 moon-light night may give a view of Shakefpeare's own bank, whereon 
 the wild thyme blows^ and which is o'er canopied with lufcious woodbine. 
 
 Fage 104- 
 
 I'iiK only PW///J which I have ever heard of, or feen, of Shakefpeare 
 .n tlie altitude of Inlpiration — (or as at the moment of his genius catch- 
 ing ibme fine thought) are the following 
 
 R A Ilead- 
 
 ■' Were it to many other Artifls thaSirn Joduia, I would have recommended a fight of :i print of 
 f.or;c, by Bcnwell, engraved by Bartolor.zi. The figure of Edwin, in Shelly 's print of EJiv.'n and 
 AMgdiiiii, engraved by Smith, And the print to Bell's edition of Love makes a Man, might have 
 been looked at.
 
 ( ^" ) 
 
 A Head- piece ill the fiifl: ^•olume of Dr. Plcrcy's Ancient Englifh 
 Poetrv. 
 
 The Ticket for the benefit of Bonnor, a comedian, at Bath; the 
 fabjecl of wliich is, Sbakejpean catching a thought from Nature. 
 
 The only Palntitigs I have ever heard of, or feen, of Shakefpeare in the 
 fame attitude, is the pleafing whole length portrait of him, by Wilfon 
 in the town-hall of Stratford. It was prefented to the corporation by Mr. 
 Garrick, and placed there at the time of the Jubilee. I much wonder 
 no engraving has yet been taken from it. The fuce does not ftrike me as 
 being taken from any of the Prints ; nor do I recolledl any Painting which 
 refembles it. If the features <?r^ caught from any of the Prints, Ifliould 
 think at were from the head.prefixed to Theobald's large 8vo. edition, by 
 Arlaud, or from that to his fmaller edition. The refemblance it bears to 
 either of thefe, is certainly very little. It bears fome little refemblance 
 to a very neat buft, fold by Flaxman. 
 
 The only Statue of hlni in the fame attitude, (at leafl: that I have heard 
 of), is that by the great Roubiliac, in the temple at Hampton. I have 
 not feen it — but he is reprefented (fiiys the Abbe Grofley) with a pen in 
 his hand, Jeerning to havejujl conceived one of thofc fublime Ideas, to which he 
 owes his reputation. 
 
 His graceful Monument in the Abbey, reprefents more oi ■penfve 
 thought, or meditation, than of calm, or of fpirited hfpiration. 
 
 Either an engraving might be taken from Mr. Wilfon's pi6ture, to 
 accompany the lines of T^Jie poet's eye — in p. 104,* or a new fancy defign 
 
 might 
 
 * Shakesfeare, in thefe. lines, was not confcious perhaps of having drawn himfelf. The follow- 
 J\x\Z lilies of Mr. Keatc, will well ai)ply te. this propofed and wifhed fer portrait.— 
 
 On
 
 ^ ^23 ) 
 
 might be drawn (to accompany the fame Hnes) in an attitude •fimilar to 
 that which the Abbe Grofley mentions. Rules or inftruclions cannot 
 be given towards the completing fo pleafmg an ornament to Shakefpeare's 
 memory — it mufi arife from the gratitude of an artift, when feeling 
 
 ■ What Garrick felt 
 
 When firft he breath'd the foul of Shakefpeare's pa^e. 
 Or in thofe moments of pleafing tranfport which were felt 
 
 When firil the Vatican, 
 
 Unbarr'd her gates, and to a raptur'd eye 
 Gave Raphael's glories. 
 
 May his features breathe an air dhhie, and may that infinite grace * and 
 expreffive fublimity be given him, which we have often feen in the pro- 
 dudlion of that artift, " whofe tafte and imagination (fays Mr. Wal- 
 pole) are inexhauftible." 
 
 His features might be partly taken from Zouft's head — from that by 
 Arlaud — from Vertue's print from the portrait in the pofleflion of Mr. 
 Keck — from the face in the Abbey — from the metzotinto in the edition of 
 
 Lear 
 
 On daring pinions borne, to him was p;iv'n 
 Th' acri.il rai:ge of Fancy's brighteft Hcav'ii, 
 'i"o bid rapt Tlioiight o'er noblell )icigbts ufpirc, 
 And wake each P:iiTijn with a Mule of Fire. — 
 
 ' Mr. Walpole delines gra c to h&a-i C'liaolc ilcgrce of Ma-rJIy, 
 
 R 2
 
 *r^ear by Jennens — from Gainfborough's buft* — from the head in ReacTs 
 edition — and from the buft in Cyprianl's print of the Nymph of Immor- 
 t.-tlir_y — and from a bnft by Flaxman.-f 
 
 We have one Dcfign from the lines of I'he poet's eye — by Mortimer — and 
 it is the only Defigu I have yet feen from them. It is propofcd for the 
 Tail- piece. 
 
 Tail- 
 
 * Tms bull is from the Picture ofMr. Garrick at Stratford. "Mr. Gainfborovigh feems well calcu- 
 ijtcd to have drawn Mr. Garrick, from what he fays of him in a letter to Henderfon. — "Garrick 
 is the greateft creature living in every rtfpeifl, he is worth fludyinj in everj- action. — Every view, and 
 every idea of him is worthy of being ftored up for imitatioa, and I have ever found him a gencrou* 
 and fiocere friend." 
 
 f We have the authority (the unhappy authority) of Milton, for thc,plcafure which Charles the 
 firft took in reading Shakcfpeare. — What an cxprcffive Fancy pi£lune then might Vandyck have pre- 
 fentcd to his noble patron, of that Poet, whofe writings had often foothed the turbulent cares oi his 
 diuracled reijjn. — Pilkington fpcaks thus of Vandyck : 
 
 " His choice of -nature when he painted portraits, was always that which was moft agreeabl'j ; he 
 gave an inexprelTible grace to his heads ; he (hewed abundant variety in the airs, and in fome of them 
 the charaftcr was even fublime ; and as to his exprelTion, it was inimitable, the very foul of the pcr- 
 fon rcprefcntcd being vifible in the portrait. His draperies, which were taken from the 
 
 mode of the times, are caft-inagrand flyle,'broad and fimple in the folds, eafy and natural in the dif- 
 pofition, and his colouring is lovely. In the collection of the Duke of Orleans, there is a mult admir- 
 able picture by Vandyck ; it is a whole length of IMary de Medicis, which is finiflied as highly as the 
 power of his art could reach ; it ftiews at once the ftrength of Rubens, and almoft the colouring of 
 Titian ; tht manner of it h in the hlghcfl degree nebL; and yet it appears equally eafy and natural." 
 
 Numberless fine attitudes, and hints, and looks might be conceived, from a view of fome of the 
 fine pii^ures in England — as well as from the prints from after Vandj-ck, and other great mafteri. 
 And it maybe worth while to refer to plates 119 and 134. of Rofii's Statue Antiche MoJerne — to the 
 head of Moliere by Coypel, engraved by Ficquet, (a copy of which may be feen, I think, in the Cop- 
 yer-plate Magazine, and which is a fine pifture of bold and_\igorou5 thought) — to the plcafing 
 vignette to the Hiftorical Rhapfody on Pope — to Sir Jofliua's Mrs. Siddons — to Cypriani's figure of 
 Fame or Liberty iu the Memoirs of HoUis— to a metzotinto of Faith, engraved by Walker, from after 
 
 Gardner,
 
 ( ^^5 ) 
 
 Tail-piece^ 
 
 A fac-fimile (though reduced in fize) of Mortimer's Etchuig. 
 
 Having had frequent occafion to mention Mr. Mortimer's name, 
 1 cannot refrain from quoting iome part of the generous tribute which 
 has been lately paid to his memory, by Mr. Ireland, in the Letters and 
 Poems of Henderlbn. 
 
 After mentioning the predilidion which Mr. Mortimer had, of fre- 
 quently delineating with his pencil, objecls of terror or of cruelty, or 
 iiich events as w:ere calculated to give flrong and forcible expreliions, he 
 jiroceeds : 
 
 " Yet with this difpofition for contemplating, and difplaying fuch ob- 
 *' jecls, INIortimer had afoul, open as day to melting charity, a tear for 
 *' pity, and a heart the mofl fufceptlble of tender impreflions.'"* He made 
 the kindefl allowances for the errors of others,- and would not have trod 
 upon the poor beetle. When he erred, and who fhall dare to name any 
 
 man 
 
 Cardner, 1781 — to the print of IMrj SiddonS; in Bell's laft edkon of Jlacbeth, the extreme "beauty of 
 u hich, can only be feen in the earlieft imprelUons — to Earlom's metzotinto of a Shepherd, from after 
 G.iiniboroush — to the Tragic muie in Pine's print of the Ode — to Romney's print of Mrs. Yatc^, m 
 the Tragic mufe — to Sir Jofluia's print of a Contemplative Youth— to Kaufman's print of Poetry, 
 engraved by Rider — to Le Brun's print of Salvatormundi, engraved by Bartolozji— and to a raetzo- 
 liiito of Pope, engraved in 17^8, by Simon, from after Dahll.
 
 ( i26 ) 
 
 man as faultlefs ? his errors had their root in virtues, which the generous 
 warmth of his heart carried to excefs. Added to all this, he had an hi- 
 larity that brightened every eye, and gladdened every heart. I knew his 
 mind well, but that knowledge fhould have deterred me from attemp- 
 ting to defcribe it, had I confidered that Sterne has fo exactly delineated 
 the leading features by which it was a6luated, in the benevolence and 
 fenfibility of charafter which diftinguilhed his uncle Toby. 
 
 In the fociety of Mortimer I paffed fome of the happiefl years of my 
 life, and the remembrance of the very Intimate, brotherly, and unbroken 
 friendllnp with which we were united until his death, affords me one of 
 thofe melancholy pleafures which may be felt, but cannot be dcfcribed — ■ 
 A tear drops at the recolleftion. The lofs of fuch a friend leaves a chafm 
 in one's life and happinefs, which is very, very rarely filled up." * 
 
 * A l.lsr of fuch Prints taken from tliis pl;iy, as I have fcen. Thofc I have not fecn, are piintcal 
 ill Italics. 
 
 I.- Bell's two editions. 
 X. Hanmer. 
 
 3. Theobald. 
 
 4. Rdwc. 
 
 5. A cut by Fourdriuier, in an edit, in 8 vol. printed for Tonfon, in 1735. 
 6,. jSJortimcr'serching. 
 
 7. The figiires in Dr. Pieicy's work, 
 }j. Oberon and Titai-iCi. 
 9. -Oberonand Purjk, 
 
 10. Pepe. 
 
 1 1 . L.o wiidcs, 
 iz. layloy. 
 
 FINIS.
 
 I iM PERFECT HINTS 
 
 TOWARDS A NEW EDITION OF 
 
 SHAKESPEARE. 
 
 P A R r SECOND AND L A S r. 
 
 ll:is any paiitter ever executed a fcehe, a charaifler of Shakefpeare, that approached to the prototype 
 ■fo near as Shakefpeare himfelf attained to nature ? Yet is there a pencil in a living h:ind, as capable of 
 pronouncing the paflions as our unequalled poet ; a pencil not only Inipired by his infight into nature, 
 
 but by the graces and taflc oi Grecian artifts. 
 
 Mr. Wai.pol£ oh Lady Dian-a Beauclerc. 
 
 Then bold Invextiok all thy powers difFufe, 
 Oi all thy fiftcrs thou the nobieil: nuife. 
 Thee ev'ry art, thee ev'ry grace infpires. 
 Thee Phxbus fills with all his brighteft fires. 
 
 Mr, Masom's Traksxation of Dv FRESioV. 
 
 Dear fon of nii'jnory, great heir of fan^e, 
 
 What nced'ft thou fuch weak witnefs of thy name? 
 
 Thou in our wonder and aftonidiment 
 
 Haft built thyfeU a llv«-long monuir.enrt. 
 
 Milton's Epitaph on- Shakesteare^ 
 
 L O N B O N : 
 
 TRIWTID AT THE "EOpgCapIjIC l^rcfiS, PRINTING-HOUSE SQVARE, BL A C K FRIARS, 
 
 AND SOLD BX 
 
 MESSRS. RCEfON ANn CLARKE, NEW BOND-STREET; R. BALDWIN, P ATE R-NOS lEJi- 
 
 RIV. ; AN'U W. RlCH^RDSON, UNDER THE ROYAL EXCHAWGS. 
 
 j>i,»cc,uxxxvaii.
 
 T O 
 
 THE HONOURABLE 
 
 HORACE rVALPOLE, 
 
 AND 
 
 Sir JOSHUA RETNOLDS, 
 
 In grateful refpeft for the pleafure received from the produ»5lIons of their 
 Genius, and with unfeigned efteem for their highly valued Private 
 Worth, 
 
 THE SECOND PART OF THIS PROSPECTUS 
 IS MOST HUMBLY INSCRIBED TO THEM, 
 
 B y 
 
 THEIR OBEDIENT SERVANT, 
 
 The Author.
 
 CONTENTS. 
 
 King John - -,r,---i 
 
 King Henry the Fifth - - - ■' - 51 
 
 Romeo and Juliet - - - - . "79 
 
 Cjmheline - - - - • "■ "I49
 
 i
 
 KING JOHN. 
 
 It was noc by declamation or by pantomime, that Shakefpeare was to fix his eter- 
 nal dominion over the hearts of mankind. 
 
 Dr, T. Warton. 
 
 Here, boldly mark'd with every living hue, 
 Nature's unbounded portrait Shakefpeare drew : 
 But chief, the dreadful group of human woes 
 The daring artift's tragic pencil chofe. — 
 
 Dr. T. W art o k. 
 
 II polTedoit les graces terribles de Michel Ange, & les graces aimables du Correge. 
 
 ,■ Fragment sur Shakespeare par M. Sherlock. 
 
 Vignette. 
 
 In page xvi. of the preface to the firft part of the prefent work, I have hinted at a Vignette for 
 this Tragedy, and I mult requeft the reader to turn to that page. Since I have written the firft parr, 
 I have a fecond time beheld the figure of ^gar which is there mentioned ; and 1 am ftill more confirmed 
 in the happy propriety with which it would grace the page of "Shakefpeare. There is a peculiar pro- 
 priety in introducing this figure of Agar in the play of King John : as one of the moft ftriking paffions 
 of that drama, is the dignity of Maternal Grief. What then can fo nobly and fo properly deco- 
 rate our Poet's page, as affixing to it a chef d'oewvre of expreffion — a mafterly produflion of a pencil like 
 Guido's. Indeed Shakcfpeare's own words in this play, will almoft in part apply to the fituation or 
 figure of Agar, as drawn by the above painter. 
 
 . thii day hath made • 
 
 Much i<jork for tears, in mayiy an EngUJh mother, 
 
 Whofc fons lie fcattered on the bleeding ground : 
 
 Many a ivjdonxi's hujland groveling lies. 
 
 Coldly tmbracing the difcoloured earth, 
 
 B
 
 Head-Piece. 
 
 The portrait of Arthur will require the pencil of a delicate hand ; and 
 as he %vlll require to be painted in many fcenes of this play, each (ketch 
 or portrait of him will exhibit the ideas that different painters have form- 
 ed of princely youth and beauty. A fancy portrait 'of him in metzo- 
 tlnto, or in the light ikyle of a beautiful drawing, might be given as a 
 Head-piece, with thefe lines (from p. 26) engraved under: 
 
 Thefe eyes, thefe bro'MS, were w.mlded out of h'li. - 
 This Utile ahJiraH doth coniain that large. 
 Which dyd in Geffrey ; and the hand of time 
 Shall draw this brief into as huge a volume^ 
 
 Would there be any impropriety in introducing at the top, or in the 
 back-ground of this portrait, two of the cherubs which are in a plfture 
 of Luca Giordano, being No. 109, of the Tableaux de Duffeldorf? 
 A moft beautiful idea (fimllar to that of one of thefe cherubs) is intro- 
 duced in a pifture of Cain and Abel, in the colle6tion of Lord Scarfdale. 
 
 Or, in lieu of the above defign for a Head-piece, might be given ano- 
 ther, from p- 27, which might be an etching of the half-lengths of 
 Johfif Philip, Ziid Arthur (without the other chara6lers) from thefe lines:- 
 
 K. John. From whom haft thou this great commiflion, France, 
 To draw my anfwer from thy articles ? 
 
 K, Philip. From that fupernal judge, that ftirs good thoughts 
 In any breaft of ftrong authority, 
 To look into the blots and ftains of right. 
 
 B 2 That
 
 ( 4 ) 
 
 That judge hath made me guardian to this boy ; 
 Under whofe warrant, I impeach thy wrong ; 
 And by whofe help, I mean to chailife it. 
 
 See the afped of 'John in Vertue's print of him. 
 
 Scene Prints. 
 
 Ltvj'is. Before Angiers well met, brave Auftria, — 
 
 Arthur, that great fore-runner of thy blood, 
 
 Richard, that robb'd the lion of his heart, 
 
 And fought the holy wars in Paleftine, 
 
 By this brave duke came early to his grave : 
 
 And, for amends to his pofterity, 
 
 At our importance hither is he come, 
 
 To fpread his colours, boy, in thy behalf; 
 
 And to rebuke the ufurpation 
 
 Of thy unnatural uncle, Engjifh John : 
 
 Embrace him, love him, give him welcome hither. 
 
 Arthur . God fliall forgive you Coeur-de-lion's death, 
 The rather, that you give his offspring life : 
 " Shadowing their right under your wings of war, 
 I give you welcome with a powerlefs hand, 
 But with a heart full of unftained love : 
 Welcome before the gates of Angiers, duke. 
 
 Lewis. A noble boy ! Who would not do thee right ! 
 
 ^«/?. 
 
 * To guard againft the too great crowding of an edition with engravings, we muft pafs over the fpi- 
 rlted anfwer of John to ChatiUion, in p. 5— an anfwer, which every Briton reads with tranfport. And 
 for the fame reafon, we muft overlook Queen Ekarwr's mention of the ambitious Conjlance in the fame 
 page, as well as that paflage in p. 21, where the Lady Fakonhridge difcovers to the Bajlard, that 
 CceuT'dc-lion was his father.
 
 ( 5 ) 
 
 Auji. Upon thy cheek I lay this zealous kifs, 
 As feal to this indenture of my love ; 
 That to my home I will no more return, 
 'Till Anglers, and the right thou haft in France, 
 Together with that pale, that white-fac'd fhore, 
 Whofefoot fpurns back the ocean's roaring tides. 
 And coops from other lands her iflanders; 
 Even 'till that England hedg'd in with the main. 
 That water-walled bulwark, ftill fecure 
 And confident from foreign purpofes ; 
 Even 'till that utmoft corner of the weft, 
 Salute thee for her king :* 'till then, fair boy, 
 Willi not think of home, but follow arms. 
 
 Conji. O, take his mother's thanks, a widow's thanks !— 
 
 From the eighth line might be drawn this fcene ; which lies before 
 the walls of Angiers. Lewis the young Dauphin, might be taking Ar- 
 thur kindly by the hand, which will admit of the attitude of Lewis being 
 drawn with much grace. The Arch-duke of Aujlria, and King Philip, 
 may be gazing on Arthur., with generous attachment, and with nearly 
 
 as 
 
 * Shakefpearc omits no opportunity of ctlebrating his country. He has given farther inftances of 
 his attachment to this pale and •white-fac' d Jhore, in many other parts of this play, and particularly, 
 in his generous prophecy at its conclulion. In his Richard II. Henry V. and in Cymbeline, he 
 cannot forget to fpeak of England. How well might Shakefpeare have incfulged the hope of Petrarch— 
 vihen time ('fays Petrarch) •which nothing can rcjift, Jhall have mouldered aivay my tO"'b : the air of this 
 helovcd country, Jhall gently agitate the ajlus it cnclofed. Dennis, in his prologua to Julius Catfar, 
 makes the ghoft of Shakefpeare (who rifes to the harmony of trumpets and flutes) fpeak thcfe lines : 
 
 Oh, may my fcenes he Jllll your chief delight t 
 So may you long he fortunate injight ! 
 So may your glory. Hie my genius/bar. 
 And tovier to heights ye never kneiv before^ 
 
 Milton does not forget his country ; in his Maflc of Comus, he calls it 
 
 • an IJIe, 
 
 The greateji and the heji of all the main.
 
 C 6 ) 
 
 as much afFe£tIon as his mother Conjiance. At a fmall diftance miglit 
 be introduced their troops (but not fuch ragamuffins as are generally 
 painted) with the flag, or colours of France — the introdu61:ion of thefe 
 colours, generally adds a fpirited effedl. The Arch-duke fhould wear 
 the fame bold covering which was worn by Richard Cceur de Lion\ and 
 which may be feen in Vertue's portrait of this Richard. 
 
 Page 49, A61 3, Scene r. 
 
 The fcene almoft immediately preceding this zdi, gives an awful pre- 
 lude to the appearance of Conjiance — for on King P/6////>'j enquiring where 
 Ihe was, he is informed 
 
 She is fad and paffionate at his Highnefs' tent. 
 
 And in this prefent fcene, fhe appears with all the wildnefs of afRi6led 
 agitation. 
 
 It may not be amifs (before we confider the prefent fcene) to quote 
 fome paflTages from all thofe writers who have recorded the excellence of 
 particular adrefles, in this arduous and daring part of Conjiance. But it 
 muft be remembered, that there have been many other aftreffes, who 
 have eminently diflinguiflied themfelves in this part ; and yet whofe 
 merits (in this charader of Conjiance) have not been much recorded iu 
 print. 
 
 ( Mrs. Cl BB ER. ) 
 
 ** This lady, though by much the youngeft aftrefs (I mean in point of experi- 
 ence) on the ftage, has almoft all her time reigned unrivalled in the hearts of the 
 people. There is a delicacy in her deportment, and a fenfible innocence in her 
 countenance, that never tails to prejudice the fpccflator in her favour, even before 
 
 Hie
 
 ( 7 ; 
 
 fhe fpeaks. Nor does Mrs, Cibber's fubfequent behaviour erafe thefe firft impreiTions : 
 her expreffions of the paflion of grief, furpafs every thing of the fort that I have 
 feen. There is a melancholy plaintivenefs in her voice, and fuch a dejedtion of 
 countenance, (without diftortion) that I defy any man, who has the leafl: drop of the 
 milk of human nature about him, to fit out the diftreffes of Monimia and Belvidera, 
 when reprefented by this lady, without giving the mod tender and afFefling teftimonies 
 of his humanity. 
 
 Nor has Mrs. Cibber lefs force (when Ihe pleafes to exert it) in the different modes 
 of rage. There is a wildnefs in her afpeft, and a rapidity in her utterance, that are 
 admirably fuited to the charad:ers of Conjlance in King John, and Alicia in Jane Shore." 
 The Roman and Efiglijh Comedy, confidered ; hy S. Foote, Efq. 8vo. 1747. 
 
 " Whoever obferves Mrs. Cibber, in her repeated playing of Indiana, will find con- 
 tinually fomething new in her manner, her gefture, and deportment. All her atti- 
 tudes in his diftrefs, fpeak the fame emotions of defpair ; but the whole frame is as 
 capable of variety in exprefTion, as the voice. This is not the only proof we have of 
 that adlrefs's really polTefling that enthufiafm of the theatre, on which all great afting 
 depends; and of her perfeftly lofing herfelf in the charader; of her being not Mrs. 
 Cibber, but very Indiana ; very Lady Macbeth ,- and very very Conftance. Her variety 
 is no where feen fo much, as in this laft named charadler : It has been indeed fo great, 
 that many have queftioned whether fhe now played it fo well as fome years lince ; but 
 they anfwer themfelves by the very conduft of the queftion. While one infifts fhe is 
 not equal to her former felf, and another that flie is greater than ever ; enquire more 
 ftrifbly, and you find they faw her on different nights. The queflion is not, whether 
 Mrs. Cibber afted Conjlance better fome years ago or now, but whether flie a£led it bet- 
 ter on Tmfday or on Thurfday; and the whole refult is, that Mrs. Cibber has great va- 
 riety. Thefpirit and gefhire of one night might not pleafe fome; thofe of another 
 night, others; according to their different judgments. Mrs. Cibber is equal and alike 
 worthy their applaufe in all." 
 
 Preface to Riccoboni's History of the Stage. 
 
 " Mrs. Cibber, in the whole fcope of her great excellence, never flieMed her great 
 tragic feelings and exprefiion to more advantage than in Conjlance; there was a natural 
 tendency to melancholy in her features, which heightened in aftion, and became fo 
 true an index of a woe-fraught mind, that with the afliftance of her nightingale 
 voice, fhe became irrefiftible ; and almofl obliged us to forget every other charader 
 4
 
 ( 8 ) 
 
 in raptured contemplation of her merit. Mrs. 21ifes and Mrs, Barry have both pow- 
 erful capabilities for the part, but can never juftly hope to equal their great predeccf- 
 for Mrs, Cibber, who muft be always remembered with pleafure and regret by all per- 
 fons of tafte, 'who had the happinefs to flicd the facrifice of tears at the Ihrine of 
 her melting powers." 
 
 Dramatic Ci;nsor, Vol. 2, 1770. 
 
 " For the laft' twenty years, fhe remained in the quiet pofTefTion of all the capital 
 charafters, and in the hearts of the enamoured public. Her voice was mufically 
 plaintive — in parts of foftnefs and diftrefs, flie appeared tmly amiable — without be- 
 ing remarkable for beauty, genlHity, or elegance of drefs. Of ail the variety and extent 
 of the tragic pafTions, I know of none equal to that of Conftance in King John ; 
 Mrs. Cibber furpafled all that have followed her in that charafter. — When flie entered 
 with difhevellcd hair, and wildnefs in her eyes ! having loft her fon — her pretty Arthur — 
 the Cardinal, and others attempting to comfort her — Ibe funk on the ground — and 
 looking round with a dignified wildnefs and horror, faid, 
 
 Here I and forrow fit !- 
 
 Here is my throne ! — bid Kings come bow to it! — 
 
 Nothing that ever was exhibited, could exceed this pidure of diftrefs ! and nothing 
 that ever came from the niouth of mortal, was ever fpoken with more dignified pro- 
 priety. The late Mrs. IFoffington, who was excellent in many parts of this charadter, 
 could never fucceed in this particular paffage. Mrs. Cibber never executed it without 
 
 a burft of applaufe from the whole audience. 1 have endeavoured to give a very 
 
 faint idea of Mrs. Cibber's excellence in Confiance ! But who can be capable of con- 
 veying to thofe who have not had the delightful fatisfadlion of feeing her, the peculiar 
 looks of diftrefs ! and the powers of her adion, when flie was fully animated with 
 her charafiier ! — 
 
 Victor, vol. 3, p. 80, 1771. 
 
 *' Shakelpeare's King John vsras played with great fuccefs at Drury-lane. The 
 King was perfonated by Mr. Garrick with very great fkill, and unufual energy of 
 aftion ; but it muft be confefled that Mrs. Cibber, by an uncommon pathetic ardor in 
 fpeaking, and a furprifing dignity of aflion and deportment, threw every aftor in the 
 play at a great diftance. This had a greater effeft, from her never having before 
 I attempted
 
 ( 9 ) 
 
 attempted charafters where power of voice and aflion were Co greatly reqiiifite to ex- 
 prefs the pafiions of rage, angiiiflij and defpair." 
 
 LiFJi OF Gar RICK ey Davies, vol. i, p. 29?. 
 
 " Lady Conjtance^s pafllonate effufion of rage, grief, and indignation, from whicR 
 fcarce a hne or thought can be expunged, ro his eternal difgrace, Colley Cibber has 
 either entirely fuppreffed, or wretchedly fpoiled, by vile and degrading interpola- 
 tions : nay, the w hole fcene is fo deformed and mutilated, that little of the creative 
 power of Shakefpeare is to be feen in it. 
 
 To utter, with the utmoft harmony and propriety, all the fucceeding changes of 
 grief, anger, refentment, rage, defpondency, reviving courage,' and animated defi- 
 ance, incidental to Lady Conjlance, and to accompany them with correfpondent pro- 
 priety and vehemence of adlion, was a haijpinefs only known to Mrs. Gibber. Mrs. 
 Hallam wanted not fpirit nor pathos in this part ; nor would Mrs. Fritchard have fallen 
 fo below herfelf, if Colley Cibber had not milled her. To fpealc the truth, Mrs. 
 Gibber has had nofuccefTor in this part but Mrs. l^ates, who yet, it muft be confefTed, 
 notwithftanding her great andjuftly applauded fKill, is inferior. 
 
 When Mrs. Gbbex threw herfelf on the ground, in pronouncing 
 
 -Here I and forrows fit : 
 
 Here is my throne — bid Kings come bow to it. 
 
 her voice, look, and perfon, in every limb, feemed to be animated with the true fpi- 
 rit which the author had infufed into her chara6ter." 
 
 Dramatic ]Miscellanies ey D.wies, vol. 1, p. 34. 
 
 " I have already taken notice of Mrs. Gibber's unconnmon excellence in Conjlance. 
 It was indeed her mofl perfed charafler. When going off the ftage, in this fcene, 
 fhe uttered the words, 
 
 O Lord ! my boy ! 
 
 with fuch an emphatical fcream of agony, as Mill never be forgotten by thofe who 
 
 heard her,'^ 
 
 Dramatic Miscellanies by Davies, vol, i. p. e,:,, 
 
 C The
 
 ( lo ) 
 
 The foregoing extra£ls are all that I have been able to difcover, refpeft- 
 ing the perfonathig of Conjlance by Mrs. Cibber.* And I will now fub- 
 join the very few memorials that I have been able to difcover of other 
 adlrefles having performed Conjlance. — 
 
 " Mrs. Hallam was an adlrefs of fuch uncommon merit, that {he deferves to be 
 particularly remembered. Her performance of Lady Conjlance, was natural and im- 
 paffioned ; though fhe was not fo pathetic in utterance, Ipirited in adhion, or digni- 
 tied in deportment, as Mrs. Cibber in the fame part. 
 
 Dramatic Miscellanies ey Davies, vol. i, p. 7, 
 
 " The 
 
 * The reader may not be dlfpleafec!, in perufing fome other teftlmonies, to the general merit of 
 ilrs. Cibber. 
 
 " from her eye each heartfelt paffion breaks, 
 
 And more than mufic warbles when flie fpeaks :" 
 
 Hoole's Monody on Woffingtom, 
 
 " Form'J for the tragic fcene, to grace the ftage, 
 
 With rival excellence of Love and Rage, 
 
 MiArcfs of each foft art, with matchlefs Ikill 
 
 To turn and wind the pallioiis as fhe will ; 
 
 To melt the heart with lympathttic woe, 
 
 Awake the figh, and teach the tear to flow ; ' 
 
 To put on Freniy's wild diftraded glare, ' , 
 
 And freeze the foul with horror and defpair ; 
 
 Withjuft defcrt enroll'd in endlefs fame, 
 
 Conlcious of worth fuperior, Cibber came." 
 
 Churchill. 
 
 " Her perfon was perfeftly elegant ; for although ilie fomewhat declined beyond the bloom of youth, 
 and even wanted that embon point which fometimes is affillant in concealing the imprelTion made by the 
 hand of time, yet there was fo complete a fymmetry and proportion in the different parts which confti- 
 tuted this lady's form, that it was impoffible to view her figure and not think her young, or look in her 
 face and not confider her handfonie. Her voice was beyond conception plaintive and mufical, yet far from 
 deficirnt in powers for the cxpreffion of refentmentor difdain ; and fo much equal command of feature 
 did nie poffefs, for the repiefentation of pity or rage, of complaifancc or difdain, that it would be dif- 
 ficult to fay, whether ftie aiieaed the hearts of an audience moft, when playing the gentle, the delicate 
 
 Ctlia,
 
 ( " ) 
 
 '* The old man (Cibber) was continually advifing Mrs. Piitchas-d^ who* astSed 
 Lady ConJiancCy to tow her words; bu: flie, by obeying her own feelings^ and lulening; 
 o her own judgment, gained approbation and applaufe ; which was not the c^ 
 
 C % WttJl 
 
 Cella, or the haughty, the refenting //irOTirac ; in the innocent, love fick J'»^<'/, or in the forfaketi, 
 the enr.iged Al'.cia. In a word, through every cad of tragedy (lie was excelleot, and, could we forget 
 the excellence of Mrs. PntcharJ, we Qiouid be apt to fay, iuuiiitable." 
 
 Baker's Biog. Dkam, vol. t. 
 
 " To what I have already faidof Mrs. Ciiher's inimitable po\rer of acting, I have littl- more to add. 
 Her great excell>;nce conlilled in that fimplicity which needed no ornament ; that fenfibility which 
 defpifed all art ; there was in her pcrfon little or no elegance: in her countenance a fm.dl (hare of 
 beauty ; but nature had given her fuch fymmetry of form and fine expreilion of feature, that (lie pre- 
 ferred all the appearance of youth long after (he had reached to middle life. The harmony of her 
 voice was as powerful as the animation of her look. In grief and tendernefs her eyes looked as if they 
 fvvam in tears : in rage and defpair they feemed to dart flaflles of fire. In fpiteof the unimportance of 
 her figure, (lie maintained a dignity in her aflion, and a grace in her ftep.— — — When (he fung in the 
 oratorio of the McfTiah a,t Dublin, a certain bifliop was fo afre(fbcd with the extreme fenllbillty of her 
 manner, that he could not refrain from laying, Woman ! thy Jim he forgiven thee ■'" 
 
 Life ok Gakricki by Davies, vol, j, p. 109. 
 
 But of all the encomiums on the matchlefs Cibber, none equals the Poem to her memory, which 
 Mr. Keate gave the public in the year 1 766. Its length alone prevents me giving it at large (in a 
 note already too much lengthened) — and to give my readers feparated parts, would be deftroying tha 
 harmony of a compolition, diftated by a moft feeling heart, and elevated fancy. I mull:, hovt^ver, 
 quote fomefewof the lines which the TRAGIC MUSE addrelTes to the Qiade of Cibber ; 
 
 Cloi* J are thofe eyes tfyhich knew each vary^J arty 
 
 And all my meaning luithfuch force infpired ; 
 Call' J tears of pity from the melting heart. 
 
 Froze txiith -ivild horror, or ivith ripture Jir^d ! 
 
 By Death'' s cold hand thofe features novj are hound, 
 
 Ihat once could ev'iy change of Pajftan -Mcar .' 
 Mute is that voice, 'uihofe more than magic found 
 
 Stole likefoft mufic on the ravijh'd ear ! 
 
 And fix' d thofe limhs in fi neral iveeds array' J^ 
 
 Us'd to the Jiudied elegance of drefs. 
 That every graceful attitude dlffilay'd. 
 
 Great as thcf: circling, fculptur'd forms exprefs A—
 
 ( ^2 ) 
 
 with his fon Theophilus, who adted the Daupbh?, and Mrs. Bellamy, who aded 
 Lady Blanch : They, by obeying their diredlor's precepts, were moft feverely ex- 
 ploded." 
 
 Dramatic Miscellanies, ey DAVits, vol. i, p. 141. 
 
 We may fuppofe Mrs. Betterton to havd flione in Conftance, from what CoIIey 
 Gibber fays of her : — " Time could not mipair her fkill, though he had brought 
 her perfon to decay. She was, to thelafl, the admiration of all the true judges of 
 nature, and lovers of Shakefpeare, in whofe plays flie chiefly excelled, and without 
 a rival."* 
 
 CiBBEa's Apology. 
 
 And the fame conjecture may be formed of a Mrs. Barry — of whom Gibber thus 
 fpeaks : — " Mrs. Barry, in charaflers of greatnefs, had a prefence of elevated 
 dignity ; her mien and motion fupcrb, and gracefully majeftick ; her voice full, clear, 
 and ftrong, fo that no violence of palHon could be too much for her : and when dif- 
 trefs, or tendernefs poiTefled her, flie fubfided into the moft aflecling melody, and 
 foftnefs. In the art of exciting pity, fhe had a power beyond all the actrelTes I have 
 yet feen, or what your imagination can conceive."t 
 
 Cieber's Apology. 
 
 Though the powers of Mrs. Pritchard, Mrs. Taies, and Mrs. Crawford in the 
 part of Confiance, have not been.much noticed in j)ri/it; yet theatres have given thera 
 loud and generous applaufe : — 
 
 " I have faid more than once, what magnificent horror fhe infufes into pafTages 
 like this, (fpeaking of Mrs. Crawford, in Belvidera) — her Alicia, in Jane Shore; 
 her Conjfuf/ce, \n King John; and Califta, in the Fair Penitent ; are ftriking inftances 
 of that frantic declamation that does not break upon the ear difcordantly, but leaves 
 her hearers wrapt with aftonifliment at her boundlefs powers !" 
 
 Review of Mrs. Crawfosd and Mrs. Siddons, in Belvidera. 
 
 * There is an original portrait of Mrs. Betterton, at Dulvv"ch College— flie appears (fays my inform- 
 ant) to have been a moft beautiful woman, with expreffive eyes, and features ftionLjly marked. 
 
 t The only portrait of jNIrs. Barry, that I have heard of, is at Hampton Court, by Kneller. See 
 
 the Aedes. Walpo. p. 45. 
 
 Ill
 
 ( 13 ) 
 
 In the Scene that we are now gohig to confider; and which paints fo 
 well the paffion and tendernefs of Conflance — there are no lefs than ten 
 fituations which demand the exertion of a fuperior pencil — for in each oi 
 them, C(5;|2/?^«c^ might appear with the moft fpirited advantage. I will 
 tranfcribe the whole of this fcene — and the paflages in Italics? are, per- 
 haps, the points moft likely to ftrike an artift. If one Print only is to 
 be engraved for this fcene ; how are we to detennine from which paf- 
 fage it (hould be taken ? — Were many dcfigns fketched ; tliat defign no 
 doubt would be chofen, which fhould appear, on nice. infpe£tion, to be 
 faultlefs. — 
 
 A£l 3, Scene i. 
 
 Enter Constance, Arthur, and Salisbury. 
 
 Ci,n/i. Gone to be marry'' d ! gone to Avear a peace ! 
 
 Falfe blood to faife blood join'd ! Gone to be friends ! 
 
 Shall Lewis have Blanch ? and Bknch thofe provinces 
 
 1 1 is not fo ; thou haft mif-fpoke, mif- heard ; 
 
 Be well advis'd, tell o'er thy tale again : 
 
 It cannot be ; thou doll but fay, 'tis fo ; 
 
 I truft, I may not truft thee : for thy word 
 
 Is but the vain breath of a common man : 
 
 Believe me, I do not believe thee, man ; 
 
 I have a king's oath to tlie contrary. 
 
 Thou Ihalt be punilh'd for thus frighting me, 
 
 For I am fick, and capable of fears ; 
 
 Opprefs'd with wrongs, and therefore full of fears ; 
 
 A widow, hufbandlcfs, fubj eft to fears; 
 
 A woman, n.itur^lly horn to fears : 
 
 And though ihcu now ccnfefs, thou didft but jeft. 
 
 With my vcxt fplrits I cannot make a tr-itce. 
 
 But they wiil quake and tremble all this day. 
 
 What doH Uiou mean by fliaking of ihy head ? 
 
 ffhy
 
 ( ^4 ) 
 
 Jf'hy dojl than lookfafadly on my fm f 
 W hat means that hand upon that breaft of thine? 
 "Why-liolds thine eye that lamentable rheum. 
 Like a proud river peering o'er his bounds ? 
 Be rhefe lad iigns confirmers of thy words } 
 Tlicn fpcak again; not all thy former tale. 
 But this one word, whether thy tale be true. 
 
 Sah As true as I believe you think them falfe. 
 
 That give you caufe to prove my faying true. 
 
 % 
 
 Cotijl. Oh, if thou teach me to believe this forrow. 
 Teach thou this forrow how to make me die; 
 And let belief and life encounter fo. 
 As doth the fury of two defperate men, 
 Which in the very meeting fall and die. — 
 Lewis marry Blanch ! Oh, boy, then where art than ? 
 
 France friend with England ! what becomes of me ' ; 
 
 Fellow be gone ; / cannot brook thy fight ; ^ 
 
 This news hath made thee a moft ugly man. ^ 
 
 5^/. What other harm have I, good lady, done, < 
 
 But fpoke the harm that is by others done ? i 
 
 
 Conji. Which harm within itfelf fo heinous is, 
 
 As it makes harmful all that fpeak of it. "* 
 
 \ 
 Arth. I do befeech you, madam, be content. 
 
 ConJl. If thou, that bidjl me be content, vjert grim, 
 
 Ugly, and fland'rous to thy mother's womb, 
 Full of unpleafing blots, and fightlefs ftains. 
 Lame, foolifh, crooked, fwart prodigious, 
 Patch'd with foul moles, and eye-offending marks, 
 I would not care, I then would be content; 
 For then I fhould not love thee ; no, nor thou 
 Become thy great birth, nor deferve a crown. 
 But thou art fair ; and at thy birth, dear boy ! 
 l^ature and fortune join d to make thee great : 
 Of nature s gf IS thou mayjl with lillies hoafi. 
 And with the half-blown rofe : but fortune, oh ! 
 
 She
 
 ( 15 ) 
 
 She is corrupted, chang'd, and won from thee ; 
 She adulterates hourly with thine uncle John ; 
 And with her golden hand hath pluck'd on France 
 To tread down fair refpeft of fovereignty, 
 And made his Majefty the bawd to theirs. 
 France is a bawd to fortune, and king John ; 
 That ftrumpet fortune, that ufurpi/ig John :— 
 Tell me, thou fellow, is not France forfworn ? 
 Envenom him with words; orget thee gone. 
 And leave thofe woes alone, which I alone 
 Am bound to under-bear. 
 
 Sal. Pardon me, madam, 
 
 1 may not go without you to the king's. 
 
 Conji. Thou may'ft, thou (halt, / will net go with thee: 
 I will injlrufi my fort o-us to be proud ; 
 For grief is proud, and makes his owner ftout. 
 To me, and to the ftate of my great grief. 
 Let kings aflemble ; for mv grief's fo great, 
 That no fupporter but the hu^e firm earth 
 Can hold it up : here I and forrows fit ; 
 Here is my throne, bid kings come bow to it. 
 
 [Throivs herjelf on the ground.'] 
 
 To paint the wild, impaffioned grief and defpair,* of Conf.ance, and 
 to join with thefe paffious, her fond attachment to Arthur , muft be the 
 painter's objeft in this Icene. And indeed each of the above paflages af- 
 fords fo much fcope for the exhibiting a mafterly difplay of character: 
 that to recommend attitudes, or to. attempt to difplay the varying paf- 
 
 * Though the grief of Co^rt^iTf, at the conclufion of this pref-nt fcene, borders on BeCpair — yet 
 it will be more proper to introduce iTronger marks of that paffion in her countenance, after the battle — 
 as her fon is then taken prifoner, and flie has then, many renfjns to fear, (he rauft never fee him 
 more. 
 
 In the Exhibition of 1779, was ahead oi Defpair, by the late Mortimer. 
 
 fions
 
 ( i6 ) ^ 
 
 fions and fudden tranfitlons of Conftance, would be too alTumlng for the 
 writer of this pro fpeSIus, and would be an infult to each artifl:. That 
 man would pahit ha^pleft, and his conceptions would be moft fine and 
 elevated, who had witneffed the magic powers of Gibber— for j((7j^ gave, 
 every paffage from her heart. 
 
 Some might chufe to paint from that line, where {he alarms the good 
 Salijbury^ with her rapid utterance of 
 
 Fellow be gone ; I cannot hrook thyjight ! 
 
 Or, when fhe herfelf is alarmed, at his looking fo fadly on her fon. — 
 While others might prefer, her clafping the beauteous Arthur by the 
 hand, with all the agitation of her fpirits momentarily fubfiding and 
 giving way to the tranfport with which fhe fpeaks this fond eulogium : 
 
 But thou art fair ; and at thy birth, dear boy ! 
 l^ature and fortune joiiid to make thee great : 
 Of Nature's gifts thou niayfl with lillies boafiy 
 And with the half blown r ofc. — 
 
 I was going to fay, that I fcarce thought a finer fcene could be pro- 
 duced, than from this laft paflage^but when I confider the look which 
 Mrs. Gibber muft have given, when fhe threw herfelf on the ground — 
 and when I refleft on the tremulous voice, and tender entreating man- 
 ner, with which (he muft have fpoken the lines of: 
 
 TVithmy ve»t fpirits I cannot make a truce, 
 But they will quake and tremble all this day. — 
 
 I As
 
 K ^7 > 
 
 As well as/jer attitude, her voice, and her look, when fhe mournfully 
 exclaimed to Salijhury : 
 
 Why does thou look fo fadly on my fon ! 
 
 I own it is not in my power, determlnately to fix on any one paflage.* 
 
 Page 71. 
 
 -If the midnight bell 
 
 Did, with his iron tongue and brazen mouth, 
 Sound one unto the drowfy race of night ; 
 If this fame were a church-yard where we Hand, 
 And thou pofTeffed with a thoufand wrongs — 
 
 When John wifhes to dlfclofe to Hubert, his bloody purpofe — he works 
 on him by guilty paufes, and by looks, more than by fpeech — and if 
 looks fuch as Garrick threw at Hubert could be now retained, we might 
 
 * What fcenes would Shakefpeare have written, had he beheld Mrs. Gibber ! — In his days, it is 
 well known, that no women aded on the Stage — female characters were reprefented by men. 
 
 If Can/lance Ihould be drawn from the firft words in italics, in the above fcene (which fhe fpeaks oa 
 her entrance) — then fee fomewhat of that expreflion which is given to the Tragic Mule, in Pine's print 
 of Mr. Garrick, fpeaking the Ode. 
 
 If flie (hould be drawn from the line of: I ivill irifiru^ my /arrows t» he /r««//.— her countenance 
 flioulJ then be marked with a dignity of/upprejld anguijh. 
 
 D accom-
 
 ( i8 ) 
 
 accompany the page of his own Shakefpeare, with the mofl: bold and 
 expredive painting. + 
 
 John's turbulent and gloomy mind, may be equally well pourtrayed 
 from the following lines, as from thofe above — 
 
 — Do/} thou under/land me ? 
 
 Thou art his keeper. 
 
 Hub. And I'll keep him fo. 
 
 That he Ihall not offend your Majefly. 
 
 John Death. 
 Hub. My Lord? 
 
 " This is one of the fcenes (fays Mr. Stevens) to which may be pro- 
 mifed a lafling commendation. Art could add little to its perfe>5lion ; 
 and time itfelf can take nothing from its beauties." 
 
 f We hare to regret, that the powers of Garrick's ailing in this fcene, are not as faithfully conveyed 
 to us, as Mr; Dance's pencil has preferred him, in another Lharafter : 
 
 Not Garrick\felf, to Shakefpeare'' i fplrlt true, 
 
 Difplay'd that fpirit cUarer to ourvie'W, 
 
 Than Dance exprejfes, in it^jJierceJIJIame, 
 
 The p nt'i ^^eniui In the aHor^ i ft anie. 
 
 From Garr'cFs features ivtth d'firaH'ton fraught. 
 
 He cep'es every trace of Iruuhled thought ; 
 
 And piiiHti, ivhile back the 'Ma-ves of battle roUf 
 
 Thtjiarm of fanguinary Richard's _/»«/. 
 
 Hayley's Epistle to Romney, 
 
 A few words in an Elogefur le KaU, may be applicable to Garrick's expreffion ia this fcene— 
 Ufeufambre et terrible defcs regards. 
 
 See the drefs of John, in a richly engraved mctzotinto from this play, by Val. Green, from after 
 a painting by J. Mortimer. 
 
 1 have
 
 ( 19 ) 
 
 I have made it a point never to omit recommending to my reader's in- 
 fpeftion, any print taken from Shakefpeare, that pofleffed even the fmal- 
 leil: degree of merit — and I am unwilling, therefore, to overlook an idea 
 that is given of 'Eleanor and Arthur^ in the print prefixed to Lowndes's 
 edition of this play, and which print is taken from the prefent fcene — 
 and though the figure of Eleanor is by no means charaiteriftic of the 
 Queen-mother: yet ftill the idea that is there given, is worth improving 
 on. 1 wifh I could recommend the figures of the /iC/wg- and Hubert in this 
 print. 
 
 Page jy 
 
 Conjiance might have been well painted from page ^^^ when (he vents 
 her execration. — 
 
 Arm, arm, you heavens, againft thefe perjured kings ! 
 A widow cries ; be hufband to me, heavens ! 
 Let not the hours of this ungodly day 
 Wear out the day in peace ; but ere fun-fet. 
 Set armed difcord 'twixt thefe perjured kings ! 
 Hear me, oh, hear me ! 
 
 Aujl. Lady Conftance, peace. 
 
 Conji. War ! war ? no peace ' peace Is to me a war. 
 O Lymoges ' O Auftria ! thou doft fhamc 
 That bloody fpoil : Thou flave, thou wretch, thou coward.— 
 
 Thou cold blooded flave, 
 Has thou not fpoke like thunder on my fide ? 
 
 D 2 Been
 
 ( *o ) 
 
 Been fworn my foldier, bidding me depend 
 Upon thy Q.zrs, thy {ortane, and /^^ ftrength? 
 And does thou now fall over to my foes ? 
 Thou wear a lion's hide ! doff it for fliame, 
 And hang a calfs-lkin on thofe recreant limbs ! — * 
 
 And there are doubtlefs many of the above lines, in favor of which 
 much may be faid ; and from which, might be drawn Pl£lures of great 
 expreflion — but I am tempted to overlook them, in order to proceed to 
 a fcene of more importance : — 
 
 Enter Constance. 
 
 X. Phil. Look, who comes here ! a grave unto a foul; 
 Holding the eternal fpirit, againft her will. 
 In the vile prifon of afflifted breath : — 
 1 pr'ythce, lady, go away with me. 
 
 Conji, Lo, now! now fee the iflue of your peace ? 
 
 K. Phil. Patience, good lady ! comfort, gentle Conftancc ! 
 
 ConJi. No, I defy all counfel, ail redrefs, 
 
 But that which ends all counfel, true redrefs. 
 
 Death, death ! — Oh amiable lovely death! 
 
 T hou odoriferous flench ' found rottennefs \ 
 
 ^rife forth ft om the couch of lajl'ing nighty 
 
 7 hou hate and terror tn pojhrity, 
 
 And I ZL'lll kfs thy deteftable bones , 
 
 And put my c\e-bails in thy vanity brows ; 
 
 And. ring thefe fingers with thy houfehold worms; 
 
 And (lop this gafp of breath with fulfome dud. 
 
 And be a carrion monfter like thyfelf : 
 
 * Each line, in this indignant charge, mull penetrate the very heart of y/ay?r/.i : when reproached 
 with the look, the voice, and attitudes of an adlrefs like SiJilons. — How intertlling is jiujlria, in a 
 former fcene, where he fpread* his coloun, in the behalf of Aithur! 
 
 Comtf
 
 r 21 ) 
 
 Come^ grin an me; and I will think thou fmtVJt, 
 And bufs thee as thy wife ! Miferys love. 
 Oh, come to me. 
 
 K. Phil. Oh, fuh afflialon, peace. 
 
 Conjl. No, no, I will not, having breath to cry : 
 
 Oh, that mv tongue were in the thunder's mouth! 
 Tbi'ii -vith a palLon would I Ihake the world ; 
 And roul'e from fleep that fell anatomy. 
 Which cannot hear a lady's feeble voice, 
 Which fcjrns a modern invocation. 
 
 Tand. Lady, you uHcr mudnefs, and not forrow, 
 
 ConJl. Thou art unholy to belle me fo ; 
 
 I am not mad , thh hair I tear is mine; 
 My name is Condancc ; I was Geffrey's wife ; 
 Young Arthur is my fon, and he is loft : 
 I am not mad ; — / would to heaven I zvere ! 
 For then, "'tis like I Ihojald forget myfelf : 
 Oh, if I could, what grief Jhould I forget 1 
 Preach I'ome philoCophy to make me mad. 
 And ihoujhail be canonlzd, cardinal ; 
 For, being not mad, h:\t fenfible of grief, 
 My reafonable part produces reafon 
 How I may be delivered of thefe woes, 
 And teaches me to kill or hang mvfelf: 
 If I were mad, 1 fhould forget my fon ; 
 Or madly think, a babe of dcuts w. re he: 
 1 am not mad ; too well, too well I /eel 
 The difft I er. I plague of each calamity. 
 
 K. Phil. Bind up thole trelTes : Ob, what love T note 
 In the f:'ir niuUitade of thoie ber hairs ! 
 Where but by chance a lilver drop hath fallen, 
 Even to that drop ten thouia-'d wiry friends 
 Do glew themfelvcs in foci:.bie grief; 
 Like trui, infepar^ble faithful loves. 
 Sticking together ni calamity. 
 
 ConJ.
 
 ( Z2 ) 
 
 Conji. To England if you will. 
 
 K. Phil. Bind up your hairs. 
 
 Conjl. Yes, that I will ! And wherefore will I doit 
 
 I tore them from their bonds ; and cry'd aloud, 
 Oh that thefe hands could fo redeem my fon. 
 As they have given thefe hairs their liberty ! 
 But now I envy at their liberty, 
 And will again commit them to their bonds, 
 Becaufe my poor child is a prifoner. — -~ 
 And, father cardinal, I have heard you fay, 
 That we fliall fee and know our friends in heaven ; 
 If that be true, I Jhall fee my boy again ; 
 For, fince the birth of Cain, the firft male-child. 
 To him, that did but yefterday fufpire. 
 There was notfuch a gracions creature born. 
 But now will canker forrow eat my bud, 
 And chafe the native beauty from his cheek, 
 And he will look as hollow as a ghoft ; 
 As dim and meagre as an ague's fit ; 
 And fo he'll die ; and, rifing fo again. 
 When I Jhall meet him in the court of heaven^ 
 I Jhall not know him : : therefore never, never 
 Muji I behold my pretty Arthur more. 
 
 Pand. You hold too heinous a refpefl; of grief. 
 
 Confi. He talks to me, that never had a fon. 
 
 K, Phil. You are as fond of grief, as of your child. 
 
 ConJI. Grief fills the room up of my abfent child, 
 
 Lies in his bed, walks up and down with me ; 
 Puts on his pretty looks, repeats his words. 
 Remembers me of all his gracious parts, 
 Stuffs out his vacant garments with his form ; 
 Then, have I reafon to be fond of grief? 
 Fare you well : had you fuch a lofs as I, 
 
 I could
 
 C 23 ) 
 
 / could give better comfort then you do.~- 
 1 will not keep this form upon my head, 
 
 [ Tearing off her head-dreji\ 
 Wlien there is fuch dlforder in my wit. 
 O Lord I my boy, tny Arthur, my fair fon ! 
 My life, my joy, my food, my all the world! 
 My widow-comfort, and my forrow's cure ! \_Exit.'\ 
 
 I have marked in Italics thofe lines which ftruck me as being the heft 
 adapted for the furnifhing expreffive Paintings — and if we rejedl the paint- 
 ing Conjlance and the other chara£lers, at the moment of her Ipeaking 
 the apodrophe to death — or from her affedling requeil of 
 
 Arfcrys love. 
 
 Oh, come to met 
 
 accompanied with the tender foothing of King Philip — or if we rejeft 
 the painting her from thofe lines where fhe fears ntver to behold her Ar- 
 thur more — or from her contemptuous look at the proud Pandolph — yet, 
 we ought by no means to pafs over that paflage, wlii^h Mrs. Gibber ut- 
 tered with a fcreamof agony, and with a wildnefs, the remembrance of 
 which is not yet erafed from the minds of her furvlvlng admirers — indeed 
 the plainrlvenefs of Gibber's voice — thegrief painted in her countenance — 
 and the truly tender tone with which (he gave the former pallages of this 
 fcene, never failed to draw as abundant tears from the i.oufe, as her en- 
 thufiafllc utterance of this following paflage chilled every auditor : — 
 
 / ivill not keep this foi m upon my head, 
 JVhcn ihire is /i<eh dijoidei in my ivit.* 
 Lord I my boy, my Ai ihur, tnyja.ir fon t \ 
 
 * In Bell's firft edition of this play, is a beautiful print of Lady Cnnjlance, taken from thefe nvo 
 firft lines ; and though it poffelles the moft l\» ect gra.e ; vet I forbear t6 lecoinmend its infenion in 
 any future pr jefted edition, from it'a being wanting in that txprcffion of luiU Jefpair, which it fo ef- 
 fentially required in thefe lines. 
 
 f See Davies's account of Gibber's fpeaking this line, in a former page of this profpcHui. 
 
 The
 
 ( H ) 
 
 The deep lamentation of Conjlance^ reminds one of the tender luies In 
 Henry VI. 
 
 Afv heart, fwcet hoy, /hall be thy fcpulchrc. 
 For from mine heart thine ima^c ne'er JJ)all go. 
 Afyjighhig hreaftj?}all be thy funeral bell ; 
 jindfo obfequious will thy father be,* 
 Sad for the kfs of thee, having no more, 
 Ai Priam was for all his valiant fans. 
 
 Pap-e 80. 
 
 The deep policy of Pandolph, ismofl: mafterly drawn In this page — he 
 has meditated the invafion of England ; and he now works up to his pur- 
 pofe the Dauphin Lezvis, with language the moft fpirited and forcible. 
 This ho/y Cardinal, feemsone of thofe fpirits, who would fet even 
 
 the afpiring Cataline tofchool. — 
 
 and he enforces his arguments by prophetic, and by moft ardent expe«5i:- 
 ation of fuccefs. There are many parts of his fpeech, from whence the 
 flrong lines of his charafter might be caught — and perhaps the follow- 
 ing paffages would not be inadequate ones : 
 
 Page 80. Pand. A fcepter, fnatcli'd with an unruly hand, 
 
 Muft be as boifleroufly maintained, as gain'd. 
 
 Page 80. Pand. the times confpire with you ! 
 
 Dr. Johnfon obferves, that this word olfcqulou!, means, careful of obfequies or of funeral rites. 
 
 Page
 
 C 25 ) 
 
 Page 81. Pand. O, Sir! 
 
 Or, at thefe fpirit-ftirrlng lines of: 
 
 Page 81. Band. Methinks, I fee this hurly all on foot ! 
 
 And, O, what better matter breeds for you. 
 Than I have named ! 
 
 Page 81. Pand. For England go !— 
 
 The fingular drefs of Pandolph, will not be unpleaflng. But it is un- 
 pleafing thus to give my reader fcraps of fcenes^ I truft, however, that 
 the Shakefpearean reader, will accompany me with the lafl: edition of 
 Johnfon and Steevens. 
 
 Page 82. 
 
 * 
 
 NartBampton. A Room inthe Cajik. Enter Hue^kt and Executioners, 
 
 Hub^ Heat me thofe irons hot; and, look thou fland 
 Within the arras : when I ftrike my foot 
 Upon the bofom of the ground, rulh forth ; 
 And bind the boy, which you fhall find with me, 
 Faft to the chair : be heedful: hence, and watch. 
 
 Exec, I hope, your warrant will bear out the deed. 
 
 Hub, Uncleanly fcruples ! Fear not you : look to't.— 
 f [Exeunt Executioners. 
 
 Young lad, come forth , I have to fay with you. 
 
 * The young Prince might be well drawn in page 70, »t the line of — O, this will male wy motber- 
 dicuiiib grief-^hw. 1 have pafled over that tender line, in order to haflen to this prefcnt fcene. 
 
 E E»ter
 
 ( ^6 ) 
 
 Enttr Arthur. 
 
 jirth. Good morrow, Hubert. 
 
 Hub. Good morrow, little prince. 
 
 Jrth. As little prince (having fo great a title 
 
 To be more prince) as may be. — You are fad- 
 
 Hub. Indeed, I have been merrier. 
 
 jirth. Mercy on me ! 
 
 Methinks, no body fhould be fad, but I : 
 Yet, I remember, when I was in France, 
 Young gentlemen would be as fad as night. 
 Only for wantonnefs, By my chriftendom. 
 So I were out of prifon, and kept fheep, 
 I fhould be as merry as the day is long; 
 And fo T would be here, but that I doubt 
 My uncle praftifes more harm to me : 
 He is afraid of me, and I of him : 
 Is it my fault that I was Geffrey s fori ? 
 No, indeed, is't not; And I would to heaven, 
 I were your fon, fo you would love me, Hubert. 
 
 Huh. If 1 talk to him, with his innocent prate 
 He will awake my mercy, which lies dead : 
 Therefore I will be fudden, and difpatch. {^Afde. 
 
 Arth. Are you fick, Hubert ? you look pale to day r 
 In footh, I would you were a little fick ; 
 That I might fit all night, and watch witli you : 
 I warrant, I love you more than you do me. 
 
 Huh. His words do take poffeflion of my bofom. — 
 
 * Read here, young Arthur — [_Sheu)inga Paper, 
 
 How 
 
 * What an .ittltude and expreffion might be given to Arthur, when he reads this warrant ! and what 
 conflifting paffions might be painted in the countenance of Huhrf\ — I could mention one or two ideas, 
 vrhich I have met with ia the prdduftioa of artifts : fonsewhat fimular and correfpondent to what I now 
 
 allude
 
 ( 27 ; 
 
 How now, foolifli rheum ! [_JJidt. 
 
 Turning difpiteous torture out of door? 
 
 I muftbe brief; left refolution drop 
 
 Out at my eyes, in tender womanifli tears.— 
 
 Can you not read it? is it not fair writ? 
 
 ^rth. Too fairly, Hubert, for fo foul efFeft : 
 
 Muft you with hot irons burn out both mine eyes ? 
 
 Hub, Young boy, I muft. 
 
 j^rth. And will you f 
 
 Huh. And I will. 
 
 Arth. Have you the heart ? when your head did but ake, 
 I knit my handkerchief about your brows 
 (The beft I had, a princefs wrought it me). 
 And I did never alk It you again : 
 And with my hand at midnight held your head ; 
 And, like the watchful nrlnutes to the hour, 
 Still and anon cheer'd up the heavy time ; 
 Saying, What lack you? and. Where lies your grief ? 
 Or, What good love may I perform for you? 
 Many a poor matC i fon would have lainjl'ill. 
 And ne'er havefpoke a loving word to you; 
 But you at your lick fervice had a prince. 
 
 allude to — but the advice of Guide, deters me — " What model (faid a Bolognefc nobleman to Guido) 
 *' fupplies you with the divine and graceful air of your female heads ? I'll ftiew you, replied the ar- 
 " tift, and calling his colour grinder, a great lubberly brawny fellow, with a brutal countenance, he 
 " bad hhn fit down, turn his head, and look up to the Iky; and then, taking his chalk, drew a Mag- 
 *'■ dalen : and when the nobleman faw, with aftonifliment, an angelic figure arifing from the attitude, 
 " lights and fliadows of the colour-grinder, Guido addrefled him in the following words : My dear 
 " Count, there is no enchantment here ; but tell your painter, that the beautiful and pure idea muft 
 " be in the mind, and then it is no matter what the model be." I cannot however prevent, requefting 
 my reader to look at the more than human expreffion of the Infant, in a print from after Lc Noir, en- 
 graved by John Clarke, pupil to Mr. Battolozzi, from a pi<flure in the collefloncf Mr. Duane. 
 
 The Vignette in Bell's laft edition of this play, (and which is taken from this prefent fcene; is not 
 I think fo happily conceived, as it might have bc«n. 
 
 E 2 Nav
 
 ( 28 ) 
 
 Nay, you may think, my love was crafty love, 
 
 And call it, cunning: Do, an if you will; 
 
 If heaven be pleas'd that you muft ufe me ill, 
 
 Why, then you muft. — Will you put out mine eyes ? 
 
 Thefe eyes, that never did, nor never fhall, 
 
 So much as fiown on you ? 
 
 Hub. I have fworn to do it ; 
 
 And with hot irons muft I burn theni ou. 
 
 jirth. If an angel fhould have come to me. 
 
 And told me, Hubert fhould put out mine eyes, 
 I would not have believ'd him ; no tongue, but Hubert's. 
 [HuBERT_/?a»i^5, and the Men enter. 
 
 Hub, Come forth ; do as I bid you do, 
 
 Arth. O, fave me, Hubert, fave me ! my eyes are out, 
 Even with the fierce looks of thefe bloody men. 
 
 Hub. Give me the iron, I fay, and bind him here. 
 
 Arth. Alas, what need you be fo boifterous rough ? 
 I will notftruggle, I willftand ftone-ftill. 
 For Heaven's fake, Hubert; let me not be bound ! 
 Nay, hear me, Hubert! drive thefe men away. 
 And I will fit as quiet as a lamb ; 
 I will not ftir, nor wince, nor fpeak a word. 
 Nor look upon the iron angrily : 
 Thruft but thefe men away, and I'll forgive you. 
 Whatever torment you do put me to. 
 
 Hub, Go, ftand within ; let me alone with him. 
 
 Exec. I am beft pleas'd to be from fuch a deed. 
 
 {^Exeunt. 
 
 Arth. Alas, I then have chid away my friend ; 
 
 He hath a ftern look, but a gentle heart : — 
 Let him come back, that his compaffioii may 
 Give life to your's. 
 
 Huh.
 
 ( 29 ) 
 
 Hub. Come, boy, prepare yourfclf. 
 
 ylrth. Is there no remedy ? 
 
 Hub. None, but to lofe your eyes. 
 
 jlrth. O heaven ! that there were but a moth in yours, 
 A grain, a duft, a gnat, a wand'ring hair, 
 Any annoyance in that precious fenfe ! 
 Then, feeling what fmall things are boifterous there, 
 Your vile intent muft; needs feem horrible. 
 
 Hub. Is this yourpromifer go to, hold your tongue. 
 
 ^rth. Hubert, the utterance of a brace of tongues 
 Muft needs want pleading for a pair of eyes : 
 Let me not hold my tongue ; let me not, Hubert ! 
 Or, Hubert if you will, cut out my tongue, 
 So I may keep mine eyes ; O, fpare mine eyes ; 
 Though to no ufc, but ftill to look on you ! 
 Lo, by my troth, the inftrument is cold, 
 And would not harm me. 
 
 Hub. I can heat it, boy. 
 
 jirth. No, in good footh ; the fire is dead with grief, 
 , Being create for comfort, to be us'd 
 
 In undeferved extremes : See elfe yourfelf ; 
 
 There is no malice in this burning coalj 
 
 The breath of heaven hath blown his fpirit out, A 
 
 And ftrew'd repentant alhes on his head. 
 
 Hub. But with my breath I can revive it, boy. 
 
 ^rih. And if you do, you will but make it blu(h. 
 
 And glow with Ihame of your proceedings, Hubert; 
 
 Nay, it, perchance, will fparkle in your eyes ; 
 
 And like a dog, that is compelled to fight, 
 
 Snatch at his mafter that doth tarre him" on. 
 
 All things, that you Ihould ufe to do me wrong. 
 
 Deny their office ; only you do lack 
 
 That mercy, which fierce fire, and iron, extends. 
 
 Creatures of note for mercy-lacking ufes. 
 
 I Hui. 
 
 I
 
 ( 30 ) 
 
 Hub. Well, fee to live ; I will not touch thine eye 
 For all the treafure that thine uncle owes : 
 Yet am I fworn, and I did purpofe, boy, 
 With this fame very iron to burn them out. 
 
 ^nh. O, now you look like Hubert ! all this while 
 You were difguifed. 
 
 Hub. Peace : no more. Adieu ; 
 
 Your uncle muft not know but you are dead. 
 I'll fill thefe dogged fpies with falfe reports. 
 j^nd, pretty child, JJecp doubtlefs, and fecure, 
 that Hubert, for the wealth of all the world. 
 Will not offend thee. 
 
 Arth. O heaven ! — I thank you, Hubert. 
 
 Huh. Silence ; no more : Go clofely in with me; 
 
 Much danger do I undergo for thee.* [Exeunt. 
 
 The above is one of thofe fcenes, that want " no khid entreaty to 
 attend to them" — and the tears that flow from an artifl on the perufal, 
 will beft guide his pencil in painting the tender and eloquent pleading of 
 Arthur: in a ftyle, if poffible, equal to that pathetic which Shakefpeare 
 has exhibited. 
 
 How would Albano, or Titian, have painted ^r//6«r — and how might 
 Sir Joftiua Reynolds paint him ! — the portrait of Edwin, from Beattie's 
 Minflrell, and the entreating look and attitude of one of the children in 
 Ugolino, will convince us what fine expreflion he would give to Arthur — 
 and the very foul of the dark but relenting Hfibert, would be conveyed 
 to us, through his pencil. 
 
 * The paffions of the audience, durhig this terrible fcene, are fufpended between hope and fear, 
 between appreheniion of the prince's death and expeilation of Hubert's rcmorfe. It is with pleafure 
 I have obferved a thoufand melting eyes refurae their luftre, when Hubert quits the bloody purpofe, 
 and embraces the child. 
 
 Dramatic Miscellanies by Davies, vol, i, p. 65. 
 
 ' The
 
 ( 31 ) 
 
 The expreffion in the face of jirthur, ihould be what we have reafon 
 to fuppofe the meek difpofition of Raffaelle gave him, at his age of ten 
 or twelve years old. He fhould be what Shakefpeare's Fidele was : a moji 
 rare boy of melancholy.^ 
 
 But to enable ourfelves fllll better to pencil the innocent youth of j^r- 
 ihur (as well as the other fcenes of our great dramatift) — we fliould ob- 
 ferve the advice laid down in " a Difcourfe delivered to the Students of 
 the Royal Academy, on the diftribution of the prizes, December roth, 
 1784" — for we are there told, that the habit of contemplating and brooding 
 over the ideas of great geniiifes, till you find yourfef warmed by the contact, is the 
 true method of forming an art ijl- like mind; it is impofjible in the prefence ofthofe 
 great men, to think, or invent in a mean manner : a fate of mind is acquired 
 that is difpofed to receive thofe ideas only which reli/l) of grandeur andfhnpUcity^ 
 
 Page 91. 
 
 A groupe of mofl: expreffive figures might be taken from this page, 
 at the moment of Hubert'' s informing the King, that Arthur is difpatched. 
 For Pembroke and Salifury, fufpefting from the clofe afpe£t of Hubert^ 
 fome vile errand : fix their eye ftrongly on them both — and Salijhury ob- 
 ferves that 
 
 The colour of the King doth come and go 
 Between his purpofe and his confcience. 
 Like Heralds 'twixt two dreadful battles fent. 
 
 * See the young Prince, in Cypriani's print of the Queen of Edward IV, — the Vignette to the Le- 
 gendary Tale of Richard III. — Venue's print of the tender youth of Edward VI.— Mr. Gainsbo- 
 rough's print of a Shepherd — and fee the drawing By Shelley, in vol. i . of '»■ The Artlll's Re^ofitory," 
 lately printed for Wilhams, No. 43, Holborn, I do not exhibit this laft, as conveying the idea of 
 Arthur : yet ftlU it has too much merit to be overlooked, 
 
 a Or,
 
 ( 3^ ) 
 
 Or, what looks would this fubfequeiit pafTage require from John — 
 and what ftrongly expreffive ones fhould be given to Lord Pembroke and 
 SaUJhury, when "John (knowing they fufpeifl him of the murder) thus 
 addreffes them : 
 
 Why do vou bend fuch folemn brows on me f 
 Think you, I bear the Iheers of deftiny ? 
 Have I commandment on the pulfe of life ?— 
 
 The countenance of Hubert^ will fhew the mood of a much troubled 
 Ireaji. 
 
 Lord Salijbury was one of thofe, who went to feek the grave of Arthur. 
 
 Page c): 
 
 King John's fituation is now become exceedingly embarraffed. He 
 fears the revolt of Pembroke and Salijbury — and ftill further to encreafe 
 his perturbation, a meffenger arrives, with tidings of an immenfe army 
 having landetl to attack him — On news fo alarming and unexpeded : 
 he rapidly cries out — 
 
 K. John, O, where hath our intelligence been drunk ? 
 
 Where hath it flept ? Where is my mother's care ? 
 That fuch an army could be drawn in France, 
 And Ihe not hear of it ? 
 
 Mcf, My liege, her ear 
 
 Is ftopt with dull : the firft of April, dy'd 
 Your noble mother : And, as I hear, my lord.
 
 ( 33 ) 
 
 7^<r lady Confianct in a frenzy dyd * 
 
 Three days before : but this from rumour's tongue 
 
 I idly heard; if true, or falfe, I know not. 
 
 ^ "John, Withhold tliy fpeed, dreadful occafion ! 
 
 O make a league with me, 'till I have pleas'd 
 My difcontented peers ! — What ! mother dead ? 
 How wildly then walks my eftate in France ? — 
 Under whofe condudl came thofe powers of France, 
 That tliou for truth giv'fl out, are landed here ? 
 
 Mef. Under the Dauphin. 
 
 Enter Faulconbridge a«^ Peter, of Pomfret. 
 
 K. John. Thou haft made mc giddy 
 
 With thefe ill tidings. — Now, what favs tlic world 
 Tjo your proceedings? do not feek to (luff 
 My head with more ill news, for it is full. 
 
 Fatil. But if you be afeard to hear the worft. 
 
 Then let the worft, unheard, fall on your head» 
 
 * The Dtath efLady Conji-anct, inigkt produce as fine a plclure as the Death ef Ch»patra ; and de- 
 ferves to be as much immortalized by the ideal conceptions of great painters. She might be drawn at 
 the moment of her grieved fplrit departing " from the prifon of afflided breath" — and it would require 
 no common pencil to delineate (fuitable to the wild fancy of Shakefpeare) the agonized frenzy of her 
 lail fcene (not overftepping however the propriety of nature) — and to imprint at the fame time on her 
 countenance, the foftened marks of a fublime grief. 
 
 With what fpirited ardour might ^ohn he drawn, when blaming, to the melTenger, the delay of hit 
 intelligence — Shakefpeare has infufcd in this rapid utterance (as well es in a fubfequent one which he 
 addreffes to i<'<t/fan^r/<^f ) the fpirit of his own iJ/V/'ar^/ — And how finely might be painted his ftart 
 and look, when he is told of his mother^s death — Nor would lefs exertion of the pencil be require!, 
 Vi paint his attitude, and dark uplifted afpeft, at the invocation of 
 
 Withhold thy f peed f dreadful occafcnJ 
 
 But the paflages in our author, which are calculated to exercife the powers of an artlft, are of fuch 
 extenfive and almoll unlimited variety, that we are compelled to rclinquifli and pafs over numbcrlefs 
 fcenesand paffages, which might othcrwife have embelliQied an edition, with the aobleft engravings. 
 
 F K. Johu.
 
 ( 3+ ) 
 
 K. John. Bear with me, coufin ; for I was amaz'd 
 Under the tide : but now I breathe again 
 Aloft the flood ; and can give audience 
 To any tongue, fpeak it of what it will. 
 
 Faul. How I have fped among the clergymen, 
 The fums I have collefted fliall exprefs. 
 But, as I travelled hither through the land, 
 I find the people ftrangely fantasy'd ; 
 Poffefled with rumours, full of idle dreams ; 
 Not knowing what they fear, but full of fear ; 
 And here's a prophet, that I brought with me 
 From forth the flreets of Pomfret, whom 1 found 
 With many hundreds treading on his heels ; 
 To whom he fung, in rude harfli founding rhymes. 
 That, ere the next afcenfion day at noon. 
 Your highnefs fliould deliver up your crown. 
 
 K. John. Thou idle dreamer, wherefore did'ft thou fay fo ' 
 
 Peter. Fore-knowing that the truth will fall out fo. 
 
 K. John. Hubert, away with him ; imprifon him ; 
 
 And on that day at noon, whereon, he fays, 
 I Ihall yield up my crown, let him be hang'd : 
 Deliver him to fafcty, and return, 
 For I muft ufe thee. — O my gentle coufin, 
 
 [Exit Hubert with Petee.^ 
 Hear'ft thou the news abroad, who are arriv'd? 
 
 Faul. The French, my lord ; men's mouths are full of It : 
 Befides, I met lord Bigot, and lord Sallfbury 
 (With eyes as red as new-enkindled fire), 
 And others more, going to feek the grave 
 Of Arthur, who, they fay, is kill'd to-night 
 On your fuggeftion. 
 
 K. John, Gentle kinfman, go. 
 
 And thruft ihyfelf into their companies : 
 I have a way to win their loves again; 
 Bring them before me, 
 
 Faul,
 
 ( 25 ) 
 
 Faul. I will feek them out, 
 
 K, John, Nay, but make hafte ; the better foot before.— 
 O, let me have no fubjeft enemies, 
 When adverfe foreigners affright my towns 
 With dreadful pomp of ftout invafion ! 
 Be Mercury, fet feathers to thy heels ; 
 And fly, like thought, from them to me again. 
 
 Paul. The fpirit of the time fhall teach me fpced. 
 
 \_Exit. 
 
 K. John. Spoke like a fprightful noble gentleman. 
 Go after him ; for he, perhaps, fliall need 
 Some meflenger betwixt me and the peers ; 
 And be thou he. 
 
 Mef. With all my heart, my liege. \Exit. 
 
 K. John. My mother dead ! 
 
 Re-enter Huhert. 
 
 Hub. My Lord, they fay five moons were feen to-night : 
 Four fixed ; and the fifth did whirl about 
 The other four in wond'rous motion. 
 
 K. John, Five moons ! t 
 
 Hub. Old men, and beldams, in the ftreets 
 Do prophecy upon it dangeroufly : 
 
 •j- Shakefpeare well knew the fuperftition of the times he is now defcriblng : and has therefore added 
 frelli terror to the imaguiation of John, by alarming hhn with this portentous omen. He has no doubt 
 taken the idea, from this pafHige of his old friend honcft Hollnflied : — KhawH tTic moneft) of DcceinScr, tTictt 
 lactc feme in t^e ptobincc of £otl;e f^bc mooncs, ohc in rtc wRe, tTjc tcoutie in t'oc VocSc, tTjt tijprBf in tk timtljc, tf)c &iwl)e 
 in tit fmtt^e, auD tijc fifrfjf as it lucre fct in t(K miDacs of tiie otfict, iaijiuj iii.m? ffarreg aboute it, ana tonit toe or Hfc t?ints in 
 coii!iJarsinn;t|)eotT)cr, asitlumtljcrparcofonriout, auDiIjottlj aftcrijaniaca alB.ij. No pen ever touched on the 
 tnarvellou5, or on portentous imagery, with the magic of Shakefpeare. In his Richard II. we have 
 an admirable inftance of the awful colouring his genius gave to thefc fubjefts. 
 
 F 2 Young
 
 ( 36 ) 
 
 Young Arthur's death is common in their mouths t 
 
 And when they talk, of him, they fhake their heads. 
 
 And whifper one another in the ear; 
 
 And he, that fpeaks, doth gripe the hearer's wrift j 
 
 Whilft he, that hears, makes fearful aftion 
 
 With wrinkled brows, with nods, with rolling eyes, 
 
 Ifaw ajmhhjland 'with his hammer, thus, 
 
 ^he wh'iljl his iron did on the anvil coot, 
 
 TVith open mouth fwallovcing a tailar'^s news,*' 
 
 Who, with his fhears and meafure in his hand. 
 
 Standing on flippers (which his nimble hade, 
 
 Had falfely thruft upon contrary feet) 
 
 Told of a many thoufand warlike French, 
 
 That were embattled and rank'd in Kent .•■ 
 
 Another lean unwafh'd artificer 
 
 Cuts off his tale, and talks of Arthur's death. 
 
 K, John. Why feck'ft thou to poflefs me with thefe fears ?t 
 Why urges thou fo oft young Arthur's death ? 
 Thy hand hath murder'd him : I had a mighty caufe 
 To wiih, him dead,, but thou had'ft none to kill him. 
 
 Hub. 
 
 • Tliere are two prints already publiflied from thefe lines^one of them is painted by Donaldfon, 
 and engraved by Finlayfoii — and the other is painted by Penny. Not having either of the prints be- 
 fore me, prevents me faying how far either of them might be fafely recommended to accompany the 
 page of Shakcfpeare. I but faintly recoUeft cither of them ; but one of them, I know is much fu- 
 perior to the other. When one of thefe is felefted as preferable to the other : there might then be in- 
 troduced fuch alterations as would render it faultlcfs"— and in that ftate it might be engraved to accom- 
 pany an edition. 
 
 A £iK caricature might be fketched from thefe lines : 
 
 Old mtn, ar.d heldami it the Jireeii 
 D» prophecy upon it dangeroujly, 
 
 ■f What ftrong colourings of the human pafflons, are given in the remaining part of this fc«ne !>— • 
 the merit of which is fo great, that it fliould be accompanied by none but the moft mafterly defigns. 
 Had Salvator Rofa read Shakefpeare, he probably would have painted from Macbeth — but his mind 
 might have been abforbed in the dark fpirit of this fcene. Among other reafons which lead me to con- 
 jedure, that Salvator would have chofca Macbeth, I give the following account of a picture by him— 
 
 '- V A
 
 ( Z1 ) 
 
 Huh. Had none, my Lord ? why, did not you provoke me ? 
 
 K. 'John. It Is the curfe of kings, to be attended 
 
 By flavcs, that take. their humours for a warrant 
 To break within the bloody houfe of hfe : 
 And, on the winking of authority, 
 
 " A moft capital picture by Salvator (fays Pllkington) is at Verfailles, of which the fubjed is Saul 
 •• and the Witch of Endor ; and that fingle performance, difplays the merit of the painter in the ftrono-eft 
 "point of light. The attitude of Saul is majeftick, while the exprcffion in his countenance is a judi- 
 " cious mixture of anxiety of heart, andeagernefs for information. It is alfo obferved by good judges 
 " that there is a dignity in the charafter of the witch, but it is a kind' of dignity, very different from 
 *' that of the monarch ; it is enthufulra." 
 
 Thofe who have witnefTcd the intelligence of Garrick's eye, and the fupreme power which he poflTef- 
 fedover every feature and every pallion of the human bread, are beft enabled to determine, which of the 
 above lines would furnifli the beft fubjeft for an artift. We have now indeed at this day, much reafoa 
 to feel the force of Gibber's exclamation, that the anunateJ graces of the player can live no longer than 
 the injlant Irtath and motion that pre funis them ; or at bejl can hut faintly glimmer through the memory^ 
 ' er impcrfell aitcfation of afe-vsfurviving fpeHators. At the reprefentation of this trao-edy on the 
 ftage, we now look in vain for him who (hould be there — and whom we could have wilhed to hare de- 
 tained a little longer — for the turbulent and gloomy paffions of John, muft not now be espedled to 
 receive the charadler which Garrick gave them. Each fucceeding day, now leffens the remembrance 
 of talents — to the pofleflbr of which, might juftly have been applied the compliment given to La Rive: 
 
 Melpominc a tes mains, conjia sis poignardst 
 
 Davies, thus fpeaks of the adors of fohn, ia the prefent fcene .— 
 
 " Delane and Moflbp wanted neither fire nor force to exprefs anger, rage, and refentmcnt, with 
 ** truth and vigour. Sheridanand Quin, endowed with lefs power, were obliged to fupply that requilitc 
 "by art. Here Garritk reigned triumphant : he was greatly fuperior to them all. His aclion wag 
 " more animated j and his quick tranfitious from one paffion to another, gave an excellent portrait of 
 *' the turbulent and dirtrafted mind of John. When Hubert fliewed him his warrant for the death 
 *' of Arthur, faying to him, at the fame time. 
 
 Here is your hanti andfeal for tvhat 1 diJy 
 
 " Garrick fnatchcd the warrant from his hand, and grafping it hard, in an agony of defpalr and horror* 
 *' he threw his eyes to heaven, as if fclf convi(5led of murder, and (landing before the great Judge of 
 ?' the quick and the dead, to anfwer for the infringement of the Divine command." 
 
 To
 
 ( 38 ) 
 
 To underftand a law ; to know the meaning 
 
 Of dangerous majefty, when, perchance, it frowns 
 
 More upon humour than advis'd refpeft. 
 
 Huh. Here is your hand and feal for what I did. 
 
 K, yohn. Oh, when the loft account ^twlxt heaven and earth 
 Is to be made, thenjhall this hand and feal 
 Wilncfi agatnji us to damnation / J 
 How oft the fight of means to do ill deeds. 
 Makes deeds ill done. Had'fl not thou been by, 
 A fellow by the hand of nature mark'd, 
 Quoted, and fign'd to do a deed of fhame, 
 This murder had not come into my mind : 
 But, taking note of thy abhorred afpeft. 
 Finding thee fit for bloody villany. 
 Apt, liable to beemploy'd in danger, 
 I faintly broke with thee of Arthur's death; 
 And thou, to be endeared to a king, 
 Madft it no confcience to deftroy a prince. 
 
 Hub. My lord 
 
 K. John. Hadft thou butfliookthy head, or made a paufc. 
 When I fpake darkly what I purpofed ; 
 Or turn'd an eye of doubt upon my face; 
 Or bid me tell my tale in exprefs words ; 
 Deep fhame had flruck me dumb, made me break off. 
 And thofe thy fears might have wrought fears in me : 
 But thou didfl underftand me by my figns, 
 And didft in figns again parley with fin ; 
 Yea, without ftop, didft let thy heart confent. 
 And, confequently, thy rude hand to aft 
 The deed, which both our tongues held vile to name.— 
 
 J Pee tVie look of jfol»i in a mctzotinto enj^raved by Val. Green, from after J. Mortimer, of Powell 
 and Bciiflcy, in the charafters of Jo/'/t and Hi/hert. The landfcape, and engraving of this print are 
 very rich, — but Huhtrt is not fo well drawn. This print was taken from page 117. 
 
 It would be injiiftice to Mr. Benfley not to declare, that his reprefcnta^o« of Hubert, h?s erer been 
 jnoft faithful and fpirited. 
 
 I Out
 
 ( 39 ) 
 
 Out of my fight, and never fee me more ! 
 
 My nobles leave me ; and my ftate is brav'd, 
 
 Even at my gates, with ranks of foreign powers : 
 
 Nay, in the body of this flelhly land, 
 
 This kingdom, this confine of blood and breath, 
 
 Hoftility and civil tumult reigns 
 
 Between my confcience, and my coufin's death. 
 
 Huh. Arm you againft your other enemies, 
 
 I'll make a peace between your foul and you. 
 
 Young Arthur is alive : This hand of mine 
 
 Is yet a maiden and an innocent hand. 
 
 Not painted with thecrimfon fpots of blood. 
 
 Within this bofom never entered yet 
 
 The dreadful motion of a murd'rous thought,. 
 
 And you have flander'd nature in my form ; 
 
 Which, howfoever rude exteriorly, 
 
 Is yet the cover of a fairer mind 
 
 Than to be butcher of an innocent child. 
 
 K. yohn. Doth Arthur live? O haftethee to the peerSy 
 Throw this report on their incenfed rage. 
 And make them tame to their obedience ! 
 Forgive the comment that my paffion made 
 Upon thy feature; for my rage was blind,. 
 And foul imaginary eyes of blood 
 Prefented thee more hideous than thou art^ 
 Oh, anfwer not ; but to my clofet bring 
 The angry lords, with all expedient hafle : 
 I conj ure thee but flowly ; run more faft,. 
 
 \_Exeunt: 
 
 Pnge
 
 ( 40 ) 
 
 aee 10 2. 
 
 When the lords have refolved not to ftaui their pure honours, by 
 Johihig in the approaclung battle with the guilty king — whofe foot 
 leaves the print oj blood where- e'' er it walks — they are fuddenly ftruck with 
 the dead body of ^r//j«r, beautifully cloathed in a y7;;'6-/5oy'jy^;;z3/^«Ci?, the 
 better to favour his efcape from the caftle, in defcending from the walls 
 ■of which he loft his life — And this prefent fcene might be taken either 
 from tlie appearance of Arthur^ when fupplicating the ground to hurt 
 him not: afliltcd with the fccnery of the embattled walls, and gothic 
 appendages of Northampton caftle : — Or from the attitudes and corref- 
 ponding looks oi Bigot, Pembroke,X and the honeft and indignant Falcon- 
 bridge, when Sali/burj/ (fuppofing yf/vZ'wr to hav^ been murdered) pointing 
 to his breathlefs corps, fays: 
 
 ' could thought, iv'tthout this objeSJj 
 
 Form fuch another ? This is the very top, 
 I'he height, the creft, or crefl unto thecreft. 
 Of murder's arms : this is the bloodiefl fhame. 
 The wildeft favag'ry, the vileft ftroke. 
 That ever vvall-cyed wrath, or flaring rage, 
 Prelented to the tears of foft remorfe. 
 
 The fcene goes on:: 
 
 Falc. It is a damned and a bloody work ; 
 
 The gracelefs aftion of a heavy hand. — 
 
 ■Sal. It is the fliamcful work of Hubert's hand ; 
 The praftice, and the purpofe of the king : — 
 
 From 
 
 ; For the countenance of Pmiroke, fee the fame Print that I have mciuioned for JBaltiazar's, in 
 Romeo and Juhet
 
 \. 41 ) 
 
 From whofe obedience I forbid my foul, 
 Kneeling before this ruin of fix eel life. 
 And breathing to this brcaihlcfs excellence 
 The incenfe of a vow, a holy voiu ; 
 Never to tafte the pkafures of tliis world, 
 Never to be infedled with delight. 
 Nor converfant with eafe and idlenefs, 
 'Till I have fet a glory to this hand, 
 By giving it the worfhip of revenge. — § 
 
 Or, we may felecl another point in this fcene to draw from ; and where 
 the ftern refentment which F^/co«(^;7^^^ fhews, at the luitimely end of 
 Arthur^ will give an opportunity for his foldier-llke figure appearing to 
 that advantage, which hib behaviour in this fcene fo much merits — for, 
 when the Lords are gone — Falconhridge (who ftrongly fufpeds him) thus 
 accofts Hubert : — 
 
 Falc. knew you of this fair work ? 
 
 [pointing to the body. 
 Beyond the infinite and boundlefs reach 
 Of mercy, if thou didft this deed of death, 
 Art thou damn'd, Hubert. 
 
 Hub. Do but hear me, fir. 
 
 Falc. Ha ! I'll tell thee what ; 
 
 There is not yet fo ugly a fiend of hell 
 
 As thou fhalt be, if thou didft kill this child. 
 
 § The dead body of Arthur, will lead tlic mind to refleft on the fad end of a princely boy, who 
 promiled much — and to refleft on the prophecy of the Queen-Mother to John^ 
 
 •—— you green loy fjoll have no fun to ripe., 
 The bloom that promifeth a mighty fruit. 
 
 • Perhaps thefe twolmes which I have omitted were foiftcd in by the players. 
 
 G ■fl'w^'
 
 ( 4* ) 
 
 Huh. Upon my foul,— • 
 
 Falc. If thou didft but confcnt 
 
 To this nioft cruel aft, do but defpau", 
 
 And, if thou vvant'ft a cord, the fmalleft thread 
 
 That ever fpiJer twifted from her womb 
 
 Will ferve to ftrangle thee ; a rufh will be a beam 
 
 To hang thee on : or, would'ft thou drown thyfelf. 
 
 Put but a little water in a fpoon, 
 
 And it (liall be as all the ocean. 
 
 Enough to ftifle fuch a villain up.^ 
 
 I do fufpeft thee very grievoufly. 
 
 Hub. If I in aft, confent, or fin of thought, 
 Be guilty of the ftealing that fweet breath 
 Which was embounded in this beauteous clay. 
 Let hell want pains enough to torture me ! — 
 
 Falconbr'idge concludes this fcene, with a ftrong imaged pi£lure of the 
 difcontents and confufion of the times ; and obferves, that 
 
 — — happy he, whofe cloak and cinfture can 
 Hold out this tempeft. 
 
 'age 1 08. 
 
 In a former page, it is obferved by the Queen-Mother, that Falcon^ 
 bridge poflefTes the very fpirit of Plantaganet ; and his intrepid mind ac- 
 companies him through every fcene. . A fine fubje£t is now offered to 
 the artifls from this page, of the drooping and daunted fpirit of yohn, 
 when he has been told by Falconbr'idge of Arthur s death — for when that 
 intelligence is given him, the remembrance of his cruelty to the Prince, 
 (and the confequent revolt of the nobles) prevents him from ever more 
 
 I recovering
 
 ( 43 ) 
 
 reccvering his alacrity ; and he requires the intrepid roufings of the 
 Bajlardy to make him aflume a daunt lefsfpirit, at a time when 
 
 — — wild amazement hurries up and down. 
 The little number of his doubtful friends. 
 
 Shakefpeare has given to Falconbridge, that buftllng and afpiring fpirit 
 which he delighted to exhibit. Borgognone is acknowledged the prince 
 of battle painters, from the inimitable fire and elevation of thought 
 which diftinguifh his compofitions — In the battles of Borgognone (fays 
 the Count Algarotti) we are really apt to fancy that the trumpet founds — 
 Well, therefore, may our Shakefpeare be termed the Borgognone of the 
 drama — for none like him could paint the proud conlroul of fierce and 
 bloody war. And in the following lines, the undaunted Falconbridge en- 
 deavours to animate John^ with his own fire : 
 
 Wherefore do you droop ? why look you fad ? 
 
 Be great in aft as you have been in thought. 
 Let not the world fee fear and fad diftruft, 
 Govern the motion of a kingly eye ; 
 Be ftirring as the time ; be fire with fire ! — * 
 
 G 2 Pago 
 
 * Mortimer, in his print of King John ratifying Magna Charta, has given us the dnfs of John. 
 and Falconbridge. 
 
 The very numerous fubjefts which this play offers for the engraver, obliges rae to rejeft the follow 
 ing paflagcs.— 
 
 Page III. Le^juis, Oh, what a noble combat haft thou fought. 
 Between compulfion and a brave refpeft I. 
 
 Page 1 1 6. Falc. Do but ftart 
 
 An echo with the clamour of thy drum. 
 And even at hand a drum is ready brac'd. 
 That fliall reverberate all as loud as thme ;
 
 ( 44. ) 
 
 Page 125. 
 
 We now bring John to his laft fcene at Swinftead Abbey — and the 
 Poet's art makes one feel fome commiferation for him, notwithftanding 
 the pollution of his crimes. This fcene might be drawn either from 
 this point: 
 
 Henry. How fares your Majefty ? 
 
 K.John. Poifon'd,— z7/-/«r^;— dead, forfook, cafl ofF.— 
 
 Or 
 
 Sound but another, and another fliall, 
 As loud as thine, rattle the welkin's ear. 
 And mock the decp-mouth'd thunder : for at hand 
 (Net trading to this halting legate here. 
 Whom he hath ufed rather for '"port than need), 
 Is warlike John ; and in his forehead /its 
 A harc-ribU' d death, whole office is this day 
 To feaft upon whole thoufands of the French. 
 
 Mortimer would have ftetched from the lines in italics. He has exhibited a fomewhat fimilar idea in 
 kis portrait of Richard II. Mr. Hayley has well defcribed this painter : 
 
 The rapid Mortimer of fpirit ivild : 
 Imagination s dear and darling child.— 
 
 Page 117. John. This fever, which hath troubled me fo long. 
 Lies heavy on me ; Oh, my heart isficl ! 
 
 In this laft fliort dialogue, " Garrick's look, walk, and fpeech (fays Davies) confcfled the man 
 broken with iticeffant anxiety, and difeafed both in body and mind. Defpair and death feem to hover 
 round him." 
 
 And
 
 ^ 45 ) 
 
 Or, from the following paflage : when he tenderly looks at Falcon^ 
 
 hridse : 
 
 '"a'- 
 
 K, 'John, Oh coujin, thou art come tofct mine eye : 
 
 The tackle of my heart is crack'd and burnt ; 
 And all the flirowds, wherewith my life fliould fail, 
 Are turned to one thread, one little hair: 
 Jl4y heart hath but one poor Jlr'tng tojlay it iy. 
 Which holds but 'till thy news be uttered ; 
 And then all this thou feeft, is but a clod, 
 And module of confounded royalty,* 
 
 Or, 
 
 And the laft fpeech of the Count de Melun (wounded and led In by foldiers) when revealing the trea« 
 ehery ot Le-wis, offers a pifturefque fubjciSl:— 
 
 Commend nie to one Hubert, with your king, 
 The love of him, and this refpedl befides, 
 (For that my grandfire was an Englifliman) 
 Awakes my confcience toconfefs all this. 
 In lieu whereof, I pray you, bear me hence * 
 From forth the noife and rumour of the field j 
 Where I may tliink the remnant of my thoughts 
 In peace; and part thii body and my foul 
 With contemplation and devout dcfires. 
 
 'From the firft of thefe lines, is taken the print in Hanmer — but how flrangely has Hayman conceived 
 the charaiTfer of John! In recompenfe for having given him a mean exprcffion, he has been willing 
 to give him a 'wig — which however in this his illnefs, he has kindly taken off, and fupplanted it by 
 a modern velvet cap, yol>/i more refcnibles a mercer or a lineu-drapjr expiring, than the King of 
 England, See however the abbey, the orchard, and the drefs of the Bajlard, in this print. 
 
 It is firange that Sir Thomas Hanmer fliould adiiiit into his edition, fome of thofe plates which 
 Hayman t'urniflicJ him with — they are many of them an aftual dlfgrace to the fi.enes they were meant 
 to cmbellifh — a mean conception pervades mofl of them, Hayman gave defigns for all the plays in 
 Hanmer's edition, excepting thole contained in the 4th volume, which were defigned by Gravelot— 
 and one need only refer to this 4th volume, to be convinced, how much more enabhd Gravelot was 
 to defign from Shakefpeare, than Hayman. The unerring marks by which the pidures of Hayman 
 are foon difiinguiflred, followed him in the deligns he gave for the five plays of our author, collated 
 by Jennens. 
 2
 
 ( 46 ) 
 
 Or the fcene might be taken from the hnes, which the faithful and 
 t)rave Falconhrldge addrefles to his dead mafler : 
 
 Fak. Art thou gone fo? I do but ftay behind, 
 To do the office for thee of revenge ; 
 And then my foul (hall wait on thee to heaven. 
 As it on earth hath been thy fervant ftill. 
 
 And in order to do that full juftice to this fcene which it fo richly me- 
 rits ; we fhould endeavour to copy the pl£lure here given. — " I (hould not 
 forget (fays Davies) to fpeak of Mr. Garrick's excellence in the dying 
 fcene of John. The agonies of a man expiring in a delirium were delinea- 
 ted with fuch wonderful expreflion in his countenance, that he imprefled 
 imcommon fenfations, mixed with terror, on the admiring fpe6tators, 
 who could not refufe the loudefl tribute of applaufe to his inimitable 
 action. Every word of the melancholy news, uttered by Falconbridge, 
 ieemed to touch the tender firings of life, 'till they were quite broken, 
 and he expired before the unwelcome tale was finilhed."§ 
 
 Tail- 
 
 §In a Morning Herald for November, 1785, is the following account of the performance of this 
 tragedy at Drury Lane.— 
 
 The Conjlancc of Mn.Siildnts was all the mod enthufiaftic admirers of Shakcfpeare could ever coi\- 
 ceive. Next to her, flione the BaJarJ, as perfonated by Smith, who was not only lively and anima- 
 ted, but at once gave a true pidure of a brave and fteady adherent. — Kemllc fcarcely ever appeared 
 to mr; advantage than in John ; his fcene with Hubert was excellent, and his dying one merits com- 
 mendation. — Benjlcy's Hubert was chafte and aftefting ; and the amiable fmiplicity of the fupplicating 
 Arthur was delightfully hit off by Mifs Field, who drew tears from alraoft every eye in the Houfe. 
 
 And a Morning Poft, for the fame month, thus fpeeks of the fame performance. — 
 
 After an interval of two years, the tragfdy of Kin^ ^ohn was performed at this theatre, in which 
 Mrs. Sidiions reprefented the charafter of Cenjlance. Though the part is much lliorter than her ad- 
 mirers would wifli, yet it affords an opportunity of calling forth thofe powers which file fo eminently 
 pofleffes. Her anguifti at the lofs of her fon, was exprefled in a ftyle which has feldom been equalled, 
 
 sindj
 
 ( 47 ) 
 
 Tail-Piece. 
 
 As Gravelot's defign for Theobald's eaition of this play, pofleffes 
 much merit; it flioald, I thuik, be prcferved in refpe£l to the memory of 
 a man, wh.-fe defigns for Shakefpeare's plays, have furpafled raoft others. 
 I wifh, therefore, to recommend a fac-fimile of tnls print, for this de- 
 partment. The attitudes and dreffes of Hubert and Arthur, are well 
 pencilled, and indeed the chief objeaionable part of tb.is print, is per- 
 haps the chair — which is wanting in that antiquenefs which ufually at- 
 tends thofe in fuUen prifons, and which would be more correfpondent to 
 the chairs of that day. I wifh the early impreffion.s only of this print 
 to be looked at; as they have not that very coarfe efFecl which accom- 
 panies the imprelfions for the later editions— and this is not to be won- 
 dered at, when Mr. Steevens informs us, that no lefs than 1 1,360 copies 
 of Theobald's edition, were printed prior to the year 1778— though in- 
 deed the cuts of Gravelot have been prefixed only to the i2mo. edition. 
 
 If the above fhould not be approved of, we might then fjpply it's 
 place, by a defign from fome one of thofe paffiiges which are mentioned 
 
 and, we believe never furpaffed. Mr. Kemlle, m Ki»g John, was frequently applauded, and, we 
 think with fufficientjulUce. He fupportcd the charafter with dignity and propri'-ty, and in fome 
 parts mewed amafterlv conception of 'he author. The unfolding of his purpofe to have Prince A r- 
 tbur murdered, was conduftcd with great judgment, and much approved by the audience. Mr. Smith 
 5n the Baftardv/i^ excellent. We lliould do injuQicc t:, Alifs FieU, if we did not acknowledge that 
 flie rcprefented Prince Arthur with much propriety. In the fcene with Hubert, where Hie petitions for 
 her life flie did ample juftice to the perfuaHve language or the immortal Shakefpcare. Mr. Bcff.^y 
 did fufficient juftice to Hdert ; and Mr, Jici:» a<fted A7«^ Philip with dignity and attention 
 
 ition. 
 
 ill
 
 r 48 ) 
 
 in the foregoing notes. If the tlefigu (hould be fketched from the groupe 
 of firures under the walls of Northampton Caftle (one of the prints 
 recommended for page 102) — then endeavour to fliade the landfcape with 
 that folemn hue, which is given in the tinted drav/ing of Penrith Caf- 
 tk', illumined by the departing ray of the fun') in Mr. Gilpin's Obfervations on 
 the Lakes. Or fome might prefer the fame glow of evening which fo 
 fweetly ornaments page 123, of the firft volume of this truly elegant 
 work. 
 
 Or, (in lieu of the above) would it not be pleafing to the furviving 
 fpe£lators of Mrs. Cibber, to view her portrait annexed to a magnificent 
 edition of that poet, to whofe fcenes her talents rendered fo much juf- 
 tice — to view the refembling portrait of her, who reign'd triumphant 
 over all in Conflatice. And pollerity will no doubt wifh to view the exacSt 
 features of that woman, who was the darling of the theatre : whofe 
 voice was beyond conception plaintive and mufical — and whofe eyes in grief 
 and tendtrnefs looked as if they fw am in tears, and which in rage and def- 
 T^TCnfeemed to dart flapes of fire. The moft pleafuig portrait I have feen 
 of Mrs. Cibber, is that engraved by J. Marchand, from after T. Hudfon, 
 publifhed in 1749.* 
 
 * A lift of fuch Paintings as have been taken from this play ; and from which, no Engravings have 
 as yet been made. 
 
 1. Hubert yielding to the entreaties of Arthur, by Fufeli ; being No. 86, of the Exhibition in 1775. 
 I have not feen this. 
 
 2. A fcene in "^hakefpeare's King John, a£i: 5, fcene the laft, by Ryley ; being No. 644, of the 
 Exhibition of this prcfent year. I have not feen this. 
 
 A Lift of fuch Frbiti as have been publiflied from this play. Thofe I have not feen, are printed in 
 Italics. 
 
 1. Bell's two editions. 
 
 2. Hanmer. 
 
 3. Theobald. 
 
 4. Rowe. 
 
 5. Lowndes. 
 
 6. A cut
 
 ( 49 ) 
 
 6. A cut by Fourdrinier, in an edition in 8 vols. 8vo. printed for Tonfon, 1735. 
 
 7. Poivel and Benfley, in the charaders of John and Hubert ; engraved by Val. Green, from after 
 J. Mortimer. 
 
 8. Pope. 
 
 9. Taylor. 
 
 10. General Magazine. 
 
 11. A print engraved ly Finhyfon^ from after BonaUfon, from the words: " I faiv aSmitbJiani 
 liiith bis hammer thus." 
 
 |2. A print from the fume -words, painted hy Penny. 
 
 H KING
 
 KING HENRY V. 
 
 a Mufe of fire that would afcend 
 
 The brighteft heaven of invention ! 
 
 ■"D 
 
 The tragedians who took their fubjecls from Homer, had all the advantage a pain- 
 ter could have, who was to draw a picture from a ftatue of Phydias or Praxiteles. 
 Poor Shakefpeare from the wooden images in our mean chronicles, was obliged ro 
 form his portraits 1 — 
 
 Mrs. Mon t a g u. 
 
 The pencil of the divine poet has thrown a light on their charadlers, far fuperior 
 to the compofition of the mofl elaborate narratives. What the hiftorian coldly re- 
 lates, Shakefpeare by the glow of genius, animates and realizes. 
 
 Preface to the Dramatic Miscellanies of Davies^. 
 
 Vignette. 
 
 A fketch might be taken for this department, from pag;e 141. — The groupe would te dreadful — but" 
 no ways unfoited to the battle of Agincourt. This fubjeifl would have been feized by Salvator Rofa. - 
 And the ivild rage oi the wounded Heeds, yerking at their dead mafters, would have equally well fuited 
 the fpirit of Reubens. See more of this royal fdhivjhip of death, in page 14.S. If this dcfign was 
 well Iketched, it would be a future fludy for dying attitudes. Round this- propofed Vignette, might 
 be thrown Ibme trophies of war, fomewhat fimilar to thofe very rich ones, in M. de Loutherbourg's plate 
 to Bell's laft edition of this play. See alfothe trophies round thofe of the laft edit-on of Coriolaaus, 
 and the third part of Henry 6th. And fee the ornament by Ramberg, to the fame edition of Julius 
 Cafar. H 2
 
 ( 53 ) 
 
 Head-Piece. 
 
 An entire and exa£t fac-fimile (equally well engraved) of M. de 
 Loutherbourg's Vignette to Bell's laft edition of this play. Were the 
 Bo)' Ibmewhat altered : it would be a perfedt defign. And in order to 
 admit of this alteration, the circle may be a little enlarged. After 
 viewing this defign, we cannot much commend the fame figures in 
 Bell's firft edition — though two of them are not ill drawn — and the 
 drefsof Pi/fol is not amifs — yet the foul of this laft fantaftic charader, 
 is but faintly given. 
 
 Were the other fcenes from, our great author, to be drawn with the 
 fame mafterly fidelity, as thi> of M. de Loutherbourg's : an edition might 
 be projedled, which would demand, and receive the approbation, of 
 the moft critical amateurs of Europe. Mr. Boydell's expe<fled edition, 
 from the names of many of the artifts, bids fair to ftaud the tell of fe- 
 vered opinion o 
 
 Scene-
 
 C 54 ) 
 
 Scene Prints. 
 
 *'^' '^ntSr Chorus.* 
 
 Chor. Now all the youth of England are on fire. 
 And filken dalliance in the wardrobe lies ; 
 Now thrive the armourers, and honour's thought 
 Reigns folely in the breaft of every man : 
 They fell the paflure now to buy the horfe ; 
 Following the mirror of all chriftian kings, 
 "With winged heels, as Englifh Mercuries. 
 For now fits Expeftation in the air ; 
 And hides a fword from hilts unto the point. 
 With crowns imperial, crowns and coronets, 
 Promis'd to Harry and his followers. 
 The French, advis'd by good intelligence 
 Of this moft dreadful preparation, 
 Shake in their fear ; and with pale policy 
 Seek to divert the Englifli purpofes. 
 O England ! — model to thy inward greatnefs, 
 Like little body with a mighty heart, — 
 What might'fl: thou do, that honour would thee do, 
 Were all thy children kind and natural ! 
 
 An 
 
 * Much pifturefque imagery and defcription, is difperfed (in fine language) through the other 
 chorufes (and no wonder, when they were the produftion of a mufe of fire) — but the imagery is of 
 that kind that cannot well prefent fubjefts to an artift. As Shakefpeare, in this hlftorical play, is fo 
 panial to the admlffion of the chorus : what fublime ones would he have compofed for the tragic drama 
 of Macbeth, had he there thought their introduction effential. Mr. Mafon, in his letter prefixed to 
 ElfriJa, has thefe words : 
 
 *' But, whatever thefe play-makers may have gained by rejefting the chorus, the true poet has loft 
 confiderably by it. For he has loft a graceful and natural refource to the embellifliments of piflurefque 
 
 2 defcription.
 
 ( 55 ) 
 
 An ideal fancy llcetch of Expectation in the air — might be taken from 
 the above lines, in order to accompany this page — and it fliould be en- 
 graved in as rich metzotinto, as the Angel contemplating the myjlerv of the 
 crofs, from the painted window of the chapel of New College, Oxford. 
 And were this prefented imagery, drawn from the fublimed idea of 
 grace which would attend the pencil of Sir Jofhua Reynolds : Shake- 
 fpeare's page would then charm a future age, with a conception of fancy 
 equal to his own. 
 
 The fword might not be at all vifible ; or at beft, but dimly feen 
 through the envelopement of curling clouds. 
 
 There is fomewhere in Italy, a painting of an angel, lijlenmg to the 
 found of the lafl trump. 
 
 Page 
 
 defcription, fublime allegoiy, and whatever elfe comes under the denomination of pure poetry. Shake- 
 fpeare indeed, had the power of introducing this naturally, and, what is more ftrange, of joining it 
 with pure pajjion. But I make no doubt, if we had a tragedy of his fbnrred on the Greek model, we 
 fliould find in it more frequent, if not nobler inftances of his high poetical capacity, than in any fingle 
 compofition he has left us. I think you have a proof of this, in thofe parts of his hiftorical plays, which 
 are called chorufes, and written in the common dialogue metre. And your imagination will eafily con- 
 ceive, how fine an ode, the defcription of the night preceding the battle of Agincourt would have 
 made in his hands ; and what additional grace it would receive from that form of compofition." 
 
 Garrick delivered on the ftage, the chorufes in Henry ^th with mafterly elocution ; and Henderfon's 
 fpeaking them, is thus recorded : — 
 
 " He thought highly, and not unjuftly of his own merit, in fpeaking the chorufes to Henry the 
 Fifth, which being rather an unpopular play, he did not, I believe, appear in after January 1779, 
 when I faw him. His figure acquired grace from the Vandyke habit. His recitation led me to regret 
 it was not repeated. He was accurate, animated, energetic." 
 
 Letters and Poems of Henderson, p. 253. 
 
 Wh»
 
 ( 56 ) 
 
 Page 40. 
 
 ^Ick. As ever you came of women, come in quickly to Sir John : 
 Ah, poor heart ! he is fo fhak'd of a burning quotidian tertian, 
 that it is moft lamentable to behold. Sweet men, come to him. 
 
 Uym, The King hath run bad humours on the knight, that's the 
 even of it. 
 
 Plji. Nym, thou haft fpoke the right ; 
 his heart is frafted, and corroborate. 
 
 JVyai. The king is a good king : but it muft be as it may ; he pafles 
 fome humours, and careers. 
 
 Who but feels for Shakefpeare, when his indignant fplrit breaks out, in the conclufion of the third 
 choius. 
 
 Andfo our fccne iniijl to the battle Jly^ 
 Where, O for pity! ivejljall much tiifgrace 
 With four or five moft vile and ragged foih. 
 Right ill difpos'il, in brawl ridiculous^-— 
 The name of Agincourt.— 
 
 Shakefpeare's imagination had been heated with Holingfhed's defcription of the battle. — What 
 fcenes had been written, had he beheld the audiences, and the theatres of to-day — and yet in fpite of 
 ihofc difadvantages, he has produced Iccnes which have not yet been equalled ; and we may confidently 
 and proudly prophcfy, they will never be I'urpaiTed. In his prologue, he tells us, that Harry ftiould have 
 rlfen like himfclf, had there been alefs unworthy fcaffohl., to have exhibited him on, and better audiences 
 to have beheld the f<vjcUing fcenes. Let us then forgive him in the firil chorus, his fond habit of playing 
 upon words — a luxury which he could not rcfift even in his moft grand una elevated fcenes — a pun was 
 to poor Shakefpeare, irrefiftible — it was indeed (to uie Dr. Johnfon's expreflion) the fatal Cleopatra 
 for wbicb he loji the vierld, and was content to lefe it, 
 
 Thefe
 
 ( 57 "> 
 
 Thefe aflbciates of Faljlaff, might have been drawn from the above 
 paflage, if a fuperior fcene for painting their refpe£l to their old mafter, 
 had not prefented itfelf in page 52. Their charadlers may therefore be 
 flcetched for this prefent pnge, either from that paffage where Nym tells 
 Pyiol, he will .cut his throat' — from that paffage where ^ickly very oddly 
 expreffes her apprehenfion of Faljlaff"'s diffolution — from that line where 
 Bardolph endeavours to make them friends — or where Nym demands the 
 eight (hillings — or from the following lines. — 
 
 PIJ}. Give me thy hand, 
 Nym. I Jlmll have my noble ? 
 F'ljl, In cajh mojl jujlly paid. 
 
 Mother Richly, is one of xhztJJ? allow company, to which his Grace 
 of Canterbury alludes, in the firft fcene of this play, when he defcants 
 on the perfedions of Henry. 
 
 Had Hogarth been living, he might probably have flcetched many 
 a fcene of thefe eccentric perfonages, with the fame happy truth that 
 runs throughthe whole, and through the moftm i nute part of I'rim read- 
 ing thefermon. In this print, Hogarth has given an inftance, of his be- 
 ing able to draw from the ideas of another, as inimitably as he could 
 defign from his own.* 
 
 i Page 
 
 * The only fcenes Hogarth ever drew from Shukefpeare, are the followhig ones -.r-The Examination 
 of the recruits before Shallow and Silence, purchafed by Mr. Garrick, at Lord Effex's fale, for 50 gui- 
 neas. — A iketch in chalk, on blue paper, of Falftaff and his companions, now (as Mr. Nichols in- 
 forms us) in the poffcffion of Mr. S. Ireland— and, Mr. Garrick in Richard, for which the late Mr- 
 Duncombe paid 200I. Had Hogarth either painted, fketched, publidied, or given away, any other 
 produSions of his pencil, of any kind, they would have been difcovered by the attentions and enquiries of 
 Mr. Walpole and Mr. Nichels. The abovementioned two firfl: fubjeifts, are taken from Henry 4th— and 
 
 the
 
 ( 58 ) 
 
 Page 46. 
 
 In the Chorus preceding this page, Shakefpeare glances at the treafon 
 of Scroop— yih.o, with the Earl of Cambridge, and Sir 'Thomas Gray, had 
 formed a plot to aflaffinate King Henry, before his embarkation for 
 Southampton. This prefent fcene is entirely devoted to that hiftorical 
 tranfadtion-t And on the perufal of this fcene (in which the native 
 mightinefs of Henry's mind is finely painted) many lines will ftrike the ar- 
 tift as being fuited to our prefent purpofe — particularly the attitudes of 
 furprize of the traitors, when reading the unexpe(£led warrants for their 
 execution — when mention is made of the fweetnefs of affiance — or, when 
 Henry, with all the dignity (yet with all the mild grace) of offended 
 majefty, thus fays : — 
 
 — — — ^ Go therefore hence. 
 
 Foor miferable wretches to your death : — 
 
 tLe only charai^ers in the prefent play of Henry 5th. which are likely to be therein drawn, are Bjr- 
 dolph, the Page, f^iickly, and Pifid. Nyni only appears in Henry ;th. It muft be pleafing to fee 
 Hogarth's idea of any of thefe charafters. On recoUeftion, however, Hogarth has drawn Faljlaff 
 and Pijlol, in his Seutlrwark Fair, but he has copied their figures from the ftage, and has not given his 
 own original idea of them. 
 
 -}• On perufal of the Chorus preceeding this fcene, each reader will apply to our poet, the words he 
 gives to the Duke, in Twelfth Night. 
 
 7hoa dojl /peak majlerly ! 
 
 but
 
 ( 59 ) 
 
 but the artlft's mind will incline him to feledt, and to prefer painting 
 thofe emotions of the foul, which each confpirator mufl; feel, when the 
 Kmg addrefles this terrible appeal :^- 
 
 But 
 
 IVhatJhall I fay to thee. Lord Scroop ! 
 
 A pidlure taken from this point of the fcene, will require an artift 
 capable of very great and various expreffion — for he muft paint the dig- 
 nity of Henrys mind, accompanied with every grace of attitude and 
 princely deportment — muft paint the treacherous fpirit of Scroop — and 
 muft give to Cambridge, and to Gray, the livid marks of detedled guilt. 
 
 Henry s character, as drawn by the Archbifhop oi Canterbury, is very 
 noble ; and an artift ftiould imprint on his features, the marks of thofe 
 high qualities that Canterbury afcribes to him. There is fomething in- 
 terefting in the portrait of i!/if;7ry, at Kenfington palace, which Vertue 
 engraved. 
 
 X BuSbn, in his Hijlolre natureUe Je rhomme, thus eloquently fpeaks of the human face : 
 
 " Lorfque I'ame eft tranquille, toutes les parties du vifage font dans un etat de repos, leur proportion, 
 leur union, leur enfemble marquent encore affez la douce harinonie de penfces, et repondent au calme 
 de I'interieur ; mais lorfque I'ame eft agitee, la face humaine devient un tableau vivant, ou Ips pallions 
 font rendues avec autant de delicateffe que d'energie, oil chaquc mouvement de I'amc eft cxprime par 
 un trait, chaque aftionparun caraftere, dont rimprelllon vive et prompte devance la volonte, nous 
 decele et rend au dehors par des fignes pathetiques les images de nos fecrettes agitations. 
 
 " C'eft fur-tout dans les yeux qu'elles fe peignent et qu'on peut les reconnoitre ; I'oeil appartient a 
 I'ame plus qu'aucune autre organc, il femble y toucher et participer a tous fes mouvemens, il en ex- 
 prime les paffions les plus vives et les emotions les plus tumultueufcs, comme les mouvemens les plus 
 doux et les fentimens les plus delicats ; il les rend dans toute leur force, dans toute leur puretil- tels 
 qu'ils viennent de naitre, il lestransmet par des traits rapides qui portent dans une autre ame le feu, 
 I'adtion, I'image de ce'.le dont ils partent, I'oeil re9oit et reflechit en mcme temps la lumiere de la penfee 
 et la chaleur du fentiment, c'cft le fens de I'efprit & la languc de I'intclligence." 
 
 I 2 Some
 
 ( 6o ) 
 
 Some few years ago, Pine painted this fubject, of Henry dlfcovering 
 the treafon of Scroop. The picture was the fize of thofe others which 
 he took from Shakefpeare, and which he pubhckly exhibited at Spring- 
 Gardens, in 1782 — but this picture of Henry was not then exhibited; 
 it was painted fince that year. Pine, I believe, is now in America ; and 
 where the picture is, I know not. As far as my recollection will ex- 
 tend, it poflefled a merit, fufficient to entitle it to accompany (with 
 a few alterations) the moft fplendid edition. 
 
 Page 52. 
 
 When news Is brought oiFalJlaff's death to his old companions : a re- 
 gret at parting with him diffufes itfelf through each breaft — Bardolph 
 can no more be Myth — Nym cannot rouze his vaunting vein — the lively and 
 jocofe Boy, for fome fhort time retards his mirthful repartee-— and even 
 antieut Pljlol's heart doth yearn : — 
 
 Bard. Would I were with him, wherefome'er lie is, either in heaven, 
 or in hell ! 
 
 ^ick. Nay, fure, he's not in hell ; he's in Arthur's bofom, if ever 
 man went to Arthur's bofom. 'A made a finer end, and went 
 away, an. it had been any chriftom child ; a' parted even juft between 
 twelve and one, e'en at turning 'o the tide: for after 1 faw him- 
 fumble with the Iheets, and play with flowers, and fmilc upon his 
 fingers' ends, I knew there was but one way ; for his nofe was as 
 Hiarp as a pen, and 'a babbled of green fields. How now. Sir 
 John ? qoth 1 : what, man ! be of good cheer. So 'a cried out — 
 God, God, God ! three or four times : now I, to comfort him, 
 bid him a' fliould not think of God ; I hop'd, there was no need to 
 : " trouble hinifelf with any fuch thoughts yet : So 'a bade me lay 
 
 More
 
 ( 6I ) 
 
 more clothes on his feet : I put my hand into the bed, and felt 
 them, and they were as cold as any Hone ; then I felt to his knees, 
 and fo upward, and upward, and all was cold as any flone. 
 
 Nym. They fay he cried out of fack, 
 
 ^uck. Ay, that 'a did. 
 
 Bard. And of women. 
 
 ^ilck. Nay, that 'a did not. 
 
 Boy. Yes, that 'a did ; and faid, they were devils incarnate. 
 
 ^ick. 'A could never abide carnation ; 'twas a colour he never lik'd. 
 
 Boy. 'A faid once, the devil would have him about women. 
 
 ^ick. 'A did in fome fort, indeed, handle women ; but then he was 
 rlieumatic ; and talk'd. of the whore of Babylon. 
 
 Boy. Do you not remember, ^ a faw a flea Ji'ick upon BardolpW s nofe; and 
 ^ a faid, it was a black foul burning in hell-fire ? 
 
 Bard. Well, the fuel is gone, that maintain d that fire ! 
 
 This tender farewell to Faljlaff's memory, gives me no bad idea of the 
 humane and generous difpofition of Shakefpeare — and the fcene might 
 be drawn, either from the fympathetic look of commiferation which 
 they all give, when Slu'icMy thus concludes her inimitable account of 
 his diffolution : 
 
 and all was cold as any ftone ! 
 
 Oi-, from the above paffage in italics — where a flafh o^ Faljiaf' s mtrri- 
 ment is remembered by the pleafant jBoy ; with BardolpFs good-natured 
 anfwer and affedionate apoftrophe to his mafter's memory : 
 
 Well, the fuel is gone, that maintain' d that fire /— » 
 
 If
 
 ( 62 ) 
 
 If the King had heard mnie hoftefs Quickly, pay her laft refpects to 
 Falftaff^ his generous heart would have yearn'd : from a recolle6llon of 
 his having been too fevere on old acquaintance yack — whofe mirth had be- 
 guiled many an hour, and whofe humourous conceiles had afforded him 
 much ploafantry. — We have the teftimony of Nym (as well as PiftrA,^ 
 that the K'mg had run had humours on the Knight — and, indeed, when 
 dame S>u'ichly is told by the Boy, that Sir John is very fick, and would to 
 bed — flic replies : " ]iy my troth, he'll yield the crow a pudding oue 
 of thefe days : the king hath kiWd his hearth 
 
 The painter who drew the fine chara6lerlftic vignette, to Bell's laft 
 edition of Love's Labour Loft, would foon give a perfedl figure of the 
 fpriglitlv Boy — of whom more may be feen in the fe'cond part of Henry 
 4th. for he was there (as he is in this play) the page of Faljfaff. There 
 are only two other figures of this 557, ever publiihed ; viz. one in Bell's 
 firft edition of Henry 5th. which poli'effes fome merit, but which does 
 not, however, convey a perfect idea of him ; and tlie other is in Han- 
 mer's fecond part of Henry 4th, but this is a very poor figure. 
 
 Mortimer has thrown much good nature on the countenance of Bar- 
 dolph, whofe head he has etched from a fcene in Henry 4th. — indeed, 
 there is fo much good humoured pleafantry in his phiz, that one is forry 
 he fhould be hanged, even though for robbing a church : which it fecms 
 he did, in his expedition with the army into France — for thus Fluellin 
 informs the King : — 
 
 K. Henry. PP'h'at men have you hji, Fluellin ? 
 
 Flu. The perdition of ih" adverfary hath been very great, very reafonahle 
 
 great : marry, for my part, I think the duke hath lofl never a man, hut 
 
 one that is like to be executed for robbing a church,, one Bardolph, if 
 
 your majcfy know the man : his face is all bubukles, and -whelks, and 
 
 knobs, and flumes of fire; and his lips plows at his noje, and it is like 
 
 a coal of fire, fomelimes plue, andfometimes red; but his nofe is executed, 
 
 and his fire" s out. 
 
 K, Henry.
 
 ( 63 ) 
 
 K. Henry.. We would have all fuch offenders fo ait off:— and 'xe 
 give exprefi charge, that in our marches through the country, there 
 be nothing compelled from the villages, nothing taken but paid for ,• 
 7ione of the Ficnch upbraided, or abujcd in difdainful language : for 
 when lenity and a uelty play for a kingdom, the gsntlefl gamefler is the 
 foonefi winner. 
 
 And, indeed, we are further informed of other mifdemeanors : 
 
 Boy. Bardolph ypfl/i? a lute-cafe; bore it twelve leagues, and fold it for 
 three halfpence. Nym, and Bardolph, are fworn brothers in filching ; 
 and in Calais they fiole afire-Jhavel. — 
 
 Had Mortimer lived, whatfcenes would he have painted from Shake- 
 fpeare!— The expefted edition of Mr. Boy dell, would have received an 
 additional luftre, if it could have incorporated with it's other artifls, the 
 name of Mortimer.* 
 
 The face of Bardolph, in the two parts of Henry 4th. was a continual 
 incitement to poor Faldaff's merriment.]; 
 
 The only figures of Bardolph yet publiflied (except that by Mortimer) 
 are, one in the edition of the firft part of Henry 4th, by Lowndes, 
 which is tolerably well iketched— a poor figure in Theobald's firft part 
 of Henry 4th.— another poor one in Hanmer's firft part of Henry 4th. 
 and one in his fecond part of Henry 4th.— and which (the' worth the 
 reader's looking at), but no means conveys the idea of this charafter. 
 
 * Among many real defiJerata, I will mention only two,— ^ Life of Mortimer, ly Mr. Walpole.-^ 
 and a Travjlation of Fafari, by Mr. Hayley. 
 
 X Had Bardolph been .the only charafter in this fcene, fome would have preferred a coloured draw- 
 ing, 01 etching: to have better exhibited his face. Indeed a coloured drawing, or etching, would 
 more charaacriftically give the fingular dreffes of all the charaders.
 
 V 64 ; 
 
 In one of Hayman's plates from his paintings at Vauxhall, are figures 
 of Bardolph, and of ^ickly ; but they are both too paltry to merit any 
 notice. 
 
 The only prints of Pijlol, are one in Bell's firft edition of Henry V. 
 which we fhould have liked better, if it had not been for the mafterly 
 figure of this charadler, lately given us by M. de Loutherbourg, in 
 Bell's laft edition of Henry V. — and another figure of Pijlol, is that 
 unmeaning and infipid one, prefixed to Theophilus Gibber's Diflerta- 
 tions ; and in which, the boots, the belt, and the fword, are the only 
 things above contempt- Gibber's performance, however, of the cha- 
 rafVer, was, I believe excellent. There is a fourth print of Pijlol, in 
 Hogarth's Southxvark Fair — and a fifth, which I have not fcen.* 
 
 Of corporal Nym (this other fantaftic offspring of the poet) no feetch 
 ever been taken, at leafl not publifhed.;}; 
 
 Of mine hoftefs ^ickly, no good one. — Thofe in Hanmer's, and In 
 Rowe's Henry IV. are miferable ones, — thaL in Taylor's publication 
 of the Merry Wives of WIndfor, Is not much better — nor does that in 
 the edition of Theobald's Henry IV. convey a good charadlerlftic idea 
 of Richly. Mrs. Pitt (both in drefs and afting) exhibits on the flagc, 
 a perfedt idea of her. 
 
 * " John Laguerre engraved a print of Falftaff, Piftol, and Doll Tearfheet, with other theatric 
 " charafters, alluding to a quarrel between the players and patentees." Venue's catalogue of 
 Engravers. 
 
 X The Boy thus fpeaks of him : — For Nym — he hath heard, that men offevi tuerAs are the bcfi men ; 
 and therefore he /corns to fay his prayers, Icjl 'a fhould be thought a coxvard : but his fevj had ivords are 
 tnatch^d <.\<itb as fe-jj good deeds ; for 'a never broke any maiis head but his o-wn : and that was againjl 
 a pojlf when he was drunk. 
 
 Page
 
 ( 6s ) 
 
 Page 1 1 6. 
 
 When Henry has finifhed his mafterly follloquy on the hardships at- 
 tendhig royalty (replete with the moft ftriking refledions, and which 
 Shakelpeare put into the mouth of Henry merely to enhance the value of 
 his favourite character) — Sir Thomas Erp'mgham informs him that all is 
 ready for the battle — on the delivery of that intelUgence the Knight de- 
 parts — and Henry being left alone, (and on the moment of advancing to 
 the battle), thus breaks out. 
 
 O God of battles .' fteel my foldier's hearts ! 
 PolTefs them not with fear ; take from them now 
 The feiife of reckoning, if the oppofed numbers 
 Pluck their hearts from them ! 
 
 The portrait of Henry (in rich metzotinto), drawn from the above 
 words in italics, might accompany this page. And though in this pre- 
 fent fcene he fhould be cloathed in armour, yet perhaps a fancy drefs 
 might render his perfon more pleafmgly commanding.* His fuit of ar- 
 mour however might be made to produce a ftriking effefb, by the wa- 
 ving plume of white feathers in his beaver, and by the addition of fome 
 few ornaments, which no doubt diftinguifhed the royal foldier.t 
 
 K But 
 
 * In (Irivflnefs I believe, he Ihould (1111 wear the cloak of Sir Thomas Erpingham. 
 
 X The Hiftor)- of England, thus defcribes the king's appearance, on the morning of the battle.— 
 " He firft paid his devotions to heaven, and then dreffcd himfelf in all the magnificence of a royal 
 warrior, — when, ordering his men to be drawn out, he appeared at the head of the firft line, on a ftately 
 
 wliiic
 
 ( 66 ) 
 
 But the mind, the foul of Henry, is what the painter will delight 
 in — and he will endeavour to ftrike out features expreffive of the amiable 
 and noble picture which Shakefpeare has drawn of the fifth Harry. In 
 the prologue, and in the chorufes, and indeed in ahnofl: every fcene, 
 may be traced the warm idea which Shakefpeare conceived of Henry.. 
 His predilection for him, commenced at mine hoftefs ^Ickly's, in Eaft- 
 cheap — followed and prote«£led him through various fccnes of danger, 
 and mad-cap revelry — and clofed with his funeral obfequies in the firfl: 
 fcene of Henry VI. 
 
 The painter fhould exhibit the native fire of that Harry, who in the 
 field at Shrewfbury, beat down the never-dauated Piercy to the ground — 
 and who, 
 
 —— with his heaver on. 
 
 Rofe from the ground like feather d Mercury j 
 ^nd vaulted with fuck eafe Into his feat 
 jis If an angel dropt down from the clouds. 
 To turn and wind a fiery Pcgafus, 
 And Witch the world with noble horfemanfhlp. 
 
 Had not the above feleCled words of O God of battles ! — offered a fine 
 point for Henry''s portrait : fome might have given his portrait (muffled 
 up), when mufing on the painful accompanyments on grandeur — or 
 when delivering thefe lines, in his addrefs to Wejlmoreland : 
 
 Jf^efew, we happy few, we band of brothers ; 
 For he to-day thatfJieds his blood with me. 
 
 white courfer, with four royal banners waving before him ; a number of led horfes with embroidered 
 equipages behind, and furrounded by all the chief officers of his court and army." 
 
 Holinlhed, thus mentions the foldiers waiting for the battle. — " ST^cg rcffrt ffunnfeftcs, toaptjnge for t?ie 
 IJoiiDi; ilaSe ef tiie tertjbic ttumpetj 'tt'IJ f&e \m\t bettottne IX snu X of tlje clorte," 
 
 K a Shall
 
 ( 6; ) 
 
 Shall he my brother : — be he ne'er fb v'lkt 
 Tfjis day Jhall gentle his condition,* 
 
 'ao;e iq^. 
 
 Tliough M. de Loutherbourg has fo aamirably caught the charavSter 
 of Pijlol from this prefent fcene, (recommended for the Head-piece) — 
 yet the fcene offers too rich a morfel to be pafled over, without (ketch- 
 ing from it another print. And it might be taken from the underwritten 
 paffage in itahcs : 
 
 Fiji. Tell him, my fury fhall abate, and I the crowns will take. 
 Fr. Sold. Petit mounjter, que dit-il? 
 Boy. Encore qu'il eft centre & ca-^ 
 
 Or, from this paffage in the fame page : 
 
 Fiji. Follow me cur. 
 
 Boy. Suivez vous le grand capltaine. 
 
 '' * In the laft edition of Johnfon and Stevens, are given the two following notes, on this line of ; 
 ** This day ftiall gentle bis condition," 
 
 This day fliall advance him to the rank of a gentleman, Johnfoni 
 
 King Henry V. inhibited any perfon but fuch as had a right by inheritance, or grant> to affume 
 coats of arms, except thofe who fought •with him at the battle of Jgincourt ; and, I think, thefc laft 
 were allowed the chief feats of honour at all feafts and public meetings. Toilet, 
 
 K 2 If
 
 ( 68 ) 
 
 If another artlft attempts to furpafs the Pi/lol, and the SoWer oi M. de 
 Loutherbourg, it will be a hazardous attempt. That gentleman how- 
 ever, who has given us 'The return from the grand tour (fold by Campione 
 of Oxford) w'ould well Iketch this fcene — and our fecond Hogarth would 
 produce a mafterly fcene. 
 
 Had not the engraving of M. de Loutherbourg's print been finely 
 adapted for the expreffion of his figures, I fhould have hinted at this 
 prefent fcene being engraved iimilar to the drawing of Guercino's C/w, 
 in the fecond volume of the Colle£lion of Drawings publifhed by Rogers. 
 
 Page 136. 
 
 After the battle King Henry enters with his train ; and the Duke of 
 Exeter^ thus movingly relates to him the end of Tork and Suffolk. 
 
 Exe. The Duke of York commends him to your majefty. 
 
 K. Henry. Lives he, good uncle ? thrice within this hour, 
 I faw him down ; thrice up again, and fighting ; 
 From helmet to the fpur all blood he was.. 
 
 Exe, In which array (brave foldler), doth he lie. 
 Larding the plain : and by his bloody fide 
 (Yoke-fellow to his honour-owing wounds),. 
 The noble Earl of Suffolk alfo lies. 
 Suffolk firft dy'd : and York, all haggled over. 
 Comes to him, where in gore he lay inlteep'd, 
 And takes him by the beard ; kifles the gafhes. 
 That bloodily did yawn upon his face ; 
 And cries aloud — Tarry, dear coufin Suffdk ! 
 My foul Jhall thine keep company to heaven: 
 
 Tarry
 
 ( 69 ) 
 
 Tarry, fweetfoul, for mine, then fly a-breaft ; 
 
 As, in this gloritus and well-foughten field, 
 
 IVe kept together in our chivalry ! 
 
 Upon thefe words I came, and cheer'd him up : 
 
 He fmil'd me in the face, caught me his hand. 
 
 And, with a feeble gripe, fays — Dear my land. 
 
 Commend my fervice to my fovereign. 
 
 So did he turn, and over SufFolk's neck 
 
 He threw his wounded arm, and kifs'd his lips ; 
 
 And fo, efpous'd to death, with blood he feal'd 
 
 A teftament of noble ending love. 
 
 The pretty and fweet manner of it forc'd 
 
 Thofe waters from me, which I would have ftopped ; 
 
 But I had not fo much of man in me. 
 
 But all my mother came into mine eyes, 
 
 And gave me up to tears ! 
 
 This fcene may be confined to the figures of Tork, and of the young 
 Earl of Suffolky from the point of 
 
 Tarry, dear coufin SufFoIk! 
 
 My foul Jhall thine keep company to heaven: — 
 
 Or it may admit the introdu(flion of the Duke of Exeter, and be 
 painted from, this other paflage: — 
 
 — ^— ^— — — Dear my lord. 
 
 Commend my fervice to my fovereign. 
 
 Though we cannot paint Tork, as covered with blood from helmet fo 
 thefpur — yet we may imprint on his countenance, the dying marks of 
 a brave and undaunted foldier. J 
 
 X Virgil, when mourning over the body of Euryalus, thus clofes that tender epifode : 
 
 Turn fuper exanimem fefe projecit amicum, 
 Confoflus, placidaque ibi demum morte quievit. 
 
 Had
 
 C -JO ) 
 
 Had Gravelot been living, he would have given much grace to tlieir 
 figures ; if we may judge from his print prefixed to Theobald's firfl: part 
 of Henry VI. — from the figures oi Kent and Leaf, in the fame edition — 
 and from his defigns prefixed to Hanmer*s edition of the third part of 
 Henry VI. See a dying attitude by Bouchier, in the fecond volume of 
 the Drawings, publifhed by Rogers. — fee the armour, the figure, and 
 the landfcape, in M. de Loutherbourg's vignette to Bell's laft edition of 
 the third part of Henrv VI. — and by no means omit feeing the reclined 
 figure, in Gravelot's defign for the feventh book of the Henriade, in 
 a late Englifli traiiflation of Voltaire's works. 
 
 This fcene (as a contrafl to the other engravings) might be a flained 
 drawing; — and the time of evening when ^'ori fell, might be tinted 
 ivith the fame Iky that we fee in the plate, facing page 95 — ^^the plate 
 ■facing page 123 — or the plate facing page 187, of the firft volume of 
 Mr. Gilpin's Obfervations on the Lakes, l^'ork fell at the clofe of the bat- 
 tle, which ended about four o'clock in the evening of the month of 
 Ociober. 
 
 The fpot of ground, fhould poflefs that retirement from the battle, 
 which we fee in the abovementioned print of M. de Loutherbourg; and 
 the reader will not be difpleafed at viewing the landfcape facing page 1 13 
 of the abovementioned volume of Mr. Gilpin. — and on viewing the ex- 
 qulfite fcenes of nature, and the extreme neatnefs of the figures in that 
 work, he will breathe a wi(h that the fame delicate pencil would orna- 
 ment one page of Mr. Boydell's edition with the voluntary produftion of 
 his genius — for the landfcape fcenery required for the iVmters 'Tale, and 
 iox As youUke it, would receive from his hand, a degree of perfeftnefs, 
 that few, very few artifts of the age, could attain to. Thofe will join 
 with me in opinion, who will infpedt the almoft infurpaflable ueatnefs 
 of the landfcape facing page 55, of the fecond volume. 
 
 In
 
 ( 71 ) 
 
 In the back-ground, might be given a diftant view of fome part of the 
 fierce and bloody battle, fuch as a faint fight of the hurtling of the ar- 
 rows, with their cuftomary dreadful effedls. The foremofl: horfe in 
 the cut prefixed to Rowe's edition, offers an idea worth improving on. 
 I can have no other motive for recommending fuch a cut to an artlfl:, than 
 a wifh to remind him of every faint glimpfe, that may pofllbly tend even 
 in the mofl: remote degree, to the more correft, and confequently more 
 fplendid and honourable decoration of our great dramatick poet. This 
 motive has made me frequently intreat an artlft's attention to deflgns, 
 which have but a very poor claim to approbation. See Ukewife the up- 
 lifting of the fword, and fee the flandard, in a drawing by Borgognone, 
 in the firfl volume of Rogers. f 
 
 Page 147. 
 
 K.Henry, Give me thy glove foldier; look, here is the fellow of it. 
 'Twas me, indeed, thou promifed'ft to ftrike, and thou haft given 
 me moft bitter terms. • 
 
 Flu. An pleafe your Majefty, let his neck anfwer for it, if there is 
 any martial law in the orld. 
 
 K. Henry. How canft thou make me fatisfaftioh ? 
 
 Will. All offences, my Lord, come from the heart; never came any 
 from mine, that might offend your Majefty. 
 
 K. Henry. It was ourfelf thou didft abufe. 
 
 ■j- An equally fine Piflure might be taken from the attitudes and esprefTion of Henry and Exeter^ 
 wlien the latter relates to him the manner of Tork's, death. 
 
 5 iruu
 
 ( 72 ) 
 
 Will, Your Majefty came not like yourfelf ; you appeared to me, but 
 as a common man ; witnefs the night, your garments, your low- 
 linefs ; and what your highnefs fufFered under thatfliape, I befeech 
 you, take it for your fault and not mine ; for had you been as 
 1 took you for, 1 made no ofltnce ; therefore I bcfcech your High- 
 nefs, pardon nie. 
 
 K. Henry. Here uncle Exeter, fill this glove with crowns, 
 And give it to this fellow. Keep it, fellow : 
 And Vi'car it for an hanour in thy cap. 
 Till I do challenge it. Give him the crowns : 
 And captain, you mull; needs be friends with him. 
 
 Flu. By this day and this light, the fellow ha s mettle enough in his 
 pellv ; hold, there is tv\clve-pencefor you ; and I pray you to fervc 
 God, and keep you out of prawls and prabbles, and quarrels and 
 diffentions, and, I warrant you, it is the petter for you. 
 
 fVill. I will none of your money. 
 
 Flu. It is with a goodwill; I can tell you, it will ferve you to mend 
 your (l^oes ; come, wherefore fliould you be fo pafhful ; your flioes 
 is not fo good ; 'tis a good filling, I warrant you, or I will change it. 
 
 The Kings condefcenfion, in entering into the fcenes of eafy merry- 
 ment with his foldiers, renders him very pleafing ; and he feems as fond 
 of joking with honeft Fluellin, as FhieU'm is proud of him — all the "water 
 in the IVye^ cannot wajlo your Majejlys JVelcb plood out of your pody., I can 
 tell you that. — 
 
 From the above firfl lines in itahcs, might be drawn this fcene ; and 
 the look of faithful refpeft which the grateful heart of the foldier will 
 give to Henry., will form an interefting addition to the graceful figure of 
 Henry, the refpeftful one of Exeter, and to the pidlurefque (and per- 
 haps OK/r/) figure of F/«^///>/. F/«^///Vj revenge or anger to JViUiams, is 
 not of long continuance — he joys in feeing him receive the King's x:^- 
 ward. Thofe whorecolledl the charadler of Kent, in King Lear, is per- 
 
 I fonated
 
 ( 13 ) 
 
 fbnated by the late Crarke, will have a perfect idea of the brave and 
 honeft iVilliams. Gravelot has drawn (for Theobald's edition) the 
 figures of the King, and JViUianis, for that fcene where they exchange 
 •gloves — it is a pretty groupe, and the figure and drefs of the King is ra- 
 ther graceful ; but they will neitlier of them ferve for the prefent fcene. 
 
 I know of no fketch or figure o£ Fluellin. Hi's figure muft be enlivened 
 with charadleriflick nature, by Bunbury, Loutherbourg, or Rowland- 
 fan »* 
 
 Page 153. 
 
 o 
 
 P^o/^ having been too frequent In his gleehing and galling at poor Flu^ 
 eUin, on account of his having fpoken favourably of leeks: this brave 
 yet cholerick Welchman now appears on the ftage with Goijuer, wearing 
 that ornament in his hat, and fully determined to avenge himfeJf on 
 Pyiol for his infults, by making him eat tlie leek — and indfeed' Fluellln 
 does not now retain that favourable opinion which he once conceived 
 of Piftol- — for in a former fcene, in the honefty and fimplicity of his 
 heart, he took him (from his brags and boafls"), to be a fecond iNIark 
 Antony. — there is an antient lieutenant then at the pridge, — I think^ in my. 
 •eery conjciencCy he is as valiant a man as Alark Antony. — 
 
 * FlueUin might have been well drawn from page 70 — or from page 14,, at thcfe words : 
 Flu, St^nd away captain Gowcr ; I will give treafoa his paymcu in two plo'.vs, 1 warrant you. 
 
 Pipi
 
 ( 74 ) 
 
 Pijlol foon enters, fwelling like a turley-cocTi — and after a humorous 
 dialogue, FlueU'in (after ftrlkinj him) thus accofts him : 
 
 Flu. Tou caWd me ycjlerday, mounta'in-fqu'tre \ hut I •will male 
 
 you to day afquhe of low digree. I pray you, fall to; if you can 
 mock a leek, you can eat a leek. 
 
 Go'M. Enough, captain, you have aftonifhed him. 
 
 Flu. I fay, I will make him eatfome part of my leek, or I will peat his 
 pate four days : — Pite, I pray you * it is goot lor your green wound, 
 and your ploody coxcomb. 
 
 If M. de Loutherbourgwas to paint from one of the above paflages in 
 itahcs, he would not now give to P/^o/, the look which he has given 
 him, in the former mentioned print for the Head-piece. Few artifts 
 would chufe to give the publick their idea of P'lfiol, after viewing the 
 figure which de M. de Loutherbourg has given us. 
 
 This is the lafl time that the companions of F^^^entertain us. — 
 and to this fcene. Dr. Johnfon has fubjoined the following note : — '■'■ The 
 comic fcenes of 'The Hifiory of Henry the Fourth and Fifth are now at an 
 end, and all the comic perfonages are now difmifled. FalftafF and Mrs. 
 Quickly are dead ; Nym and Bardolph are hanged; Gads-hill was loft 
 immediately after the robbery ; Poins and Peto have vaniflied fince, one 
 knows not how ; and Piftol is now beaten into obfcurity. I believe every 
 reader regrets their departure." 
 
 f How would Edwm fpcak thefe four words j 
 
 Tail-
 
 ( 75 ) 
 
 Tail-Piece. 
 
 The only Print that will be required of the fair and princely Katherine, 
 may be taken from this part of the dialogue, in the laft fcene of this 
 play: 
 
 Kalh, Is it poffible dat I fhould love the enemy of France f 
 
 K. Henry. No : it Is not poffible, that you fhould love the enemv of 
 France, Kate: but, in loving me, you Ihould love the friend of 
 France. — 
 
 The pleafing print drawn by Burney for Bell's lafl: edition of this 
 play (from the above lines), poffeffes fo much merit; that co better 
 defigii of the princefs can be wifhed for — and were that print of Kathe- 
 rine to be accompanied with the figure of Henrj (as he was gracefully 
 perfonated by the late Spranger Barry) — it would form a very beautiful 
 print for this fcene of Henrys courtfhip. 
 
 We have only one other print of Katherine, in any of the editions ; 
 and that is, in Bell's firft edition ; but this can by no means be compared 
 with tl?e print of Burney. Had not his print poflefled the merit it does, 
 I fhould have defired the reader to have infpeded the print of Mifs 
 Yonge, in Bell's firfl edition oi Antony and Cleopatra ^ as conveying by no 
 means an imperfedl idea of Katherine.. 
 
 L 2 If
 
 ( 7^ ) 
 
 If the above fele£l:ed paiTage fliould not be approved of; they might 
 then be equally well (if not better drawn) from one of thefe following : — 
 
 Page 163. K. Henry. It is as cafy for me, Kate, to con- 
 quer the Kingdom, as to fpeali fo much more French.— 
 
 page 164^ K. Henry. But, Kate, doft thou underftand thus 
 
 much Enghfh ? Can'ft thou love me ? 
 
 Kath. I cannot tell, 
 
 K. Heury. Can any of your neighbours tell, Kate? I'll alk 
 them. Come, I know thou lov'fl me : 
 
 Page 165. K. Henry. which word thou flialt no fooner 
 
 "blefs mine ear withal, but I will tell thee aloud — Eng- 
 land is thine, Ireland is thine, and Henry Plantagenct 
 is thine ; who, though I fpeak it before his face, if he 
 be not fellow with the beft king, thou fhalt find the beft 
 king of good fellows. Come, your anfwer in broken 
 mufic, for thy voice is mulic, and thv Englifh broken ; 
 therefore, queen of all, Katharine, break thy mind to 
 me in broken Englifh, Wilt thou have me? 
 
 Page 166. K. Henry. You have witchcraft in your lips, Kate : 
 
 there is more eloquence in a fugar touch of them, than 
 in the tongues of the French council; and they fhould 
 fooner perfuade Harry of England, tlian a general peti- 
 •tion of monarchs. — 
 
 The union of Henry and Katherhie, ends with this wifh'd for prophecy: 
 
 Fr. Khi^ Take her, fair fon ; and from her blood raife up 
 Iffue to me ; that the contending kingdoms 
 Of France and England, whofe very fhores look pale 
 With envy of each other's happinefs, 
 May ceafe their hatred ; and this dear conjunftion 
 Plant neighbourhood and chriflian-like accord 
 In their fweet bofoms, that never war advance 
 / His bleeding fword 'twixt England and fair France.* 
 
 * A Lift
 
 ( n ) 
 
 * A lift of fuch Paintings aj have beea taken from this play ; and from which, no Engravings have 
 «i yet been made. 
 
 I. King Henry difcovering the treafon of Scroop. Painted by Pine. 
 
 J. See a former note, where mention is made of fome paintings by Hogarth. 
 
 A Lift of fuch PrinLs as have been publiflied from this play. Thofe I have not feen, are printed la 
 Italics, 
 
 1. Bell's two editions. 
 
 2. Hanmer. 
 
 3. Theobald. 
 
 4. Rowe. _ 
 
 5. A cut by Fourdrlnicr, in an edition, in 8 vols. Svo. printed for Tonfon, 1735.— 
 
 6. A print of Theo. Gibber, in Piftol, prefixed to his Diflertations on the Theatre. 
 
 7. Pope. 
 
 8. Lovondes. 
 
 9. Taylor. 
 
 10. General Maga'z.ine. 
 
 II. The Battle of Agincourt, engraved ly Ryland from after Mortimer* The original is in the pojfef- 
 ^OH of Mrs. Mortimer,
 
 ROMEO AND JULIET. 
 
 Scenes, from which a hermit may eftimate the tranfadlions of the world, and a 
 confefibr predift the progrefs of the paflions- 
 
 Dr. Johnson. 
 
 Milton is not more the pride, than Shakefpeare the love of his country. When 
 Milton appeared, the pride of Greece was humbled. It is therefore equally judicious 
 ■ to diffufe a tendernefs and a grace through the praife of Shakefpeare : as to extoll in 
 a ftrain more elevated and fonorous, the boundlefs foarings of Milton's epic ima- 
 gination. 
 
 Anon. 
 
 When Ben Jonfon wrote, it was from his head — when Shakefpeare wrote, he fat 
 down, and dipt his pen in his own heart. 
 
 Mr. Gar RICK, 
 
 Vignette. 
 
 So infinite are the variety of Defigns that might be fketched for a Vignette to this 
 tragedy ; and fo unlimitedly various and different are the ideas that would predomi- 
 nate in the mind of each artift : that I fliall no longer detain my reader than briefly 
 to point out, a very few of thofe fubjeds that would beft accord with the nature or 
 ipirit of this drama. 
 
 I. A genii tenderly furveying a medallion of Mrs. Cibber, and thus conveying to 
 poflerity (in the page of Shakefpeare) the exa£t features of the darling aclrefs of his 
 
 I Juliet.
 
 ( 8o ) 
 
 Juliet. In the back-ground of which defign might be lightly (ketched the monaflery 
 of friar Lawrence — the dagger which ended Juliet's woes (and with which Mrs. 
 Cibber gave herfelf a (lab which fliuddered the whole audience) — and the fombre and 
 pifturcfque fcenery of the moonlight and tomb — and round this might be twined 
 thofe bridal flowers, which ferved for her bury'd corfe — interfperfed with funeral 
 torches, and with the ufual decorative ornaments of mafques. Or there miglit be 
 introduced more than one genii — and fomewhat fimilar to that fmall groupe in the 
 theatre of Bath, where they are fupporting with the moll fond care the portrait of 
 Shakefpeare. Might not the mournful cupid be introduced in this Vignette, which 
 we fee in Cypriani's print of the Nymph of Immortality? And the happily conceived 
 fio-ure o( Memory in the Hiflorical Rhapfody on Pope by Mr. Tyers, might fugged 
 fome fimilar idea. 
 
 t 
 
 2. Or, in lieu of the above, might be defigned 'Trophies of Love — and for which, 
 fee that richly engraved one, at p. lo. of Idyllcs de Saint-CyTy ou I'hommage du cceur ; 
 which are poems attributed to Monf. Dorat — they were printed at Amftcrdam and 
 Paris, in 1771- The genius of Peters, might now fupply the loll pencil of 
 Cypriani. 
 
 3. Some of the following lines would furnilh a Vignette : 
 
 Fancy ! warm enthujiafic maid, 
 O hear our prayer, hither come 
 From thy lamented Shakefpeare' i tomb. 
 On u-hich thou lov'ft toft at eve, 
 Mupng o'er thy darling's grave. 
 
 Jos. V/arton. 
 
 Here Y ht^C^ fat, (her dewy finders cold. 
 
 Decking with fiovj rets frefh the tinfultied fad,} 
 ^hid batVd with tears thefadfepitlchral mould. 
 
 Her fav rite's offspring s long and laf abode. 
 
 Cooper's Poem of the Tomb of Shakespeare. 
 
 4. Of
 
 ( 8i ) 
 
 4. Or an artift might flrike out fome idea from the following invocation to the 
 genius of Shakefpeare. It might be a female figure of celertial appearance pointing 
 to his tomb : as if repeating the words of, there jleeps the Bard! — Indeed thefe lines 
 (to the laft degree afl'efting) would give rife to various graceful ideas or creations of 
 the fancy — and may no artift difgrace fuch lines by cold conception ; or attempt to 
 defign from them, if his breaft has not been often m armed with the holy flame of 
 Painting : — 
 
 ■o 
 
 
 But ah ! on Sorrow's cyprcfs bough. 
 Can Beauty breathe her genial bloom P 
 On Death's cold cheek will Pajfion glow f 
 Or Muflc warble from the tomb ? 
 There fleeps the Bard, whofe tuneful tongue 
 Pour' d the full flream of mazy fong. 
 Young Spring with lip of ruby, here 
 Showers from her lap the blufhitig year ; 
 While along the turfredindy 
 Hhe loofe wing fwimming on the wind, 
 The Loves with forward geflure bold. 
 Sprinkle the fod with fpangUng gold ; 
 And eft the blue-eyd Graces trim 
 Dance lightly round on downy limb; 
 Oft too, when Eve' demure and fill 
 Chequers the green dale's purling rill. 
 Sweet Fancy pours the plaintive ftrain ; 
 Or wrapt infoothing dream. 
 By Avon's ruffled fiream. 
 Hears the low-murmuring gale that dies along the plain.* 
 
 Ogilvie. 
 
 M How 
 
 * Shakefpcare's fpirit would have breathed the fame humble wifli as is expreflcd in the Minftrel of 
 Bcattie : 
 
 JLet vanity adorn the marble tomb 
 With trophies, rhymes, and Jcutcheons of rtnovirif 
 In the deep dungeon of fome gothic dome^ 
 Where night and defalatien tvnfrovon* 
 2 Mine
 
 ( 8. ) 
 
 How calculated is fome of the above imagery, to entrance the minds of Sir 
 Jofhua Reynolds, or Mr. Gainlborough ! 
 
 M'»e bt the Ireezy hill thatjhbts the doivn ; 
 
 Where a green grajfy turf ii all I cravCy 
 
 With here and there a violet beJlro'MU, 
 
 Fafi hy a brook, or fountain^! murmuring ivave; 
 
 ^nd many an evening fun Jhine fiveetly on my grave. 
 
 And ihither let the village fjjain repair ; 
 
 And, light of heart, the village maiden gay, 
 
 T'o deck -with flovjen her half-difljtvtV d hairy 
 
 And celebrate the merry morn of May. 
 
 There let the fjepherd's pipe the live-long day 
 
 Fill all the grove "with love's bexvitching ivoe ; 
 
 And ivhen mild evening comes with mantle grey. 
 
 Let not the blooming band make hafle to go ; 
 
 A'i' ghofl norfpell my long and lafi abode Jlmll knov}* 
 
 Head-
 
 ( 83 ) 
 
 Head-Piece. 
 
 Many have told 'JuTiet's tale: but none have told It like Shakefpeare.J 
 Crowded theatres fit enraptured at the tendernefs of that Poet, who (as 
 was faid of Beaumont) 
 
 ————— made the theatre fo fovereign 
 
 IV'uh his rarefcenes — • 
 
 and they give unbounded applaufe at the wildnefs of his more terrifying 
 conceptions. We may learn (fays Mr. Warton) from the fatires of 
 Marfton, how popular a tale Juliet's was in thofe days — he is fpeaklng 
 to a wit of the town: 
 
 Lufcus, what's play d to-day ?— faith, ?i;u< Iknow 
 Jfct thy lips abroach, from v^hence dothf.ow 
 Nought but pure Juliet and Romeo. 
 
 There are fcenes of terror and diftrefs in this play, which certainly 
 require the exertions of a fuperior pencil — and an artift would have 
 to record the merit of tragedians, whofe mafterly difplay of the paf- 
 
 i Moiif. Mcrcicr, a very fsw years ago, fabricated a tragedy upon this ftory. He tranflated many 
 paffiges from our Englifli poet ; and has introduced many hi ftorical fads; It is no'.v frequently per- 
 form- d at Paris, with great fuccefs, under ths title of, " The Fall of Verona, or Romeo and Juliet." 
 
 M 2 fions.
 
 I 84 ; 
 
 fions, may not have been yet quite effiiced from recolleftion : but may 
 even now glimmer through the memory of furviving friends. — He would 
 have to paint the matchlefs fpirit of Mr. Garrick, the graceful foftnefs 
 of Barry, and the tendernefs of the firfl of plaintive adtreffes, Mrs. Gib- 
 ber. 
 
 For this department of the Head-piece, might be drawn the very 
 charaders of Nurfe and Peter (favourite perfonages with Shakefpeare) 
 and the pencils of Bunbury, Zoffanli, Loutherbourg and Rowlandfon, 
 feem fo perfe£lly capable of delineating their very oharaders, that one 
 could wilh to fee the Head-piece taken from their ideas of them ; for they 
 would then be exhibited with the true colouring of comic nature. 
 
 They might be Iketched from one of the following paffages • — 
 
 Page 74. Mer. Farewell., ancient lady ; farewell, lady, lady, lady. 
 
 If they fhould be drawn from this pafTage, Mercutio mufl: be introdu- 
 ced. And if they Ihould be drawn from the next page (page 75), it 
 will be neceflary to introduce Romeo — unlefs indeed they fliould be taken 
 from thefe lines : 
 
 y^nd thou miijljland by too, andfuffer every knave to ufe 
 
 me at his pkafure. 
 
 And the anfwer which Peter makes to this laft paflage, will alfo fur« 
 nlfh a good fituation to draw from. 
 
 There are llkewlfe other good points — fuch as 
 
 Page 79. Nurfe. 
 
 ■ Peter ' 
 
 Pet. Anon ? 
 
 Nurfe
 
 ( 85 ) 
 
 Nurfe. Peter, take my fan, and go before. 
 Page 141. Pet. Pretty too ! — what fay you, James Soundpojl ? 
 
 Muf. ^ Faith, I know not what to fay. 
 Page 142. Muf. What a pefiilent knave h this fame f 
 
 Or, Gregory and Sampforif might be (ketched from 
 
 Page 9. Samp. Draw, if you be men. — Gregory, remember thyfwafhing blow. 
 
 How cold appear thefe paffages, when quoted hi this feparated man- 
 
 ner.* 
 
 * No one perhaps will ever reprefent the prattling goffipries of the Nurfe, fo well as Mrs. Pitt,— 
 and Peter's pleafant archnefs receives every juftice from Stevens. Indeed to paint thefe fcenes with 
 the comic fpirit they require, we fliould fee them performed by thofe comedians. In Griffith's col- 
 leftion of prologues, is a print of Weflon in Scrub ; and this figure will give one fome fmall idea of 
 Peter. I know no good figure of the Nurfe in any print. The drefs in which Mrs. Pitt appears, is as 
 charaifleriftically proper, as her whole performance. She exhibits therefore a perfeft pi£lure of what 
 the Nurfe fliould be. In charadters of this kind, Mrs. Pitt has not her equal on any ftage. 
 
 We learn from the quarto editions of fome of our author's plays (fays Mr. Malone, vol. i. page 52.) 
 that the celebrated aftor, IFill. Kempe, was the original performer of Peter, 
 
 Scene*
 
 k S6 ) 
 
 
 Scene Prints. 
 
 Of the chai'a6ler of A/^/r«/M, Mr. Upton thus fpeaks : — *' One would 
 think it impofable that Falftaff iTiould talk otherwife, than Shake- 
 fpeare has made him talk : and what not a little flicws the genius of 
 our poet, he has kept up the fpirit of his humour through three 
 *' plays, one of which lie wrote at the requefl: of Queen Elizabeth. 
 *' For which reafon, if 'tis true what Dryden tells us, fpeaking of 
 " Afeicutio's chara6ler in Romeo and Juliet, that Shakefpeare faid himfelf, 
 '• he was forced to kill h'nn in the third a^l, to prevent being killed by him: it 
 *' muft be his diffidence, and modefty that made him fay this ; for it 
 *' never could be through barrennefs of invention, that Merciitioi 
 ** fprightly wit was ended in the third a£t; but becaufe there was no 
 ** need of him, or his wit any longer." 
 
 And Dr. Johnfon, fpeaking of the above traditionary words of Dry- 
 den, (after faying that " this is one of the few attempts of Shakefpeare 
 to exhibit the converfation of gentlemen, to reprefent the airy fprightli- 
 nefs of juvenile elegance") obferves : 
 
 tt 
 
 *' Mercutio's wit, gaietv, and courage, will always procure him 
 friends that wifh him a longer life ; but his deatli is not precipitated : 
 '* he has lived out the time allotted him in the conll:ru£lion of the play ; 
 *' nor do I doubt the ability of Shakefpeare to have continued his exifl- 
 *' ence, though fome of his fallies are perhaps out of the reach of Dry- 
 *• den; whofc genius was not very fertile of merriment, nor duftile to 
 *' humour, but acute, argumentative, comprehenfive, and fiiblime." 
 
 I Of
 
 ( 87 ) 
 
 Of all the comedians who have entertained us with Mercutio, none per- 
 haps have equalled the late lively and graceful Harry Woodward,* And 
 I fear there will now be no obtaining a refemblance of the peculiar ex- 
 preffion which he gave to his recital of the feats of Mab — nor of the 
 charm which he threw over that fcene, when the gallant fpirit of Mfr- 
 cutio is about to afp'ire the clouds. X 
 
 Living comedians have exhibited much merit in this part, and par- 
 ticularly Mr. Lewis, whofe performance is always impatiently waited 
 
 for— 
 
 * We fliould indeed e\-cept Mr. Garrick, who, I find, has once or twice performed this character; 
 as well as that of the county P<zriV in this play. The elegant lines addrefled to Mr. Garrick 0« /iie 
 report of his leaving the Jlage, glance at his having performed Mercutie : 
 
 One meaning glance of eyes, like thine, can fhew, 
 What lab 'ring critics boaft in vain to know. — 
 Once more let Cawdor gr.ifp his midnight fteel, 
 And ^<?/j« his wifh, half utter, half conceal ; 
 In death'' s fad hour hid gay Mercutlo fmile.— 
 
 f There is a large print of Woodward fpeaking the lines on Mah, publiflied in 1 753, but it does not 
 merit any notice. It exhibits none of the livelinefs of this bold and generous charaiftcr. And little 
 can be faid in favour of the print in Bell's firft edition of this play. 
 
 Oil Woodward's death the following lines were written : 
 
 Virtue and Mirth on earth can never fix 
 
 There goes the boat ! — with Woodward crofs the Styx. 
 
 If he's as great a Marplot now he's dead. 
 
 He'll puzzle each Infernal Judge's head : 
 
 And fliould his J?o3.jflV/fucceed again, 
 
 He'll chace the Shades around th' Eiyfian plain : 
 
 Againft death's poifon'd dart there's nought fecure, "l 
 
 Tho' not Well deep — nor ivide as a Church-doer^ Y 
 
 Mercutio\ hit — and fpread upon the floor. J 
 
 Take a frefh handkerchief — Thalia cry ! 
 
 Tiiou'ft loil^the merrieft fellow that could die..
 
 ( 88 ) 
 
 for — his fpeaking the lines on Qneen Mab, and his fpirlt throughout 
 every fcene is very interefting — every one feems forry that his wound 
 {though not fo deep), (hould fo foon depiive us of his fprightly pleafantry. 
 
 Perhaps the character of Mercutio, might be drawn to moft advantage, 
 either as giving his whimfical, yet mafterly, defcription of the queen of 
 dreams (and where his figure would require to be moft lively, fpirited, 
 and graceful) — or, from one of the underwritten paffages in Italics : 
 
 Rom. Courage, man ; the hurt cannot be much. 
 
 Alcr. No, 'tis not fo deep as a well, nor fo wide as a church-door; but 
 'tis enough, 'twill ferve : alk for mo to-morrow, and you fhali find 
 me a grave man. I am pepper'd, I warrant, for this world ; — 
 A plague o' both your houfes ! — What ! a dog, a rat, a moufe, 
 a cat, to fcratch a man to death ! a braggart, a rogue, a villain, 
 that fights by the book of arithmetick ! — Why the devil came you 
 between us? I was hurt under your arm. 
 
 Rom. I thought all for the heft. 
 
 Mcr. Help me into feme houfe, Benvolio, 
 
 Or I fhall faint. A plague o' both your houfes ! 
 
 They have made worm's meat of me : 
 I have it, and foundly too : — 
 
 If he were drawn from the words of : hut fis enough — he might caft 
 a tender look at Romeo : and yet accompanied with fomewhat of his 
 ufual fprightly merriment. The attitude oi Benvolio, might be drawn 
 very interefting — but to the figure oiMercullo, fhould be given the gen- 
 teeleft grace, and the marks of a former airy fprighilinefs of juvenile ele- 
 gance. 
 
 Somewhat
 
 C 89 ) 
 
 Somewhat of the fame very interefting attitudes will be required, if 
 they lliould be drawn from i^o/wfo'j atFcclionately faying : 
 
 I thought all for thebcji.* 
 
 Page 48. 
 
 Rom. If T prophane tjuith my unworthy hand 
 Thh holjjinine, the gentle fine ti this — 
 Thy lips, t-wo blujh'ing pilgrims, ready Jianl 
 Tofmioth that rough touch with a gentle kifs. 
 
 Jul. Good pilgrim you do wrong your hand too much, 
 IVh'.ch mannerly devotion JhevJS in this ; 
 For faints have hands that pilgrim's hands do touch, 
 yind palm to palm is holy palmer^ s kifs. — 
 
 I have fele£ted the above lines for the piirpofe of exhibiting that fplen- 
 did fcenery, and pomp of revelry which fliould accompany the old accuf- 
 tomedfeajl of Capulet, where are aflembled all the youth of quality, and 
 all the admired beauties oifa'tr Verona. And as "Juliet will be more diftinftly 
 drawn from the above felefted lines, I have preferred them to the follow- 
 ing one in italics, (in this fame fcene), which would otherwife have 
 given an opportunity for the attitude of the young and handfome Romeo 
 to have been finely drawn : 
 
 Rom. What lady's that which doth enrich the hand t 
 Of yonder knight ? 
 
 Serv. I know not fir. 
 
 * Mercutlo might be well drawn from p. 74, if we chofe to introduce the other characters ; viz. 
 Romeo, Benvolio, the Nurfc, and Peter. 
 
 ■f Do:h enrich the hand (fays the Dramatic Cenfor,) is a beautiful idea, and a moft delicate compli- 
 ment to Juliet's beauty. 
 
 N Rom.
 
 ( 90 ) 
 
 Rom. O, n>e cbth teach the torches to burn bright ! 
 Her beauty hangs upon tlic cheek of night 
 Like a rich jewel in an ^Ethiop's ear : 
 Beauty too rich for ufe, for earth too dear. 
 
 li Romeo and yuliei (hould be drawn from the above firfi: fele£led lines, 
 his addrefs will be accompanied with all the tendernefs and delicacy of 
 Jove ; and for the look which Jul/et gives him when he begins to addrefs 
 to her thefe lines, by all means fee an engraving by Benedi6lus Farjat, 
 in 1685, from after Lnd Geminiani, with thefe words at the bottom, 
 Celeberrimam Divi Petri Coeleftini Papas V. &c. If an artifl: will in- 
 fped this fame fcene drawn by Anthony Walker, in the fet of prints he 
 publifhed from this play, he will think feme parts of the drefs or nut/k- 
 ing iveeds of Romeo, worth attending to — and though the pilgrim's ftaff 
 miglit admit of Improvement (it not being near fo light and pi£lurefqiie 
 as that which Holman carries when performing this chara£ler) as well 
 as the countenances oi Romeo and ytdiet (which are mofl vilely drawn) — 
 yet there are fome few things in this print of Walker's, which will in 
 feme degree afhfl: an artift in picturing the revels of this fcene : particu- 
 larly the torches — the trumpet — the antique chair (though "JuUet I 
 think fliould not be feated)— and fome of the malkers. Much fancy 
 will be required in defigning the mafked dancers ; for in Italy, thefe 
 entertainments were magnificent and fumptuous, and were accompanied 
 by their own voluptuous and tender mufic. Equal fancy will be requir- 
 ed in the embellifhment oi Capukt's hall — for which purpofe, fee " An 
 *' exa6l draught of the famous Silver Ciftern now in the pofleffion of 
 " the Emprefs of Ruflia, &c." Henricus Jernegan invenlt, Gravelot 
 delineavit, G. Scotin fculpfit, and publifhed in 1735. Were this truly 
 fine vafe reduced in fize, and placed on- a fland or table, it would much 
 add to the fcenery of the hall ; for it is defigned with all the richnefs of 
 a bacchanalian fancy. To the youthful figure of Romeo, fhould be given 
 a perfon as handfome as his attitude ought to be graceful, and to thefe 
 fhould be added a rich and pifturefque drefs. 
 
 I Page
 
 ( 9t ) 
 
 Page 54. 
 
 Capulet's garden (where is held the firft courtrtiip of the lovers) will 
 admit of much rural embellifliment, and will be aided by a moonlight 
 fcenery,* In the print taken from this page in Walker's fet, is an urn, 
 worth looking at — and the drefs of Romeo may be looked at — the balcony 
 too, in this fame print might be improved — and the ftatue which is feeii 
 through the trees, w^ll give one an idea of introducing other ornaments 
 of that kind. For which purpofe, one or two might be felecled, from 
 plates 27, 2>^, 37, 38, 60, 75, 76, 80, 113, 116, 123, or 125, of 
 Rofli's Raccolta di Jlaiiie antkhe e moderne. There is a very neat fet of 
 engravings by Falda, and Felice, called // Giardinl di Roma — and it may 
 not be ufelefs to refer to them. By all means fee, the rural fcenery, 
 and the well conceived llatue, in a fine French print, a copy of which may 
 be feen in the Weftminfter Magazine for 06lober, 1778. It mufl be ob- 
 ferved, however, that thefe ftatues will at bell: be dimly feen, and that 
 through the pale glimmering of the moon. See alio the pidlurefque 
 fcenery in Pine's print of Miranda, engraved by Caroline VVatfon. 
 
 In this very celebrated fcene, where the courtfliip of the lovers is fo 
 highly and naturally painted, and which exhibits fo fine a pi6lure of 
 
 * At the late repvefentation of this tragcd}- at Covent Garden, " the principal char.iif^ers were new 
 drefled in the hab'ts of the times, and the decorations were fplendid, and llriifVIv according to the 
 cojliime. The refleftion of the moon upon the water in the garden fcene, wa; a mod beautiful rcprc- 
 fentatlon of nature." 
 
 I know of no print taken from this play, that exhibits an unexceptionable drcfs for Romeo; but one 
 might partly be felefted from M. de Loutherbourg's vignette to J3ell, and from the fc>;ond plate in 
 Walker's fet. 
 
 N 2 tender
 
 r 92 ) 
 
 tender and mutual affcftion, there are very many fituations where they 
 might be drawn to great advantage — uideed the delicate fancy of 
 Shakefpeare has introduced fo many of thefe fituations, that it is ahnoft 
 abfurd to fele£l any — and yet perhaps, the following paffages which I 
 have marked with italics, may not be deemed the mofl: improper points 
 to paint from : 
 
 Rom. See, hoiv Jhe leans her cheek upon her hand! 
 O, that I were a glove upon that hand. 
 That I might touch that cheek ! 
 
 Jul. Ay me'.* 
 
 Rom. She fpeaks .— 
 
 0, /peak again, bright angel ! for thou art 
 As glorious to this night, being o'er my head, 
 As is a winged meflenger of heaven 
 Upon the white upturned wond'ring eyes 
 Of mortals, that fall back, to gaze on him. 
 When he beftrides the lazy-pacing clouds, 
 And fails upon the bofom of the air. 
 
 Jul. O Romeo, Romeo! wherefore art thou Romeo ? 
 Deny thy father, and refufethv name : 
 Or, if thou wilt not, be butfworn my love, -♦ • 
 
 And I'll no longer be a Capqlct. 
 
 Jul. By whofe dire£lion found'il thou out this place ? 
 
 * For this part, where Juliet is about to apoftrophize the name of Ro>:ieo, by all means fee the 
 attitude of the head, and the countenance of Arria, in a metzotinto of Patus and Arria, engraved by 
 Dunkartou, from after Mr. Weft. See alfo fome traits in the print of Fa th, engraved by Walker, 
 from after Gardner. And the figure of Ferdinand in Pine's print of M'randa, may be looked at, par- 
 ticularly the right hand, and the white feather. Barry fpoke the three foregoing lines, as indeed did 
 Mr. Garrick, with an inconcei-able fvveet voice and addrefs— and they fpoke the line oi O, /peak 
 again, bright angel! — with extacy. 
 
 Rom»
 
 ( 93 ) 
 
 Rom. By love, who firft did prompt me to inquire ; 
 He lent me counfel, and I lent him eyes. 
 I am no pilot; yet, uiert thou as far 
 As that vajljhore luajh'd with the fartheji Jca, 
 I would adventure for fuch merchandize. 
 
 Jul. Thou know'ft the malk of night is on my face ; 
 Elfe would a maiden blufh bepaint my cheek. 
 For that which thou haji heard me fpeak to night. 
 Fain would I dwell on form, fain, fain deny 
 What I have fpoke. 
 
 O, gentle Romeo, 
 
 If thou doft love, pronounce it faithfully : 
 Or, if thou think.'ft I am too quickly won, 
 I'll frown, and be perverfe, and fay thee nay. 
 So thou wilt woo ; but elfe, not for the world. 
 In truth, fair Montague, I am too fond ; 
 And therefore thou may'ft think my haviour light: 
 But truft me, gentleman, I'll prove more true. 
 Than thofe that have more cunning to be ftrange. 
 I fhould have been more flrange, I rauft confefs, 
 But that thou over-heardft, ere I was aware, 
 My true love's paffion : therefore pardon mc ; 
 And not impute this yielding to light love, 
 Which the dark night hath fo difcovcred. 
 
 Rom. Lady, by yonder blejfed moon I vow. 
 
 That tips with filver all thefe fruit-tree tops, — 
 
 Jul. 0, /wear not by the moon, the inconjlant moon 
 That monthly changes in her circled orb. 
 Left that thy love prove likewife variable. 
 
 Rom. What (hall I fwear by ? 
 
 Jul. Do not fwear at all ; 
 
 Or, if thou wilt, fwear by thy gracious felf, 
 Which is the god of my idolatry, 
 And I'll believe thee. 
 
 Rom. If my heart's dear love— 
 
 Jul,
 
 c»> 
 
 ( 94 ) 
 
 y«/. Well, do not fvvear ; although I joy in thee, 
 I have no joy of this contraft to night : 
 It is too ra(h, too unadvifed, too fudden : 
 Too like the lighinhig, which doth ceafe to be. 
 Ere one can fay — It lightens. Sweet, goodnight? 
 This bud of love, by fummer's ripening breath, 
 jMay prove a beauteous flower when next we meet. 
 Good night, good night ! aifwect rcpoje and rejl 
 Comt to thy heart, as that within my hreajl. 
 
 Roni. O, wilt thou leave me fo unfatisfied ? 
 
 Jul. What fatisfaftion can'ft thou have to night ? 
 
 Rom. The exchange of thy love's faithful vow for mine. 
 
 Ju/. I gave thee mine before thou didft requeft it ; 
 And yet I would it were to give again. 
 
 Rom. Would'ft thou withdraw it ? for what purpofe, love? 
 
 Ju/. But to be frank, and give it thee again. 
 And yet I wifli but for the thing 1 have : 
 My bounty is as boundlefs as the fca, 
 My love as deep ; the more I give to thee. 
 The more I have, for both are infinite. 
 1 hear fome noife within ; Dear love, adieu ! 
 
 \_Nurfc calls within. 
 Anon, good nurfe! — Sweet Alontaguc he true. 
 Stay but a little, I will come again. \_Exit, 
 
 Rom. O bleffed night ! I am afeard. 
 
 Being in night, all this is but a dream. 
 Too flatter! ng-fweet to be fubftantial. 
 
 Re-enter Juliet above. 
 
 Jul. Three words, dear Romeo, and good night, indeed. 
 If that thy bent of love be honovirabic, 
 Thy purpofe marriage, fend me word to-niDrrow, 
 By one that I'll procure to come to thee. 
 
 Where, 
 
 I
 
 I 
 
 ( 95 ) 
 
 Where, and what time, thou wilt perform the rite ; 
 jind all my fortunes at thy foot Vll lay, 
 yind follow thee my lord throughout the world. 
 
 {fFith'in: Madam. 
 I come, anon : — But if thou mean'ft not well, 
 I do befeech thee, — IfVithin : Madam.] By and by, I come :— 
 To ceafe thy fuit, and leave me to my grief: 
 To-morrow will I fend. 
 
 Rom. So thrive my foul, — 
 
 Jul. A thoufand times good night ! [ Exit , 
 
 Rom. A thoufand times the worfe, to want thy light — 
 
 Love goes toward love, as fchool-boys from theirbooks ; 
 But love from love, towards fchool with heavy looks.. 
 
 Re-enter Juliet again, above. 
 
 Jul. Hift ! Romeo, hift ! — 0, for a faulconer's vclce. 
 To lure this tajfc I gentle back again ! 
 Bondage Is hoarfe, and may not fpeak aloud; 
 Elfe would I tear the cave where Echo lies. 
 And make her airy tongue more hoarfe than mine 
 TVlth repetition of my Romeo's name.* 
 
 Rom. It is my foul, that calls upon my name : 
 
 How filver-fweet found lovers' tongues by night, 
 Like foftcCl mulic to attending ears ! 
 
 Jul. Romeo ! 
 Rom. My fweet ? 
 
 *- The attitude of>/;V/, when fpcaking thefe lines, fliould fomewhat referable that of the principal 
 figure on the left hand, of Corregio's firft ftudy in the colkaion of drawings by Rogers. 
 
 The writer, is in pofleffion of a drawing by Carlo Maratti, which gives one a perR-a idea of the 
 attitude, and of the grace and fweetnefs which iliould accompany Jul.ct, when fpeaking from the 
 
 balcony, this firm, yet mild invocation. 
 
 Jul.
 
 ( 96 ) 
 
 'Jul. At what o'clock, to-morrow 
 Shall I fend to thee? 
 
 Rom. By the hour of nine. 
 
 "Jul. I will not fail ; 'tis twenty years 'till then. 
 I have forgot why I did call thee back. 
 
 Rom. Let me fland here 'till thou remember it, 
 
 7«/. I fliall forget, to have thee ftill {land there, 
 Remem'bring how I love thy company. 
 
 Rom. And I'll ftill ftay, to have thee dill forget, 
 Forgetting any other home but this. 
 
 'Jul. 'Tis almofl morning, I would have thee gone : 
 And yet no further than a wanton's bird ; 
 \V ho lets it hop a little from her hand. 
 Like a poor prifoner in his tvviftcd gvves. 
 And with a (ilk thread plucks it back again, 
 So loving-jealous of his liberty. 
 
 Rom. I would, I were thv bird. 
 
 Jul. Sweet, fo would I ; ' 
 
 Yet I fhould kill thee with much cherifhing. 
 
 Gcod night, good night ! parting ii fuch Jzvcet fonow. 
 
 That I Jhall fay — goodnight, UiU it be morrow, [Exit 
 
 Rom. Sleep dwell upon thine eyes, peace in thy brcaft ? — 
 Would I were fleep and peace, fo fweet to reft ! 
 Hence will I to my ghoftly father's cell; 
 His help to crave, and my dear hap to tell. [Exit. 
 
 The whole of the above fcene is fo finely delineated by this fupreme 
 mafter of the tender pafllons, that it is with great relu£tancel mark any or 
 the foregoing pafl'ages with italics, for thofe artifts are bell: calculated to 
 judge from whence they might heft: paint the fimplicity and love oi Jul'iet, 
 and the graceful warmth of Romeo, who have beheld and recoUedt the 
 
 contention 
 
 I
 
 ( 9'^ ) 
 
 contention of Ganick and Bellamy at Drury-Lane, with Barry and Gib- 
 ber at Covent-Garden — or who have more lately beheld the refpeftable 
 performance of Holman and Mifs Brunton. One of the niceft difcri- 
 minations of theatrical merit was given by a Lady, in defcribitig the 
 different ftyles of playing, exhibited by Garrick and Barry, in the cha- 
 ra6ter of Romeo. — " In the garden or balcony fcene, where Romeo ex- 
 claims, But [oft, whai light through yonder window breaks, (he thought 
 Garrick delivered the fentiments in tones fo animated, and with fuch 
 impaffioned feeling, that were flie really Juliet, {he would have ex- 
 pe£ted, from the ardor of her lover, that he would have leapt into 
 the window to her. But when Barry played it, his intonation was 
 fo Iwcet, his feelings appeared fo tender, and his manner was fo foft, 
 that in the fame fituation as Juliet, fhe would have leapt from the 
 window to him."f 
 
 O Page 
 
 •f Of this contention for fupeiioiity, (for no cliaradter on the ftage was ever more warmly conteded) 
 the mort judicious account I have fecn, is the following ; — 
 
 " A charafter upon the ftage was never fupported with more luxuriant merit, than this byMeflrs. 
 Garrick and Barr}-, or Barry and Garrick : for when thofe inimitable performers contcfled it fixteen or 
 feventeen years fince, it was extremely difficult to fay who fliould ftand firll ; we fliall offer a compari- 
 fon upon flrift impartiality, and leave decifion to the unprejudiced reader. 
 
 " As to figure, though there is no neceflity for a lover being tall, yet we apprehend Mr. Barry had 
 a peculiar advantage in this point ; his amorous harmony of features, melting eyes, and unequalled 
 pliiintivenefs of voice, feemed to promife every thing we could wifli ; and yet the fupcrior grace of 
 Mr. Garrlck's attitudes, the vivacity of his countenance, and the fire of his expreffion, (hewed there 
 were many effential beauties in which his great competitor might be excelled : thofe fcenes, in which 
 they moft evidently rofe above each other, are as follow : — Mr. Barry the garden fcene of the fecond 
 aft — Mr. Garrick the friar fcene in the third — Mr. Barry the garden fcene in the fourth — Mr. Garrick 
 in thefirft fcene, defcription of the apothecary, &c. fifth aft — Mr. Barry firft part of the tomb fcene, 
 and Mr. Garrick from whence the poifon operates, to the end. Ha:^'ing fecn this play three times at 
 each houfe, during the contention, and having held the critical fcale in as juft an eciuilibrium as pof- 
 fible, by not only my own feelings, but thofe of the audience in general, I perceived that Mr. Garrick 
 •commanded moft applaufe — Mr. Barry moft tears. Dcfirous of tracrng this difference to its fource, I 
 2 found
 
 t 98 ; 
 
 Page 6^, 
 
 Many fituations offer for drawing to advantage the good old Friar. 
 He firft appears in page 62, before the gate of his monaftery ; where he 
 interefts us, in his moral refleftions, on the contraft quality of herbs ; 
 comparing them (in a philofophical foliloquy) to the virtue and vice of 
 human breafts : — but I cannot refrain from wishing that his benign 
 portrait may be taken from another part of this fcene, where, with pa- 
 ternal tendernefs, yet with animated warmth, he thus addreffes Romeo : 
 
 Holy faint Francis f what a change is, here ! 
 Is Rofaline, whom thou didft love fo dear 
 So foon forfaken ? young men's love then lies 
 Not truly in their hearts, but in their eyes. 
 yefu Maria ! what a deal of brine 
 Hath waJV d thy fallow cheeki for Rofaline f 
 
 If 
 
 found that as dry forrow drinks our blood, fo aftonifhment checks our tears ; that by a kind of eleftrical 
 merit Mr. Garrick ftruck all hearts with a degree of inexpreffible feeling, and bore conception fo far 
 beyond her ufual fphere, that fofter fenfations liy hid in wonder." 
 
 Dram. Censor, vol. i. 
 
 Another critic, gives this fliort deeifion : 
 
 " At Covent Garden I faw Juliet and Romeo ; and at Drury Lane, Romto and Julitt." 
 
 The late Dr. Dod, has given us the following note on this garden fcene. — 
 
 *• The elegance and natural fimplicity of this fcene is enough to recommend it, and muft render it 
 agreeable to every reader who bath any tafle for tendernefs, delicacy, and fmcere affeftion : but when 
 
 we
 
 ( 99 ) 
 
 If the portrait of the Frtar (for there is noabfolute need to introduce 
 Romeo) were engraved in rich metzotinto, from the ideas of the Prefident 
 of the Academy, how nobly would it ornament the poet's fcene ! — for 
 it would then poflefs the natural and unaffedled air of the portraits of 'Titian, 
 •where dignity feeming to be natural and inherent^ draws fpontaneous reverence.*' 
 Sterne's Lorenzo gives one the idea of Shakefpeare's Father Lawrence — 
 one of thoje heads which Guido has often painted — mild, pale, penetrating. — 
 To this Monk fhould be given an eye, looking forward into futurity.^ 
 
 O 2 The 
 
 we have feen it fo juftly performed, and fo beautifully graced by fome of the befl and moft judicious 
 aclors that ever appeared on any ftage, we fhall want no comment to enter into its particular excel- 
 lencies, no chart to guide us to thofe beauties, which all muft have fenfibly felt, on heann!>- them to 
 feelingly and pathetically exprell, in their own bolbms." 
 
 The following anonymous criticifm, u by no means an injudicious one— for the author of it, after, 
 mentioning with fome degree of indignant difgufi, the frequent attempts to perform the parts of Romeo 
 and Juliet, thus obferves : 
 
 " Thofe who remember Mr. Barry and Mrs. Gibber in thofe papts, and who could perceive and 
 feel their diftinguifhed excellencies, will not wonder that fuch perfons as are now admitted to attempt 
 them, do not fucceed. — Every coxcomb who thinks he has talents to pleafe the ladies, and every 
 maiden who is fickening with languifliing defire, imagine themfelves qualified for the parts of Romeo 
 and Juliet. They are drawn by Shakefpeare's warmeft and moft delicate pencil ; and the tender, ge- 
 nerous enthufiafm which acluates them, is extremely different from the fentimental affedations of 
 the prefent times." 
 
 ■ * See a Difcourfe delivered to the Students of the Royal Academy, in 1778. 
 This metzotinto fliould be engraved by Jones, who engraved Mufcipula, 
 
 § " At Aufch, among other portraits in the librarj', is a fine head of the Cardinal de Polignac. 
 There is infinite genius marked in the countenance. A pale face; the contour, oval; an aquiline 
 nofe, and an eye looking fonvard into futurity. Over his fcarlet robe hangs the crofs of the Holy 
 Ghoft, on his breaft. He was one of the many fublime fpirits who will for ever immortalize the age 
 of Louis the fourteenth." — Wraxall's Tour through France. 
 
 What is fpoken by a Monk, in the Travels- of Reafon in Europe, will not be inapplicable to the 
 cuiltlefs mind of Fathtr Lawrence :— 
 
 " If
 
 ( lOO ) 
 
 The other fcene where an artift might perhaps agani chufe to intro- 
 duce the Friar, will be at page 123. For though he might well appear 
 in page 82, when uttering his addrefs to heaven, as well as when he 
 fees Juliet advancing to his cell, in page 83 ; and might be well drawn 
 too, from that fcene where the banifhment of Romeo is difcuffed (parti- 
 cularly when he takes his farewell of him) — yet I referve him for that 
 fuperior and capital fcene at page 1 23, where he offers the defperate re- 
 medy to Juliet. 
 
 Pa 
 
 ge 9 
 
 o. 
 
 When news is brought to Romeo of Mercutio's death, and of his gal- 
 lant fpirit having afpired the clouds : the dear memory of his friend 
 rouzes his courage and refentment ; and on his viewing the furious j?j/- 
 lalt, he thus fpiritedly denounces vengeance on him, for having flain 
 Mercutio : 
 
 Rom. Alive! in triumph f and Mercutio Jlaint 
 Away to heaven, refpeiiive lenity. 
 
 And 
 
 " If perchance, the thought of living at a diftance from any town frightened me, I recollefled that 
 I had a body to pay all, in cafe I (hould be murdered ; but that no one could lay hold of my foul ; 
 and that gave me fpirlts. Sicknefs never durft attack me, for 1 was ever laborious and frugal, 1 do 
 not think that the pleafures of kings, who are faid to be the greateft and happieft of men, are fo pure as 
 mine. Mine I have gathered in my own foul : that is the field where I have fown all my fatisfaftiuns. 
 Every other joy is a borrowed pleafure ; my happinefs is my own property." 
 
 Walker, in two of his prints from this play, has miferably failed in his conception of the Friar—' 
 whofe figure in Theobald, does not difpleafe, after viewing the very vile ones of Walker. No trage- 
 dian will CTer render the part of the Friar more refpeftable than does that worthy charafter Mr. Hull,
 
 ( »oi ) 
 
 An-d fire- e-Zd fury be my condufi now /— 
 A B-Jj, Tybalt, take the villain back again 
 That late thou gavjl me ; for MercutW s foul 
 Is but a little way above our heads. 
 Staying for thine to kerp him company ; 
 Or thou, or I, or both, Jhall follow him. 
 
 The attitudes of both Romeo and 'tyhalt (as well as that of the gene- 
 rous and friendly BenvoUo) will be highly pifturefque; and will each of 
 them demand elegant and graceful figures, animated with the moft bold 
 and fpirited expreffion. Garrick's fire fhone confpicuous in this fcene — 
 and the audience faw with tranfport the effeminate and drooping fpirit 
 of Rotneo, now blazing into life, to avenge the death of (what they all 
 regretted) the brave and fprightly Mercutio — Their foldier-like and 
 graceful figures will indeed form a moft fpirited groupe ; and the fcene 
 may exhibit Italian architedlure. 
 
 Page loo* 
 
 We are unwillingly obliged to omit many fituations, where Juliet 
 might have been finely painted — Such as at her joyful tranfport at the 
 end of a£l 2, fcene 5. 
 
 Hie to high fortune f — honefi nurfe, farewell — 
 
 and in this prefent animated and affecting fcene, which leads the mind 
 willingly captive, and where the blundtrings of the old Nurfe^ are de- 
 flgned by the poet, to agitate the tender and alarmed mind of Juliet^. 
 with confliding paffions, there are many pafTages which would demand 
 her being drawn with every grace of expreffive paflion — particularly at 
 
 that
 
 ( I05 ) 
 
 affeding line, where fhe believes her lovef dead, and In the affli6led 
 agony of her woe-beaten heart, thus cries out : 
 
 break, my heart \ — poor bankrupt, break at once f 
 
 yet, we are forced to reUnquifh thefe fine lines : in order to haften to that 
 paflage with which Ihe clofes the fcene, and which fo very tenderly 
 paints her afFedlion : 
 
 O find him ! give this ring to my true knight. 
 And bid htm come to take his lajl farewell. 
 
 Her pale cheek of forrow will yet be accompanied, with that extreme 
 beauty, which Romeo fo well dcfcribes, when he firft beheld her at the 
 mafque at Capulefs. 
 
 « 
 
 Page 112. 
 
 Juliet's chamber, looking to the garden. A ladder of ropes Jet, 
 
 This fcene is a continuation of that exchange of mutual endearment, 
 which was fo finely piftured in page 54; but this prefent (hort fcene is 
 
 rendered 
 
 * The fcene altnoft immediatley preceeding this page, is that where the Friar announces to Romeo his 
 doom of banifliment. It is a fcene which certainly offers many iituations to paint from— and particu- 
 larly thefe following. — 
 
 Page 1 01. Rom. Do not fay —banifliment. 
 
 Page 101. I^m. Thou cnt'ftmy head off with a golden axe. 
 And fmil'fl upon the ilroke that murders me. 
 
 Page
 
 ( »o3 ) 
 
 rendered fomewhat more iiitereftlng from the reflection of that repara- 
 tion which muft foon enfue. I will extraft fome few lines from this fcene, 
 for the purpofeof ornamenting it with fome defign — yet the tender and 
 perfuafive eloquence of Juliet would doubtlefs furnifli more than one de- 
 fign — and the preference might perhaps be given to this following line in 
 italics : — 
 
 Rom. Farewell, farewell ! one kifs, and I'll defcend. 
 
 [^Romeo defcends. 
 
 Jul. Art thou gone fo ? Love ! lord ! ah, hufband ! friend ! 
 I muft hear from thee every day i'the hour, 
 
 For 
 
 Page 102. Fri. And turn'd that black word death, to banifliment.— « 
 
 Page 102. Rom. they may feize 
 
 On the white wonder of dear Juliet's hand, 
 , And Ileal immortal bleffings from her lips.— 
 
 Page 103. Fri. I'll give thee armour to keep off that word ; 
 Adverlity's fweet milk, philofophy 
 To comfort thee, though thou art banilhed. 
 
 Page ICO. R»m. Thou can'ft not fpeak of vhat thou doft not feel : 
 Wert thou as young as I, Juliet thy love. 
 An hour but married, Tybalt murdered, 
 Doating like me, and like me, baniflied !— 
 
 : Page 107. Fri. Give me thy hand ; 'tis late: farewell; goodnight. 
 
 Rom. But that a joy pad joy calls out on me, 
 It were a grief, fo biief to part with thee : 
 Farewell. 
 
 And yet, notwithftanding the merit of thefe pafTages Cpaffagcs where Garrick's native fire glowed 
 through every line) they fliould give way to thofe other fcenes which intereft the pallions perhaps more 
 than this prefent one. Much may be faid, no doubt, in favour of the above pafiagcs ; but the cha- 
 rafters of this play, cannot be drawn for every fcene, uid the prefent fcene muft therefore relue'^antly 
 give place to others. Mr. Holman has ever receive^i much applaufe, for preferving (what is not often- 
 feen on the ilage^ " a temperance" in this fcene with the Friar*
 
 ( 104 ) 
 
 For in a minute there are many days; 
 
 O ! by this count I (hall be much in years. 
 
 Ere 1 again behold my Romeo. 
 
 Rom. Farewell! I will omit no opportunity 
 
 That may convey my greetings, love, to thee, 
 
 Jul. 0, thinFJ} thou, we Jhall ever meet again? f 
 
 Rom. I doubt it not ; and all tlicfe woes (hall ferve 
 For fweet difcourfes in our time to come. 
 
 Jul. O God ! I have an ill-divining foul ; 
 
 Methinks, I fee thee, now thou art fo low. 
 As one dead in the bottom of a tomb ! — 
 
 Had Shakefpeare feen his Juliet, as perfonated by Mrs. Cibber, and 
 heard her fpeak the above line in italics : he would then have viewed (as 
 it were) his own genius animating two beings at the fame inflant of 
 time — for the afFedlion, the fear, and the tender reluftance at parting, 
 exprefTed in Gibber's look, and the plaintive voice with which fhe ad- 
 dreffed the above line to her lover, can no more be conceived by thofe 
 who heard her not, than defcribed. If a picture (hould be taken from 
 this line, the innocent afpect and beauty of Juliet will fufFer no dimi- 
 nution, from the tears which that moving thought, that trembling ap- 
 prehenfion, draws from her eyes. Her figure (hould concenter, all that 
 can beexprefled of female forrow, and of female grace. 
 
 And yet, if the above felected line fhould be chofen : one knows not 
 how to reject her artlefs attempt to detain Romeo: 
 
 Jul. Wilt thou be gone ? it is not yet near day : 
 It was the nightingale, and not the lark 
 That pierc'd tiie fearful hollow of thine ear ; 
 
 f How natural was this thought, when her hufband was going to banifhmenc 
 
 Nightly
 
 ( I05 ) 
 
 Nightly fhefings on yon pomegranate tree : 
 Believe n:ie, love, it waj the nightingale. 
 
 The ladder of ropes will be feen affixed to the wuidow; which, as 
 Romeo in a former fcene, joyfully fays : 
 
 — — to the high top-gallant of my joy 
 Mujl he my convoy, in the fecret night. * 
 
 Pase 1 20 
 
 "^iiliet has now taken a mournful leave of her beloved Romeo, (and in- 
 deed the laft fcene proved to be their laft interview) and the alarms of 
 her mind become fo interefling as the plot thickens, that one is loath to 
 refufe the tribute of an engraving to any of thofe pages, which fo maf- 
 terly defcribe the paffions oi hex tempejl-tojfed body. Thiswifh, however, 
 cannot be executed, from the extreme and almoft unlimited number of 
 engravings which it would occafion. We muft therefore in prefent, or 
 in future projedled editions, lament, that the applaufe due to various 
 fcenes of this our rare tragedian, will remain unaffifled by the grateful 
 praife of painting — for his having fulFered no emotion of the foul to 
 efcape him, would render this plan too extended to be accomplifhed. 
 
 How finely might Juliet be painted in the prefent fcene, at the mo- 
 ment of the tyrannous Capulei's departure, when (with a countenance 
 
 * Thofe who are inclined to think that feme o{ Juliet'' s flights in the hcglnning of fcene 2d. arc too 
 extravagant, would do well to perufe the 5th letter in vol. 2d. of Letters on fcfcral SuhjcHs, by the 
 Rev. M. Sheilock — they will there find, ho'.\} faithful to Nature and to Truth, is the painter who has 
 given us her portrait. The reader will be much pleafed likewife, by jjerufiog the 4th letter in this 
 fame volume 
 
 P full
 
 ( io6 ) 
 
 full of afRidlon, but full of fweetnefs) (he thus movingly appeals ta 
 heaven : 
 
 Jul. li there no phyjitt'ing in the clouds. 
 
 That fees into the bottom of my grief? 
 
 And when fhe immediately after, intercedes with lady Capulety as her 
 lafl: refuge : 
 
 O, fwcet my mother, caji me not atvay ! 
 Delay this marriage for a month, a week ; 
 Ur, if you do not, make the bridal bed 
 In that dim monument where Tybalt lies. 
 
 Or, when fiie foon after confirms us, iii the love fhe bears her hul- 
 band : 
 
 ful. O God ! — O nurfe ! how fhall this be prevented? 
 My hufljand is on earth, my faith in heaven ! 
 
 And again : 
 
 Jul, What fay 'ft thou ! haft thou not a word of joy ? 
 Some comfort y nurfe. — 
 
 Yet, we muft fufter tlie above pafl'ages to pafs unnoticed, in order to 
 paint her from the conclufion of this fcene, where, after her fufFerings 
 have been infulted, fhe is deferted not only by Capulet and his lady, but 
 even fails in her lafl attempt to gain fome poor comfort from the Nurfe — 
 on whofe exit (being left alone, j flie thus divulges the refolution of a 
 determined foul : — 
 
 "Jul. Go, counfcllor ; 
 
 STooK and my bofom henceforth fhall he twain.— 
 
 Til
 
 ( 107 ) 
 
 rUto the friar, to know his remedy ; 
 
 If all clfefail, MYSELF HAVE POWER TQ DIE.* 
 
 Thofe cannot paint Juliet from thefe lines, who do not contemplate 
 the whole of her charafter and fituation. — And thofe muft not attempt 
 to paint her, who cannot flamp her features with ftrong expreffion of 
 charafter, and with the paflions correfpondent to the tumult of her 
 fotih — for to JiiHet fhould now be given, as much meeknefs, yet as 
 much afflidlion, and determined refolution, as the utmoft power of the 
 art can convey. But how faint appears the language and the paflions of 
 Shakefpeare's fcenes, when mutilated in the manner I am obliged to give 
 them. 
 
 * It was perhaps in one of thefc fcenej, that Mrs. Yates firft beheld Cibbcr. The following ac- 
 count of this theatrical event, is taken from Ibme pleafing Memoirs of Mrs. Yates, in the Britifli 
 Magazine for April, 1783: — 
 
 " As her father was a man of plain and priinltivc manners, our celebrated attrcfs had never feen a 
 play, till, at the age of fixteen, a lady took her to Romeo and Juliet ; when the impaffioned perform- 
 ance of Mrs. Cibberopened a new day on her delighted im.agination. Fired by that enthufiaftic impulfe 
 which fo often decides the fate of genius, abforbed in admiration of thofe allonilliing powers of which 
 report had given her only a faint idea, (he inftantly recognized fomething congenial in her o\\n minJ : 
 the fpark mounted into a blaze ; flie melted into tears, not only of fympathy, but of emulation ; and 
 jull to herfelf, as well as to the confummate pattern of excellence before her, flie felt, amidft the con- 
 fufion of ideas in which fue was enveloped, the celebrated fentiment of -Gorregio, on firft feeing the 
 works of Raphael^ 
 
 Ed io foil anche pi/tore ! 
 
 From that moment, her palTion for the theatre became unconquerable; and a friend, who had 
 intereft, having recommended her to Mr. Garrick, flic came out the following Lent in the characHier 
 of Maicia, in Mr. Crifp's tragedy of Virginia, being introduced by a prologue, written and fpoken by 
 Mr. Garrick for that purpofe ; when her youth, her uncommon beauty, and thofe rays of genius 
 which broke through her untutored inexperience, like the flreams of light which precede the day, 
 fccurcd her the favour of the public." 
 
 P 2 P^ge
 
 ( io8 ) 
 
 Pa 
 
 123. 
 
 We are now coming to thofe bufy fcenes, which are equal to any 
 praife, and where the poetry of Shakefpeare is infplration indeed.* — 
 And we find Juliet'in theprefent fcene arrived at the cell of her ghoftly 
 confeflbr, to feek from him (as from her only and laft refource) fome 
 remedy — and to difclofe to him the refolution of a determined fpirit. 
 She meets, on her coming to the cell, with Paris; and after fome fhort, 
 XHiwifh'd for difcourfe with him, the fcene proceeds : 
 
 Jul. Are you atUifure, holyfalhcrnow-; 
 
 Orjhall I come to you at evening mafs ? 
 
 Friar. A<fy leifure fervcs me, penjtve daughter now, — f 
 My lord, we mujl inlreat the time alone. 
 
 Par. Godjhteld, I Jhould dijiurb devotion!' 
 
 "Juliet, on Thurfday early will I roufc you. 
 ^Tillthen, adieu! and Iteep this holy kifs. — 
 
 lExit Paris. 
 
 Jul. 
 
 * " The poetry of Shakefpeare (fays Pope) vtss mfplratlon indeed : he is not fo much an imitator, 
 as an inftrument of nature ; and 'tis not fo juft to fay, that he fpeaks from her,, as that flie fpeaks 
 through him." — On this phrafe, Martin Sherlock, gives this comment : " Pope (fays he) was the 
 cleareft writer in England, and thefe words are fcarce intelligible. The reafon is plain ; he fpoke of 
 what he felt, and he felt more than language could exprefs." The late Daniel Webb, obferves, that 
 " Shakefpeare was only a temporary inftrument, to convey the di6tates of a fuperior agent." 
 
 •f- This mild anfwer of the Frair, to the no lefs meek and gentle requert of Juliet, offers a fituation 
 to paint them from (with the calm and religious fceiiery of the monaftic cell) which one would not 
 
 wil-
 
 ( lop ) 
 
 Jul. /hut the door ! and when thou haft done fo, 
 
 Come, weep with me ; Pajl hope, pajl cure, pajl help f 
 
 Friar. j4h, Juliet, I already know thy grief \ 
 
 Itjlrains me pajl the compafs of my wits : 
 
 I hear thou mujl, and nothing may prorogue it. 
 
 On Thurfday next be marriedto this county. 
 
 Jul. Tell me not friar that thou hearjl of this, % 
 Unlefs thou tell me how J may prevent it : 
 If, in thy wifdom, thou canfl give no help. 
 Do thou but call my refolution wife, 
 And with this knife F II help it prefently. 
 God joined my heart and Romeo's, thou our hands \ 
 And ere this hand, by thee to Romeo feaVd, 
 Shall be the label to another deed. 
 Or my true heart with treacherous revolt 
 Turn to another, this Jhall flay them both ; 
 Therefore, out of thy long experienced time,. 
 
 willingly refign, were it not to make place for embelUniments, which will reqi'ire a more p owcrful 
 and perhaps more interefting expreffion. If an artlft fliould have it in contemplation to paint from thi» 
 paflage, he would do well to attain a fight of the print by Lud. Geminiani, referred to for page 48, in 
 this profpeaus ; and it may be of fingular fervice to him, to view the rare perfe£lion in cxpreffive mild- 
 nefs, which the painter has there exhibited — for, (as the Difcourfe delivered to the Students of the 
 Royal Academy, in 1784, informs them 1 — thehahltofcontemplatlnsr and brooding over the ideas of great 
 genii fes, till you find ycuftlf ■-..varmetl hy the contaLl, is the true method of forming an artifi's — like mind ; 
 it is impojible, in the pre fence of thofe great men, to think, or invent in a mean manner ; a Jlate of mind 
 is- acquired that is difpofed to receive thofe ideas only ivhich rcVJli of grandeur and fmplicity. To paint. 
 the beauty and the grace of Juliet's, figure, and to exprcfs the forrows of her bofom, will require a 
 pencil as much infpired bt the graces and tajle of Grecian artifs, and as capable of pronounciHg. the paf-~ 
 /tans, as is the pencil of Lady Diana.Beauclerc. 
 
 J See the marks of a determined firmnefs (not ill expicffed) in . the print of 2<»;a by Roberts, ia 
 Bell's edition of that play. 
 
 Givt
 
 ( no ) 
 
 Give me fame prefcnt counfel; or, hehoU, % 
 ^Twixt my extremes and me this bloody knife 
 Shall play the umpire, arbitrating that 
 Which the commijjion of thy years and art 
 Could to no ijfue of true honour bring. 
 Be not fo long to fpeak ; I long to die. 
 If what thou fpealifl fpeak not of remedy. 
 
 Friar. Hold, daughter ; / dofpy a kind of hope, 
 fVhich craves as defperate an execution 
 As that is defperate which we would prevent. 
 
 J/' 
 
 § Sec the uplifting of the dagger — the fine attitude — and the foul fpeaking countenance, of the 
 female figure by Gravelot, engraved by Heath, from A(5t 3, Sc. 4, of Merope — and v.hich will be 
 eafily found in one, if not in more, of the editions of Voltaire's works. The reader will cafily difco- 
 ver the edition — and he will b-; recompenfed with the fight of a defign of much merit. In this print 
 he will fee a figure, which will partly give an idea of an attitude for the Friar. There is fomewhat 
 plealing in the archite£ture of this print; and the two flatues (as tragic decorations) are well ima- 
 gined. 
 
 If yw/iV/ lliould be drawn, when threatening to end her diftreffes with the bloody knife — then fee 
 the animated look which Carlo Maratti has given to St. Francis, in the firfl volume of the Collection of 
 Drawings by Rogers. Afaultlefs figure of the Friar, might no doubt be feleftcd from the works of 
 thofe great mafters who have excelled in their figures of Monks, and in their conceptions of meek de- 
 votion, or penitential forrow — fome of the old mafters have given to their Monks or Saiflts, a- fervour, 
 which mu ft have been drawn from almoft celeftial ideas. In order to have fhewn our refpcft to the 
 memory of the Noblcft Tragedian, one could have wiflied it had been poffible, that the fplendid edition 
 of Mr. Boydeli could have conveyed to pofterity, the figure of Shakefpeare's Monk drawn by the 
 pencil of that painter, who, (from what Mr. Cumberland fays of him) feeras fo well calculated to 
 have drawn the meek and ferve nt fpirit of Father Latvrence : — " yuan Ji. Juanes, a native of Valencia ; 
 *' a mnn, whofe celebrity would rank with that of the firft artlfts of the age of Leo. X. if his works laid 
 " in the track of travellers, or by happy emancipation could be fet at liberty, and made to circulate 
 " through the cabinets of Europe. Juanes, (like Morales) felefted his fubjeds, without an inftance to 
 " the contrary, from the moft facred palfagcs of revelation ; but his life, (unlike that oi Morales) was 
 " in unifon with the purity and aufterity of his tafte ; prepared by confeffion and fafting, he firft ap. 
 " preached the altar before he vifited the eafel ; painting withhim was an aft of piety and devotion. The 
 " charaiSlers, which filled his canvafs, were of the holieft fort, and, as he gave them life, he gave them 
 " adoration : as the exercife of his art was in him an ofticc of devotion, fo his moderation kept him from 
 3 " engaging
 
 ( III ) 
 
 If, rather than to marry county Paris, 
 Thou hajl thejlrcngth of will to fluy thyfelf; 
 Then it is likely, thou wilt undertake 
 A thing like death to chide away thisjhame. 
 That cop'fl with death himfelf to fcape from it ; 
 And, if thou dar''fl, F II give thee remedy. 
 
 Jul. O, bid me leap, rather than marry Paris, 
 From ojf the battlements of yonder tower \ 
 Or walk in thievifh ways ; or bid me lurk 
 TVhere ferpents are ; chain me with roaring hears ; 
 Or hide me nightly in a charnel houfe, 
 O''er-coverd quite with dead men's rattlijig bones. 
 With reeky Jhanks, and yellow chaplefs fculls ; 
 Or bid me go into a new-made grave. 
 And hide me with a dead man in hisjhroud. 
 Things that to hear them told, have made me tremble j 
 And I will do it without fear or doubt. 
 To live an unfiainedwife to my fweet love. 
 
 Friar 
 
 engaging In any private commiffions with a view to gain ; and I am inclined to doubt if any pii5lure of 
 
 Juanes is at this hour in lay polTeffion. Certain it is, the piftures of Juancs are finiflied with 
 
 aflonifliing truth, colouring, and beauty ; though they are laboured to a minutenefs, that lets not even 
 a hair efcape : Hill their force is unimpaired, and the fublimity of defign fuffers no prejudice by the 
 delicacy of its execution ; as every work is the work of the heart, nothing is neglefted or left ; every 
 figure is laboured into life, and the labour is the labour of love, not the talkof the hireling. It is 
 greatly to be lamented, that thefe precious remains are Ihut in the convents ot Valencia without any 
 hope of delivery and that free difplay, of which the mortmain offuperllition fcems for ever to deprive 
 
 them. By his piety, he merited a place in the calendar of Saints,— by his genius, 
 
 a name amongft the firft clal's of his art." 
 
 Anecdotes of Painters in Spain, vol. i. 
 
 Carlo Maratti too, who, through the courfe of his long life, continually gave the w^orld fome of the 
 fineft piiStures of aevotion, pajffj the lajl years of his life in prayer. — His early predilection for painting 
 Saints, may be feen in his moil pleafing life, extrafled and tranllated from Bellori, by Rogers. 
 
 Giovanni Angelico, the fubjeds of whofe pieces are always divine, could not refrain weeping when- 
 ever he painted a Crucifix.
 
 ( "2 ) 
 
 Friar. Hold then ; go home, be merry, give conjint 
 To marry Paris : JVedncfday is to-morroui ; 
 'To-morrow night look that thou lie alone. 
 Let not thy nurje lie with thee in thy chamber : 
 Take thou this phial, being then in bed, 
 And this dijiilled liquor drink thou off :* 
 When, prefently, thro' all thy veins f} all run 
 A cold ayid drowfy humour, which Jhall feize 
 Each vital fpirit ; for no pulje Jhall keep 
 His natural progrefs, but furceafe to beat : 
 No warmth, no breail}, Jhall icjlify thou livjl ; 
 The rofcs in thy lips and cheeks JJiall fade 
 To paly ajhes ; thy eyes' windows fall, 
 Like death, when hejhuts up the day of life; 
 Each part, deprived offupple government. 
 Shall Jliff andjiark, and cold appear like death : 
 And in this borrow' d Tikenefs of Jhrunk death 
 Thoujhalt remain full two and forty hours. 
 And then awake as from a pleafant fleep. 
 
 Now when the bridegroom in the morning comes ; 
 
 To roufe thee from thy bed, there art thou dead'. , 
 
 Then (as the manner of our country is) . 
 
 In thy bejl robes uncover' d on the bier, . 
 
 Thoujhalt be borne to that fame ancient vault, '^ 
 
 Where all the kindred of the Capulet's lie. 
 In the mean time, againfl thoujhalt awake. 
 Shall Romeo by my letters know our drift ; 
 And hither Jhall he. come ; and he and I 
 Will watch thy waking, and that very night 
 Shall Romeo bear thee hence to Mantua, 
 And this Jhall free the from this prefent Jhame ; 
 If no unconfiant toy, nor womanijh fear , 
 Abate thy valour in the ailing it. 
 
 Jul. 
 
 * _From thefc two lines, will be a pidure painted by Northcote, for the edition of Mr. BoydelL 
 
 \
 
 ( 1^3 ) 
 
 Jul. Give mc, Ogive me/ tell me not of fear. 
 
 Friar. Hold ; get you gone, bejlrong and prof per ous 
 In this refolve: I'll fend a friar with fpeed 
 To Alantiia, with my letters Jo thy lord. 
 
 Jul. Love, give me frength ! and firength fhall help afford. 
 Farewell, dear father ! 
 
 In fcenes like the above, there can be no markhig in italics, in order 
 to diftinguifli the beft points to draw from. It would be too imperti- 
 nent and officious to didate to an artift, which paflage of the foregoing 
 fcene would furnifh the moft expreflive picture — for, to ufe Mr. Pope's 
 words, (on another occafion) — 
 
 He bcf can paint them, who can feel them mojl. 
 '■nar 
 
 Some painters would prefer the cool and undaunted fpirit, with 
 which fhe wifhes the Friar to call her refolution wife — the lovely ardour 
 with which flie affures him, her true heart fhall ne'er be tainted with re- 
 volt — the enthufiafm with which fhe brandifhes the bloody knife — the 
 kind and fpirited interpofition of the Friar, when yuUet tells him, that 
 fhe longs to die, if what he fpeaks, /peak not of remedy : with a voice 
 dropping from the accents of defpair, to a more foft and mournful ca- 
 dence, and a fuitable cxpreffion of countenance. — While other painters 
 might find their minds led them, more congenially to exprefs the wild 
 tranfport (foftened yet with every glow of fentiment) with which 
 (he exclaims : 
 
 O bid me leap, rather than marry Paris, 
 From off the battlements of yonder tower ! 
 
 Q^ or,
 
 ( 1^4 ) 
 
 t)r, the tender cxprefling of her love, in the lz{[ Hne of this fame paf" 
 fage — the delivering the phial to her — her fixed, attentive, firm and fleady 
 look, when fhe is told 
 
 No zvarmth, no hrcath, Jhall tejlify thou Uv'Jl; 
 The rofcs in thy lips and cheeki Jhall fade 
 To paly ajhci, — 
 
 her eager clafping of the phial when fhe tells him not to fpeak of fear — 
 or, from her taking her lafl farewell of the kind and holy Friar. 
 
 In order that we may be more interefled in the misfortunes of 'Juliet , 
 we fhould contemplate the whole of her charafter by perufmg fome of 
 the precedi]ig fcenes : where we fhall find that the brutal infults of Ca- 
 pulet and his lady (with her unconquerable attachment to her hufbaiid) 
 have driven her to ei'poufe, Avithout fhrinking, the dangerous and ro- 
 mantick device of the Friar. And, as her fpirit has been painfully 
 grieved, we fliall find the foft tendernefs which accompanied her in the 
 former fcenes of this play, will now fat times) give way to the more 
 turbulent alarms of grief, and of defpair — and fhe will in fome of the 
 future fcenes, be more the Queen of 'Terrors, than the Queen of Tears.* 
 
 * The fcene at page 137, where Jiillei is f^ppofed to be dead, would have furninied a very fine 
 picture of the Friar, when confoling her parents with arguments which are as irrefiftible, as they are 
 fublimely beautiful : 
 
 Jlncl ivtrp ye voiv, feeing Jhe is aihanc'd 
 Above tijc clouds, as high as heaven ttfelf ! — 
 
 were it not for the unax-oiJable iutroduftion of Capulet s.r\i his wife, who mull have appeared in fuch 
 pifture. — And as their conduft in Ad. 3, So. 5 — in page 114, 116, 117, and 118, (as well as lady 
 Capulet's unfeeling fentiment in page 1 13) cannot render them either refpeftable or interefting, where 
 they do appear — this opportunity of fo well pourtraying the Fiiar is purpofely omitted. And yet one 
 'knows not how to relinquilh painting the figure of the cold Julie/, when 
 
 Death lies on ler, like an untimely froft 
 Upon the pLVceteJt Jower of all the field. 
 
 Page
 
 ( ns ) 
 
 Page 128. 
 
 The prefent fcene is that of Juliet's chamber. And after ihe has dif- 
 miffed the Nurfe, and bid good flight to lady Capulet^ (who had forted 
 out thofe ornaments beft fuited to the morrow's nuptials) (he thus anti- 
 cipates the horrors of the tomb : 
 
 Jul. Farewell! — God knows, ivhcn we JImll meet agahi. 
 I have a faint cold fear thrills through my veins., 
 That almoji freezes up the heat of life : 
 
 ril call them back again to comfort me ; 
 
 Nurfe ! —What JhouldJIn do here ? 
 My difmal fcene I needs mufl afl alone, — 
 
 Come, phial. 
 
 What if this mixture do not work at all? 
 Shall I of force be married to the count ?-^ 
 No, no; thisjhall forbid it: — lie thou there.— 
 
 [Laying down a dagger. 
 What if it be a poifon which the friar 
 Subtly hath minifier^d to have me dead; 
 Lefi in this marriage hefhould be difhonour'' d, 
 Becaufe he married me before to Romeo ? 
 I fear, it is: and yet, mcthinks, itjiiouldnot, 
 For he hathfiill been tried a holy man : 
 I will not entertain fo bad a thought. 
 How if, when I am laid into the tomb, 
 ■ I wake before the lime that Romeo 
 Comes to redeem me P there's a fearful point ! 
 Shall I not then beflifiedin the vault, 
 "To whofe foul mouth no healthfome air breathes In, 
 And there dieflrangled ere my Romeo comes ! 
 Or, if I live, is it not very like, 
 
 Q.2 7i*
 
 ( ^'6 ) 
 
 The horrible conceit of death and night, 
 
 Together with the terror of the place, — 
 
 ^s in a vault, an ancient receptacle, 
 
 JVherc, for thcfe many hundred years, the bones 
 
 Of all my buried ancejlors arc packed ; 
 
 Where bloody Tybalt, yet but green in earth. 
 
 Lies fefTringin his fJiroud; where, as they fay. 
 
 At fome hours in the night fpirits refort ; — * 
 
 Alack, alack ! is it not like, that I, 
 
 So early waking, — luhat with loathfotnefmclls -, 
 
 Andfhrieks like mandiakes torn out of the earth. 
 
 That living mortals, hearing them, run ma d 
 
 01 if I wake, Jhall I not be diflr aught. 
 
 Environed with all thefe hideous fears P 
 
 And madly play with my forefathers'' joints P 
 
 And pluck the mangled Tybalt from hisfhroudP 
 
 And, in this rage, with fome great kinfman^ s bone. 
 
 As with a club, dafJ) out my defperate brains P 
 
 0, look ! methinks, I fee my coufns ghofl 
 
 Seeking out Romeo, that didfpit his body 
 
 Upon a rapier's point : — Slay, Tybalt, fay ! — 
 
 Romeo, I come ! this do I drink to thee. 
 
 [She throws herfelf on the bed. 
 
 The images which are here prefented, and which imprint fuch terror 
 on the imagination of 'Juliet, are painted with a frightful and tragic pen- 
 cil. This fcene is perfe6lly fuited to the wildnefs of Shakefpeare's ge- 
 
 * Euiipedes, to infpire his mind with folemii and terrible ideas, ufcd to compofe his pieces, in a 
 gloomy and difmal cave, in the ifland of Salamis. And an ingenious gentleman conjeftures that this 
 idea of the vault, was probably fuggefted by the poet's native place — " The charnel at Stratford upon 
 Avon, (fays Mr. Murphy) is a very large one, and perhaps contains a greater number of bones than 
 are to be found in any other repofitory of the fame kind in England." 
 
 nlus,
 
 ( ^r; -) 
 
 nius, and he cannot treat on thofe fubjeds without luxuriance. The 
 tenihck Mufe feletledhim her chofen painter,* — and fcenes poflliring the 
 eftabUrhed merit of the prefent one, make one indeed feel the force of this 
 conjedure of an elegant writer : — "-The times in which Milton lived, 
 
 " though 
 
 * Many writers have teftified their admiration of the power which our great poet difcovered, in 
 painting i^far. Mr. Gray, in his Ode on the progrels of Poetry, thus makes Nature addrefs Shakef- 
 peare : 
 
 This pencil take (fie fat J) ivhofe colours clear j 
 
 Richly paint the vernal year : 
 
 Thine too thefe golden keys,, immortal hoy ! 
 
 This can unlock the gates of joy ; 
 
 Of horror that, and thrilling fears. 
 
 Or ope the f acred fource of fympaihetic tears, 
 
 Dennis, in his letters, pays him this compliment : 
 
 He had fo fine a talent for touching the paeons, and they are fo lively in him, andfo truely in nature, 
 that they often touch us more ivithout their due preparations, than t'ofe of other tragick poets, ixiho have 
 all the beauty of defgn, and all the advantage of incidents. His wafer pajjioti ivas Terror, -which he has 
 often moved fo povjer fully andfo voonderfully, that vie may juflly conclude, that if he had had the advan- 
 tage of art and learning, he ivould have furpaffd the very lef and frongcfl of the ancients. His paint- 
 ings are often fo beautiful and fo lively, fo graceful and fo po-iuerful, cfptcially where he ufes them in 
 order to move terror i that there is nothing perhaps more accomplijljed in our Englijh poetry, 
 
 Collins, thus concludes his truly fine Ode to Fear : 
 
 O thou, vihofcfpirit mofl poffefl. 
 The facred feat of Shaliefpeare's Ireafi ! 
 By all that from thy prophet broke. 
 In thy divine emotion fpokc ! 
 Hither ayain thy fury deal. 
 Teach me but once like him to feel : 
 His cyprefs ivreath my meed decree. 
 And J, O Fear, will dtvell witi thee ! 
 
 z The
 
 r nS ) 
 
 << though in themfelves of an unfeemly afped, were favourable to hisge- 
 *' nius ;— the retirement of his life was the fource of his immortality. — 
 " Shakefpeare might have lived in an age when his celejiial fpirit would have 
 * ' Jlumbered^ or wherein his name might have been forbidden to paj's on to the end 
 " of timer* 
 
 The natural terror which Cibber gave to this fcene (which fhe per- 
 formed with all the enthufiafm of her foul) — her ftart, and wild dif- 
 traifled afpeft at exclaiming : 
 
 O, look ! methitiks I fee my coujins ghojl — 
 
 accompanied with a fliriek, that really chill'd the blood, and made the 
 audience fancy the bloody 'Tybalt and Xhtfpirits of the night were fleeting 
 
 The Honourable Andrew Erfkine, in nn Ode to Fear, after pomting out Inftancej where Shakef- 
 peare has excelled in defcribing this paffion, thus proceeds : 
 
 Shakefpeare alone thy ghaftjy channs enjoy' cl. 
 
 Thy favage haunts he traversed undlfmay' d. 
 In bearing thy atxiak'ning tales employed, 
 
 Ji'^here the ivood darkens to a deeper Jliade ; 
 And, if I read the magic page aright. 
 
 Loud thunders roW d around tV enchanted Jpot, 
 Tf^hile Jire-ey''d demons grov^'Td the long lone nighty 
 
 And every tree '■Mith fiajlying flame ^vas fmetc ; | 
 And cries ■uncouth, and founds of luoe ivcre heard. 
 And tall gigantic fijapes their horrid forms uprear'd. 
 
 And Mr. Warton, in his beautiful Monody, written near Stratford upon Avon, thus concludes 
 the lift of ideal fliapes, that peopled the meads of Stratford : 
 
 Pale Terror leads the 'vifonary hand. 
 
 And flernly Jhakes his fcepter, dropping hlood. 
 
 * Royal Regifler, vol. 7. page iii. 
 
 be-
 
 C 1^9 ) 
 
 before lier— her fudden tranfition from perturbed horror, to the mourn- 
 ful and entreathig tenderaefs with which fhe cried 
 
 Stay, Tybalt, Jlay ! 
 
 her momentary paufe of recolleflion, which recalled her fcattered fen- 
 fes, and fixed her thoughts on him, for whofe fake fhe chearfully fwal- 
 lowed the potion, and the affeftionately mournful voice with which fhe 
 pronounced this laft line : 
 
 Romeo T come! THIS DO I DRINK TO THEE. 
 
 this fucce/Tion of tragick images was difplayed by Gibber, with a fplrit 
 that fell little fliort of infpiration — and the pifture of frenzy which yZ*? 
 exhibited (wrought up to a pitch fcarce conceivable) eftablifhed her in 
 the hearts of the public as the darling and fupreme adlrefs of the Tra- 
 gic Mufe. Her fine conceptions of the Poet, and her difplay of unat- 
 tainable excellence in y«//V/, ftill lives in the memory of her fear-flruck 
 but delighted auditors — many of whom, when indulging a recolleiflion 
 cf the well remembered Gibber, willingly pay their tributary refpe£t to 
 her, who was really Shakefpeare's own J^^/zV/ : 
 
 O gentle Cibber I long thy lofs they'll mourn ; 
 jind many a time, by Jlrong affeillon led. 
 To thy fad tomb at Ji lent night return. 
 And o'er thy dufi, ambrojial odour s Jhed I % 
 
 X Mr. Garrick, in his prologue to the Clandeftine Marriage, which was ipoken foon after the deaths 
 of Quin and Cibber, docs not forget his old aflbciates : 
 
 Oh, let me drop one tributary tear, 
 On poor Jack Falpifi grave, and JuVed bier; 
 You, to their worth, mull teftimony give ; 
 'Tis in your breafts alone, their fame can live.-- 
 
 5 If
 
 ( 120 ) 
 
 If yuliet fhould be drawn, when entreating the ghofl: of 'Tybalt to flay : 
 would there be any hnpropriety in introducing the imaginary fleeting 
 Ihade itfelf ? — This would admit of the introduftion of fcenery, that 
 would ftartle and terrify the fenfes. The reader will be recompenfed for 
 his trouble, if he will infpeft M. de Loutherbourg's vignette to Bell's 
 lafl: edition of Hamlet. 
 
 Should {he be drawn from the laft line in her foliloquy, it will re- 
 quire an artift capable of very graceful, and of the mod fubllme ex- 
 preflion, to flrlke out an attitude, and chara6ler, worthy of the idea of 
 Shakefpeare. If I recommend the print of the Death of Portia, (with the 
 name of Scalcken engraved under) to be looked at : it is not be- 
 caufe the attitude, the figure, or even the countenance, will iliew 
 what yuliet (hould be — yet ftill, it will not be amifs to view {o very 
 interefting a figure as is this of Portia's. It is engraved in metzotinto 
 by James Walker, § The Painter (Domenichino) who fo tenderly con- 
 ceived Sopbonijha trying with grief, in the colleftlon at Chrlft Church, Ox- 
 ford, would have wonderfully drawn from this lafl line of Juliet'' s folilo- 
 
 quy.* 
 
 Page 
 
 § how faint by precept is exprefl: 
 
 The living image in the •writer s breaft. 
 
 Pope. 
 
 * I have not met with any other accounts o{ CHier's performing y«/A';, thiin the following ones.— 
 
 " Since thofe great ornaments of the ftage, Mrs. Porter and Mrs, Oldfield, were no more, the 
 lovers of the drama were apprehenfive, that they fhould never fee their equals in tender or majeftic dif- 
 trefs again ; but (ince Mrs, Gibber's appearance, thofe fears are removed, and all the excellencies of 
 each are revived in her. The great fenfibility (lie has derived from nature, her excjuifite art and 
 
 judgment.
 
 C 121 ; 
 
 Page 143. 
 
 Balthazar has a ftrong claim agaliifl: being omitted — and the prefent 
 page will admit of his faithful attachment to his mafter, being almofl as 
 well drawn, as from thofe lines where he takes his laft leave of him in 
 the tomb-fcene. His honeft and animated fidelity (rendered more inter- 
 efting by theforrow with which his meflage is related) — with the paf- 
 
 R fions 
 
 judgment, directs her to give to every paffion its full colouring and cxprellivenefs, even beyond our idea. 
 Would ftie charm us into the moft affefting diftrefs, with the woes of a Juliet^ or Belvidera, then 
 
 ' her looks 
 
 Draw audience and attention Jlill ai night. 
 Or fujiimeri noon-tide air — 
 
 Milton. 
 
 'dll our heart? have catched the pleafing infcaion, and our eyes confefs it in tears. 
 
 Were (he to confine herfelf barelv to fuch tender fcenes as thefe, we could not even then fuflficiently 
 admire her ; but how are we furprifed at the wild exertion of her powers in the fuddcn tranfiiions file 
 makes from love and grief to the extremities of rage and defpair ! and how different is her Juliet from 
 her Jllicia ! and yet how juftly does (lie feel in both, without exceeding the bounds of nature, or in- 
 fringing upon female delicacy in cither ? 
 
 The muficnlly plaintive tone of her voice gives a furprizing foftnefs to her love charai?lers ; and her 
 great (kill in the pallions never fails to direft her in the application of that, and her commanding fea- 
 tures to be every way exprelTive of the poet's idea. 
 
 A fliort (ketch of a few of her characters, may give us fome faint idea of her excellence. 
 
 In her Juliet,, we ;ire charmed with all the innocence of youth and beauty, influenced by love. How 
 fiinple, yet how tender and natural, is her converfation with Romeo in the garden fcenc ! 
 
 Thou Inow^JI the majk of night Is on my face , &c. 
 
 How
 
 ( 122 ) 
 
 fions that at this moment dlftrefs and alarm the mnid of his mafter, 
 might be well Iketched from fome of thefe lines : 
 
 Baltli. - 
 
 Her hodyjleeps in Capulet's monument^ 
 And her immortal part with atigeh Uvts ; 
 
 Ifaw 
 
 How different is this fond, this joyous fcene, from that wherein (he heHtates to take the poifon, 
 anticipiitiiig in imagination the terrors of the charnel-houfe, which yet her love overcomes — 
 
 Romeo, I come— This Jo I Jii/ik to thee. 
 
 The agonies of grief and defpair, mingled with love, which fhe (hews in the laft a£t, rife beyond 
 defcription ; and flie only is Shakefpeare's "Juliet" 
 
 Wilkes' View of the Stage, page fj%, 
 
 " The competition between Mrs. Ciiier and Mrs. Bellamy, who had both great merit in this cha- 
 raifler ; feemed nearly to admit the fame ftate of comparifon as we have adopted for the contending 
 heroes ; one excelled in amorous rapture, the other called every power of dlrtrefs and defpair to her aid ; 
 Mrs. £f//amy was an object of love, 3Mrs. tri^.r of admiration; '^In. Bellamy' i execution was more 
 natural, Mrs. Cihberh more forcible." 
 
 Dram. Censor, vol. i. 
 
 " When Jul'et retires to her chamber with the fleeplng potion, it is natural that (lie fliould rife, by 
 degrees, to a full fenfe of the poffible horror of the undertaking : the author intended this gradual and 
 glorious rife of the pafTions, to the very height of temporary diftraiSion : he who has feen Mrs. C/^i^r, 
 from the firft fupicion of the draught not working as intended, rile to the terror of her waking before 
 the time, finding her encompafTed 
 
 With recking Jianls, andycllovj chaplefijlculh, 
 becoming diftrafled with the horror of the place, 
 
 J? lucking the mangled Tybalt from hisfiroud, 
 'till at L-ngth (lie (liall, madly playing with her forefather's joints, 
 
 With fome great kinfman's bone. 
 
 As with a club, dajh out her defperate brains, 
 
 has 
 
 J.
 
 ( 123 ) 
 
 I favj her laid low In her kindred's vault. 
 And frefently took fojl to tell It you : 
 O pardon me for bringing thefe ill news. 
 Since you did leave it for my office, fir, 
 
 Rom. Is it even fo? then I defy you, flar si — * 
 
 Thou knovffl my lodging : get me ink and paper. 
 And hire prfl-horfes ; / luill hence to-night, 
 
 Balth. Pardon me, fr, I dare not leave you thus : 
 lour looks are pale and wild, and do import 
 Some mif adventure. 
 
 Rom. Tujh, thou art deceived. — 
 
 R 2 Or 
 
 has feen all that is poffible to be conveyed this way, of terror ; and has had an example of that grada- 
 tion by which fire and fpirit may be raifed, according to the circuniftances, from the moft flight ftep to 
 the moft exalted height. All this is excellent, becaufe it is proper. The fpirit of this fcene is con- 
 neftcd with the fenfibility, and rifes with it. There is not perhaps any thing on the Britifh ftage, fupc« 
 rior to the excellence Mrs. Gibber difplays in this pafTage." 
 
 The Actor, page 113. 
 
 Davies in his Life of Garrick, vol. i. page 12J, gives a very (hort account ol Cihber (as well as of 
 Bellamy) in the competition of the two houfes in 1749. — little more than faying, that " Romeo and 
 Juliet had raifed their reputation (that of Barry and Mrs. Gibber) forfcenes of tender love and pathe- 
 tic diftrefs, to a very high degree." 
 
 In a note to King John, in a former page of this prefent work, will be found forae tcftiraonies to the 
 general performance of Gibber. 
 
 * Hill, in his Ad^or, (page 87) thus pleaCngly fpeaks of our poet : 
 
 " There is not a fingle incident in tragedy, where an ailor is fuppofed to feel more than Romeo on 
 the news of Juliet's death. Shakefpeare, who well knew all that is here written ; for it is but tranf- 
 cribed upon the paper from the heart, has put but few words into his mouth on this occafion. It 
 would have been a tine fubjeft for an exclamation to an Otway ; or Rowe would have made it intro- 
 duce fome nightingale funile ; but this genius knew better what the heart would, and what it ought to 
 
 feel
 
 ( 124 ) 
 
 Or the emotions of Romeo's breaft (on finding his miftrefs Inclofed 
 in the cold tomb) might be finely painted from this following line : 
 
 Well, Juliet, I will lie with thee to-night. — 
 
 There are few lines, that would more challenge the ntmoft effort of 
 a painter, or an ador, than this laft line. But the pale wildnefs of 
 Romeo's look, foftened with a grief equal to that which he feels, will 
 {land a chance of being much difgraced, if attempted by many artlfts 
 that could be named. It will require a fine pencil to render that juftice 
 to the above line which it requires. 
 
 feel. He has put into his mouth only five words ; and when we hear Barry pronounce on this oc- 
 cafion : 
 
 ■ then I defy you, Jlars /^ 
 
 we are fatisfied more would have been impertinent, and jbelow the confummate degree of fuch a 
 forrow. 
 
 The fame prudent referve that the poet has ufed with refpeft to the words, the player obferves in the 
 delivery. This was too great a grief for noify exclamation : we read in his gefture, eyes, countenance, 
 and tone of voice, the moil perfeifl defpair, and fee him even braving heaven in the defiance ; yet it is 
 not bellowed out like the curfe of a Sempronius, but flrength is given by the very refufmg loudnefs. 
 Nor is this all ; his manner, as he gives utterance to it, is refolutc, but not infolent in the defiance, or 
 broken by the forrow ; his foul was too great for fuch weaknefs ; for either of thefe were weaknefs^ 
 Struck to death, he is above raving about it ; and he conveys all that terror to the audience which he 
 feenu to refufe himfelf." 
 
 Page
 
 ( 1^5 ) 
 
 Paae: 145. 
 
 fc> 
 
 Shakefpeare has made all his readers, friends to the poor forlorn Apo- 
 thecary, on whom the world had little fmileJ — for need and opprdfion 
 were his chief companions, and (harp miferv had worn him to the bone. 
 Shakefpeare's pi£turefque defcription is chiefly from his own luxuriant 
 fancy; for he is a little indebted to Painter s tranjlation; to Bandello; or 
 to the Tragicall Hyjlory oj Rotiieus and Juliet — their defcriptions being very 
 brief, except indeed the lafl; — and that is by no means lo highly colour- 
 ed as in Shakefpeare. The extreme poverty of the poor man, more than 
 his will, urged him to bring forth the mortal poifon : 
 
 Rom. Art thou fo bare and full of wretchednefs, 
 And fear'ft to die? famine is in thy cheeks, 
 Need and opprefiion ftarveth in thy eyes, 
 Upon thy back hangs ragged mifery. 
 The world is not thy friend, nor the world's law ; 
 The world affords no law to make thee rich ; 
 Then be not poor, but break it, and take this. 
 
 Apoth. My poverty but not my will confents. 
 
 Rom. I pay thy poverty and not thy will. 
 
 jipoth. Put this in any liquid thing you will, 
 
 And drink it off; and, if you had the ftrength 
 Of twenty men it would difpatch you llraight. 
 
 Rom. There is thy gold ; worfe poifon to men's fouls, ' 
 
 r Doing more murders in this loathfome world, 
 J Than tliefe poor compounds tliat thou may'ft not fell. 
 * Ifeli
 
 ( 126 ) 
 
 I fell ilyfe po'ifon, thou hafi fold me none. 
 Farewell; buy food, and get thyleU" in flefh.— 
 Come cordial, and not poifon ; go with me 
 To Juliet's grave, for there mujl I life thee. 
 
 The fecond line in italics, will admit of the Apothecary s look and ge- 
 neral appearance being as chara£teriftically and as fully drawn, as from 
 any of t'le foregoing lines — But I, ihould myfelf chufe to feledt the laft 
 lines — for they will not only give an equal good opportunity for pidu- 
 ring the appearance of the Apothecary — but they will allow line fcope 
 to an artifl, for reprefenting the youthful and graceful -figure of Romeoy 
 whofe uplifted eyes, befpeak the conflicting paHions that now diftrefs 
 and agonize his mind when embracing the cordial, and haftening to y«- 
 net's grave. That interefling look of deje£led poverty which Ihould be 
 given to the Apothecary, will be now heightened by the commiferatiou 
 which he feels at beholding his benefaClor grieved : and he will (on i^o- 
 /Kfo'j going off the fcene) turn his grateful eyes towards him, and to the 
 laji, bend their light on him. 
 
 On account of its being holy-dny, the (hop is fhut — yet through the 
 opened door, may be feen part of this thinly fcattered JIhw. 
 
 If the reader will turn to page 83, of the firft part of this prefent 
 work, he will find a fmall mention made of this Apothecary. X 
 
 \ Thcie are only two prints of the Apothecary, yet publiflied — one by Walker, in his fet from this 
 play — and the other is in Bell's firft edition. Nothing can be faid in favour of either. The procef- 
 fion of the iioft in Walker's print (it being holy-day) is well adapted, and well drawn — but how could 
 Walker fo mttam-'pliore the countenance of ^uotco ?— lie has made him appear placid, pleafeJ, and 
 cheatful : infttad of his looks importing fomc niiladventure, and being, as the faithful i'«/^/6«xardefcribes 
 them, pali and -ivUd. 
 
 If the reader will infpcft No. 82 of the Guardian, he will find fomc mention made of an aftor, who 
 much diiliiiguiihed himfelt in the part of the Apothecary. 
 
 2 Page
 
 
 ( »27 ) 
 
 Page 152. 
 
 Scene, a Church-yard-, in it, a noble Monument belonging to the Capulets. 
 
 After Paris has received the flowers from his Page, and difmifled him 
 the fcene proceeds : 
 
 Par. Sweet flower, with flowers I ftrew thy bridal bed : 
 
 [ Strewing Jlowtrt. 
 Sweet tomb, that in thy circuit doft contain 
 The perfeft model of eternity ; 
 Fair Juliet, that with angels doft remain, 
 Accept this lateft favour at my hands ; 
 That living honour'd thee, and being dead. 
 With funeral praifes do adorn thy tomb !* 
 
 [ Tbt boy whijites. 
 
 The 
 
 ♦ The folio edition has thefe lines f 
 
 Siveetjloiver, iMith floiMcn thy bridall bed I Jlrevj : 
 O ivffe, thy canopy is diiji aniljlones. 
 Which iviih/iveet vjater n'ghlly I -mill de'X't, 
 Or wantittg that, ivith tears diftitl'd by moaes ; 
 The ohftquics that I for thee ivill kcepe, 
 Nightly fhall be, to Jtre'm thy grave, and iMeepe. 
 
 Akenfide, in his Pleafures of Imagination, finely defcribes the endearirent which Nature fometimea 
 annexes to fcenes of forrow ; 
 
 JJi the faithful youth. 
 
 Why the cold urn of her xvhum long ue Uv'd !
 
 ( 128 ) 
 
 The boy gives warning ; fomething doth approach. 
 What curfed foot wanders this way to-night. 
 To crofs my obfequies, and true love's rites? 
 What, with a torch ! muffle me, night, awhile. 
 
 Enter RoMEO, and Balthasar ixnth a Torch, &c. 
 
 Rom. Give me that mattock, and the wrenching -iron. 
 Hold, take this letter ; early in the morning 
 See thou dehver it to my lord and father. 
 Give me the light: upon thy life I charge thee, 
 Whate'er thou hear'ft or feeft, ftand all aloof. 
 And do not interrupt me in my courfe. 
 Why I defcend into this bed of death 
 Is, partly, to behold my lady's face : 
 But, chiefly, to take thence from her dead finger 
 A precious ring; a ring, that I muft ufe 
 In dear employment: therefore hence, begone: — 
 But if thou, jealous, doft return to pry 
 On what I further (hall intend to do. 
 By heaven, I will tear thee joint by joint. 
 And ftrew this hungry church-yard with thy hmbs : 
 The time and my intents are favage-wild ; 
 More fierce, and more inexorable far. 
 Than empty tygers, or the roaring fea. 
 
 Ballh. 
 
 So often fih his arms ; fo often Jtazvs 
 His lonely footjleps at the flent hour. 
 To pay the mournful tribute of his tears ? 
 O ! he ivill tell thee, that the wealth of ivorUs 
 Should ne^erfeiluce his hofom to forego 
 Thatfacred hour, ivhcn fealing from tl-e noife 
 Of care and envy., fiveet remembrance fooths 
 With virtue's iindejf looks his aking breaf. 
 And turns his tears to rapture, — ■
 
 ( 129 ) 
 
 Balth. I will begone, fir, and not trouble you. 
 
 Rom. So fhalt thou fhew me friendfhip. — Take thou that : 
 Live, and be profperous ; and farewell, good fellow. 
 
 Balih, For all this fame, I'll hide me hereabout ; 
 His looks I fear, and his intents I doubt. 
 
 [Exit Balth AS AU. 
 
 Rom. Thou deteftable maw, thou womb of death, 
 Gorg'd with the deareft morfel of the earth, 
 Thus I enforce thy rotten jaws to open, 
 
 {^Breaking up the Momoncnt^ 
 And, in defpight, I'll cram thee with more food ! 
 
 Par. This is that banifh'd haughty Montague, 
 
 That murder'd my love's coufin ; — with which grief. 
 It is fuppofed, the fair creature dy'd, — 
 And here is come to do fome villainous Ihame 
 To the dead bodies : I will apprehend him.— 
 Stop thy unhallow'd toil, vile Montague ; 
 Can vengeance be purfu'd further than death ? 
 Condemned villain, I do apprehend thee : 
 Obey, and go with me ; for thou muft die. 
 
 Rom. I muft, indeed ; and therefore came I hither. — 
 Good gentle youth, tempt not a defperate man. 
 Fly hence and leave me ;— think upon thefe gone ; 
 Let them affright thee.— I befeech thee, youth. 
 Pull not another fin upon my head. 
 By urging me to fury : — O, begone 1 
 By heaven, I love thee better than myfelf : 
 For I come hither arm'd againft myfelf: 
 Stay not, be gone ;— live, and hereafter fay — 
 A madman's mercy bade thee run away. 
 
 Par. I do defy thy conjuration, 
 
 And apprehend thee for a felon here. 
 
 Rom, Wilt thou provoke me ? then have at thee boy. 
 
 [They fight, PARls/fl/Zr. 
 
 S Peg'
 
 ( »3^ ^ 
 
 Fage. O lord ! they fight : I will go call the watch. 
 
 Par. O, I am flain !— If thou be merciful. 
 
 Open the tomb, lay me with Juliet. \_Dtes^ 
 
 torn 
 
 , In faith, I will :— Let me perufe this face; — 
 Mcrcutio's kinfman, noble county Paris ! — 
 What faid my man, when my betofled foul 
 Did not attend him as we rode ? I think, 
 He told me, Paris ihould have married Juliet : 
 Said he not fo ? or did 1 dream it fo ? 
 Or am I mad, hearing him talk of Juliet, 
 To think it was fo ? — 0, give me thy hand. 
 One writ with me in four misfortune^ s hook ! 
 ril bury thee in a triumphant grave, — 
 A grave ? O, no ; a lantern, flaughter'd youth, 
 For here lies Juliet, and her beauty makes 
 This vault a feafting prefence full of light. 
 Death, lie thou there, by a dead man interr'd. 
 
 [ Laying Paris in the Monument. 
 How oft when men are at the point of death 
 Have they been merry ? which their keepers call 
 A light'ning before death : O, how may I 
 Call this a light'ning? O, my love ! my wife ! 
 Death that hath fuck'd the honey of thy breath. 
 Hath had no power yet upon thy beauty : 
 Thou art not conquered ; beauty's enfign yet 
 Is crimfon in thy lips, and in thy cheeks, 
 And death's pale flag is not advanced there.— 
 Tybalt, ly'ft thou there in thy bloody fheet ? 
 O, what more favour can I do to thee, 
 Than with that hand that cut thy youth in twain, 
 To funder his that was thine enemy ? 
 Forgive me, coufin ! — Ah, dear Juliet, 
 Why art thou yet fo fair ? Shall I believe — 
 I will believe (come lie thou in my arms) 
 That unfubftantial death is amorous ; 
 And that the lean abhorred monfter keeps 
 Thee here in dark to be his paramour. 
 For fear of that, I will ftill ftay with thee j 
 
 X. And
 
 ( '3^ ) 
 
 And nevet from this palace of dim night 
 
 Depart again: here, here will I remain 
 
 With worms that are thy chamber-maids ; O, here 
 
 Will I fet up my everlafting reft ; 
 
 And fhake theyoke of inaufpicious ftars 
 
 From this world-wearied flefh. — Eyes, look your laft! 
 
 Arms, take your laft embrace ! and lips, O you. 
 
 The doors of breath, feal with a righteous kifs 
 
 A datelefs bargain to engrofling death ! — 
 
 Come, bitter conduft come, unfavoury guide ! 
 
 Thou defperate pilot, now at once run on 
 
 The dafliiiig rocks thy fea-fick weary bark ! 
 
 Here's to thy health, where'er thou tumbleftin : 
 
 Here's to my love ! — [Drinks] O, true apothecary. 
 
 Thy drugs are quick. — Thus with a kifs I die. IDies. 
 
 Thefe are paintings of the paffions, which not many writers were ac- 
 quainted with ; — and as the above lines furnifli infinitely more fubjeiVs 
 for engravings, than can poffibly be admitted into an edition ; it will 
 be no eafy matter for an artifl when perufing the above fcene, to fele£t 
 or to fix on one particular fubjeft to accompany this fcene — for if he 
 wifhes to guard againft the too much crowding of an edition, and fhould 
 therefore on that account, find himfelf obliged (unwillingly) to pafs 
 over thofe tender lines which Paris offers at the fhrine of Juliet — or to 
 rejeft painting the generous and fleady look which Balthazar gives his 
 mafler, when the latter informs him why he defcends into the vault — 
 and fhould determinately prefer the inimitable lines of 
 
 O, give me thy hand. 
 
 One writ vcith me in four miif or time's book ! 
 I'll bury thcc in a triumphant grave, — 
 
 yet each of the former pafTages that he thus reje*fls, will haunt his 
 imagination : as poflefling too much beauty to deferve rejeftion — they 
 will remind him each fucceeding day of the gem he has thrown afide-— 
 
 S 2 and
 
 ( ^3^ ) 
 
 and will come more precioufly apparelled " into the eye and profpec!! of 
 his foul." If the above lines in italics fhould be feleited : he then 
 leaves unpainted, the parting with Ballhazar-f — the fine llriking attitude 
 and expreffion of Romeo, when he views Mercutws kinfinan — his many 
 tender invocations to the departed fpirit of Juliet — his kindly affeftionate 
 remembrance of 'Tybalt — or his taking his lad farewell of ^w/zV/, and im- 
 printing on her pale cheek his laft kifs. 
 
 The above feleded paflTage in italics, will furnifh a very fine point to 
 paint from : for it will admit of moil: of the obje^ls in this fcene being 
 introduced — fuch as the fculptured vault of the Capulets — the coftly 
 tombs and funeral trophies of buried ancejlry, and other fepulchral or- 
 naments of Juliet's laft abode* — the moon, which will be diftantly 
 viewed § — the torch which burneth in the Capukfs monument^ and which 
 
 will 
 
 f I have never met with any other fketch or defign of Balthazar, than the following, painted by 
 Ralph, viz. Romeo difmijfing his fcrvant Balthazar at Juliet^ s lomb. It was exhibited at Somerfet-houfe, 
 in 1782. I have not fecn it. 
 
 See the head entitled " Manhood," in the Artift's Repofitory and Drawing Magazine, printed for 
 Williams, No. 43, Holborn. — The reader will there recognize features, which ought partly to accom- 
 pany the figure of Balthazar. 
 
 * The ornaments of churches in Italy, will furnifh numberlefs examples and ideas of the mod chafte 
 and perfeft fculpture. See the figures of the children, and the fculpture of Juliet's vault, (for I am 
 unwilling to omit the Icaft degree of merit) in the laft print of Walker's fet. See alfo the two figures 
 on our poet's monument at Stratford, as they appear in Bell's laft edition. And fee fome parts of the 
 landfcape (and the moon) in Wilfon's print. This prefent fcene in the play, is laid in a church- 
 yard ; but all the painters (except Wilfon and the print in Hanmer) have laid their fcene in a church. 
 The latter place would allow greater fcope for rich fculpture, unlefs it were attempted in a fimilar 
 way (but more pidlurefque) to that in Wilfon's print. How fuperior is the fculpture in M. de 
 Loutherbourg's vignette to Bell's edition of this play, to what appears in the other print to this fame 
 edition — in this latter print, the tomb more refembles the mouth of an oven, than the coftly fepulchre 
 of the Capulets. 
 
 § So pale did fhine tie moon on Pyramus, 
 
 Wljcn he hy night lay hath''d in maiden blood.^ 
 
 Titus Andron. Ada, Sc.4.
 
 ( ^33 ) 
 
 will add folemnity to the terrorf — the flowers which Pan's ftrewed — 
 the tomb of Juliet opened, with her fair and beautiful body reclined, in 
 rich array — (for 
 
 as the manner of our country is. 
 
 In thy beji robes uncovered on the bier. 
 
 Thou fhalt be borne to that fame antient vault. 
 
 Where all the kindred of the Capulets lie.) 
 
 with the ring on her finger, which Romeo mentions to Balthazar, and 
 whofe brilliancy (had the torch been wanting) would partly have illumi- 
 ned the dark vault* — Julkfs beauty too, will not be rendered lefs enga- 
 ging by the meeknefs of pale dejedion, and the quietnefs attending her 
 prefent repofe, forjhe is not dead but Jleepeth — this alTemblage of obje£ls. 
 
 \ Luigi da Porto's Tragicall Hyjlory of Romeus and Juliet, mentions Romeus charging his man. 
 without delay, to 
 
 Provyde both inftruments to open wide the toorabe. 
 And lights to J!}ei\j him Juliet, 
 
 And the fame Hyftory mentions a cuftom, that 
 
 • whofoever dyes. 
 
 Borne to their church with open face upon the beere he lyes,. 
 Jtt 'Montcd v:eede attyrdc, not wrapt in winding iheet. 
 
 * Upon his lloody finger he doth viear 
 A precious ring, that lightens all the holey 
 Which, like a taper in fame monument, 
 Dothjhine upon the dead man's earthy cheeksy 
 Andjhevos the ragged entrails of this pit. — 
 
 Titus Andron, Adl 2, Sc. 4. 
 
 added
 
 ( 15+ > 
 
 added to the afFeding manner with which Romeo takes the dyhig Paris 
 by the hand : 
 
 g'lve me thy hand, 
 
 One writ with me in four misfortune^ s book ! 
 ril bury thee in a triumphant grave,— 
 
 will altogether exhibit a fubject, fuited only to the exalted thought of Sir 
 Jofhua Reynolds. § 
 
 ; Page 
 
 § TJjy hand enforces njohat thy precept taught^ 
 ^nd gives nevj lejfons of exalted thought ; 
 Ihy nervous pencil on the canvas thro'ws 
 The tragic fiory offuhlimeft ivees,— 
 
 The above few lines, are a very fmall part of the elegant tribute which Mr. Hayley pays to the 
 merit of this great Painter, in an Epiftle to Mr. Romney. 
 
 The fevere, but mirthful relation to the Poet of Tljehcs, (whofe laughable fallies have diffufed much 
 good humour) has paid a generous compliment to Sir Jofluia. — After mentioning the ftory of Orpheus 
 being torn in pieces, and of his head falling down the ftream to Lelbos : 
 
 2fo^v I've leen thinliiig, if our Reynold's head 
 
 Should, on his palette, down the Thames drive foufe, 
 " And, mindful of the lualls he once array' d. 
 
 Bring-to, a lit, at Somerfet new Hoife ; 
 What fcramblings there ivould be, ivhat luorlds of pains 
 
 Among the artijls to pojjefs its brains. 
 And like Neanthus, for great Orpheus' lyre 
 
 Some for his palette ivould be raifng frays. 
 In hopes, no doubt, the wood ivould each infpire 
 
 To paint Hie him for^fame in better days ; 
 As if a foldier ixho'd no legs to ufe. 
 Should fight for his dead comrade's hoots andjl.'oes. 
 
 Reynolds ! 
 
 ^ How delicately tender it this line !
 
 C m ) 
 
 Page 158 
 
 Law. Go with me to the vault. 
 
 Baltb. I dare not, Sir : 
 
 My mailer knows not, but I am gone hence ; 
 And fearfully did menace me with death. 
 If I did flay to look on his intents. 
 
 Law, Stay, then, I'll go alone. Fear comes upon me ; 
 O, much I fear fome ill unlucky thing. 
 
 Balth. As I did fleep under this yew-tree here, 
 I dreamt my mailer and another fought, 
 And that my mailer flew him. 
 
 Law, Romeo? 
 
 Reynolds! nuhen I refleH i\}hat fom of fame 
 Have Jbar'd thy friendfiip, I itjithjighs regret 
 
 That all have died a little in thy debt. 
 And left a trump unknown tofwell thy name ; 
 
 But, courage, friend; itohcn time's relentlefs tooth 
 Hath nibbled mountains to the ground fmack-fmoith. 
 And pick' d, as one ixiould pick afavory bone. 
 Each monument of iron, and brafs, and Jlone ; 
 
 When he, ixjith and Co. his guts hath f cower' d. 
 
 And — — — and — — ^— viithout end devoured, 
 Thy name Jhall live, and like heaven" s facred f re 
 Succeeding Artifs kindle, and infpire. — 
 
 This Theban Poet might have added : that the bones of Orpheus (after this fcrambllng) were ga- 
 thered by the Mufes, and repofed in a fepulchre, not without tears ; and that his harp (for fo the ftory 
 goes) was made the conftellation of Lyrat
 
 C 136 ) 
 
 Law. Romeo? 
 
 Alack, alack, what blood is this, which ftaiiis 
 The ftony entrance of this fepulchre? — 
 What mean thefe mafterlefs and gory fwords 
 To lie difcolour'd by this place of peace ? 
 Romeo ! O, pale ! — Who elfe? what, Paris too ? 
 And fteep'd in blood ? — Ah, what an unkind hour 
 Is guilty of this lamentable chance ! 
 The lady Jiirs. 
 
 Jul. [waking.] O, comfortable friar! where h my lord? 
 
 I do remember well where I fliould be, 
 
 And where I am : — Where is my Romeo f 
 
 \lioife within. 
 
 Law, I hear fome noife. — Lady, come from that nefl 
 Of death, contagion, and unnatural fleep ; 
 A greater Power than we can contradift 
 Hath thwarted our intents ; come, come away : 
 Thy hujband in thy bofom there lies dead; 
 ^nd Paris too ; come, I'll difpofe of thee 
 Among a fifterhood of holy nuns : 
 Stay not to queftion, for the watch is coming ; 
 Come, go, good Juliet, — {Noife again"] I dare flay no longer. 
 
 [Exit, 
 
 Jul. Go, get thee hence, for I will not away :— 
 
 What's here ? a cup clos'd in my true love's hand? 
 
 Poifon, I fee, hath been his timelefs end :^- 
 
 O churl ! drink all ; and leave no friendly drop, 
 
 To help me after ? — I will kifs thy lips ; 
 
 Haply, fome poifon yet doth hang on them, 
 
 To make me die with a rellorative. {KiJJes him. 
 
 Thy lips are warm ! 
 
 PP'atch. [within] Lead, boy : which way ? 
 
 Jul. Yea, noife ? — then I'll be brief. — O happy dagger ! 
 
 [Snatching RoMEo's Dagger. 
 This is thy flieath ; [Jabs herfelf] there ruft, and let me die. 
 
 What
 
 ( ^Zl ) 
 
 What an attitude might be given to "Jiuiet at the moment of her Wa- 
 king, (and before fhe fees the Friar) when her uplifted eye gradually 
 furveys in awful aftonifhment the gloomy cavern ! — but perhaps this 
 fcene of diftrefs will be better drawn from fome one of the lines in ital- 
 ics : each of which will moft truly furnifh the fiue-ft points to paint from — 
 as will certainly more of the above paflages than thofe pointed out in 
 italics. I fear it is ftrangely prefumptuous thus to dictate to an artift, 
 what paffages fhould alone receive his embellifhrnent : and prefumioi; 
 confidence will ill become any one who ventures on the works of the 
 unprefuming Shakefpeare — but as defcription and pointing out of this 
 kind, is at the befl tedious on the perufal — fo it would be more tedious, 
 were no lines thus recommended or marked out, as there would then bo 
 required a more difFufe furvey of each fcene. 
 
 The attitude, and expreffion of the Friar, would be very fine when 
 he fees the lady waking— and the wildly pale, and earneft afFedion witii 
 which fhe cries out, 
 
 O, comfortable friar ! where is my lord ? — * 
 / do remember wtll ivhere I fhould be, 
 jlnd where I am : — Where is my Romeo P 
 
 this, aided by the terror of the place — the dark tomb lightened by the 
 blaze of the torch, which will fhew each feature of Juliet^ s face — her 
 difhevelled hair — the breathlefs corpfe of her hufband, and the County 
 Paris (who ftrewed his bridal bed with flowers) — thele, will altogether 
 form a fcene capable of interefting the paflions in a very high degree. 
 
 * Our very ingenious artlH, Mr. Wright, is to furnifli a picture from this line, for the edition of 
 Mr. Boydell ; and conliderable expcdlations are julHy formed of it. The print in Theobald is likewife 
 taken from this line ; and though there is nothing in it worthy obfervation, yet the attitude of Romeo 
 may be looked at, and fo may the recumbent figure on the monument. His attitude might be fome. 
 what fimilar to that which Monnet has given I'yramus, in the French quarto edition of Ovid. 
 
 T Juliet
 
 ( '38 ; 
 
 "Jul'iet has yet, however, not feen her dead Romeo — the fubfequent paf- 
 fiiges therefore will each of them require her to be drawn with a greater 
 wildnefs in her afpeft, and with the moft impaffioned and expreffive 
 marks of grief. — Her ftart, when the Friar direds her eye to the breath- 
 lefs corpfe : 
 
 (Thy hujhand In thy bofom there lies dead ; 
 And Paris too) 
 
 Will demand a look : concentring every poflible expreffion of grief, amaze- 
 ment, horror, and defpair. 
 
 I was going to have pointed out in italics, other paflages in "Jul'iet's 
 two laft fpeeches — but thefe two fpeeches of her's (if we except the 
 firft line) do exhibit as many tender and moving points to paint from, as 
 there are lines in thefe fpeeches t — and I fuddenly check my prefump- 
 tionin having dared to reje£l and contemn even this firflline of 
 
 Gfl, get thee hence— for I will not away ! — 
 
 when it fo ftrongly paints her firm attachment to her dear lord — an at- 
 tachment, which not the gloomy terrors of the tomb can daunt : and 
 which no allurement of life can draw from the wi(h of uniting with 
 him in the fhades of death.* I could have willingly feleded the lines of: 
 
 churl ! drink all ; and leave no friendly drop 
 To help me after P — 
 
 and 
 
 ■}■ In Dante (fays Mr. Sherlock) we (IwU find in three pages, four beautiful lines ; and in Shakef- 
 peare we ihall find in four pages, fix lines that are not beautiful. 
 
 * The aflies of Romeo, receive the fame regard which is expreffed in thefe tender lines of Smollct s 
 
 Wilt thou Mcn'imia Jhed a pitying tear 
 
 On that cold grave where all my forrews rcjl ? 
 Wilt thou Jirtxv JlovJ'rs, applaud my love fine ere. 
 
 And lid the ti.rf lie light upon my hreaji ? —
 
 C 139 ) 
 
 and the fine point of: O happjf dagger'.— \t each of the other lines did 
 not give an equal fcope to a painter's feeling. — Few hearts but what feel 
 for Juliet; for in this fcene, Shakefpeare has unlock'd (with the golden 
 key that nature gave him) the gates both of terror and of pitv.t 
 
 An aclrefs, at the clofe of this tragedy, (hould difplay one of the ex- 
 cellencies of Mrs. Siddons in Jane Shore — " for, (as an anonymous 
 ' writer obferves) in her fcens with Gloucefter, in the fourth acl, there 
 *. was a propriety in her dignity, her fenfibility, and her every word 
 ' and aftlon, that at once charmed and aftoniHicd us. Even after death 
 ' fhe preferved her excellence ; exhibiting, by the gracejulnefs of the atti- 
 ' tilde in which pe fell, the mof beautiful and ft r iking corpfe that ever adorned 
 " ajlager* 
 
 T 2 Tail- 
 
 i This happy conception is Mr. Gray's — and for which fee a note in a former fccne, ^here Juliet 
 drinks the potion. 
 
 * The only accounts I can find in any of the writers on the ftage, of other aiflrefles than Mrs' 
 Cibber, who have perfonated Jnliet (at leaft worth preferving), are the few following. — 
 
 " The tragedy of Romeo and JuHet was performed at Covent Garden on the loth inflant ; Romeo by 
 " INIr. Barry, and Juliet by Mifs Rojfiter, being her firft appearance upon any flage. At her firft 
 " entrance, the delicacy of her figure, and her graceful diftrefs, obtained for her the warmeft applaufe, 
 " and as (he grew more animated in the progrefs, flie frequently furprized the houfe with the moft 
 " alarming attitudes. The faultering of her refolution when going to drink the compofing draught, 
 " was finely marked ; the fixture of her eyes, and feeblenefs of her whole perfon, when coming for- 
 " ward from the tomb, and her manner of hold'mg her lover's dead body, and looking at the Friar, 
 " when Are cries out, ' you fhall not tear him from me,' were all happily imagined, and to crown the 
 " whole, her aiflion at ftabbing herfelf, was a very fine and afFefting circumflance." 
 
 Gray's Inn. Jour, vol ii. page 6. 
 
 " Mifs PritcharJ is rather low, but her figure is extremely elegant ; there is great foftnefs, good 
 " fenfe and underftanding difplayed in her Juliet ; and I have feen her perform the dying fceneas well 
 " as I ever defire to fee it. If her mother is fine in Lady Macbeth's fleep, fo is this young lady in 
 " the tomb-fcene of iJoOT^'i;." 
 
 WiLKs's View of the Stage, page 287. 
 
 " Mrs.
 
 ( '4° ) 
 
 Tail-Piece. 
 
 I could wlfli to propofe for this department, a fac-fimile to M. de Lou- 
 therbourg's Vignette Scene Print to Bell's laft edition of this play. It 
 is taken from thatfcene, where Juliet (awakening from her trance) finds 
 thzi polfoti hath been the timelefs end of Romeo. 
 
 We 
 
 *' Mrs. Pritchard's unblemifhed conJucft in private life juffly rendered her the great favourite of the 
 *' people; few aftreflcs were ever fo fincerely beloved, and powerfully jSatronized as Mrs. Pritchard. 
 " A remarkable inftance of publick regard was fhewn to this comedian when fhe firfl; brought her 
 " daughter on the flagc. Mrs. Pritchard floopcd taplay Lady Capulet in Romeo and Juliet, in order 
 " to introduce Mils Pritchard, in her attempt to ad Jidiet ; the diiughter's timidity was contrafled by 
 " the mother's apprehenfions, which were ftrongly painted in their looks, and thefe were incefTautly 
 " interchanged by ftolen glances at each other. This, fceue of mutual fenfibility was fo affedling, that 
 " many of the audience burft into involuntary tears." 
 
 Life of G-arrick, vol. ii. page i8i. 
 
 A grand-daughter of Colley Gibber, performed Juliet with much applaufe ; and. in the Gentleman's 
 Magazine for Oftober, 1744, are fome verfes addrelTed to her. Juliet has likewife intcrefted many 
 hearts from being perfonated by Mrs. IVo^ffingion, Mrs. Bellamy, Mrs. Barry, Mifs Tonge, and (though 
 laft, yet not the leaft) from the artlefs limplicLty and plaintive tendernefs of Mrs. Stephen Kcmhk. 
 
 Within thefe few-years, Mr. Hohtian and Mifs Brunton, have revived the publick fondncfs for this 
 tragedy; and their merit drew to Covent Garden (where the play has been got up with uncommon 
 fplendour) the moft crowded houfes. The papers, [the hlcf chronicle i of the timeO have been profufe 
 in praifes — and in general, with fome degree of truth. Holman « ithout doubt, has no rival in Romeo. 
 It was the firft charafter he performed ; and the publick on the firft night of his appearance, conceived 
 the moft lively hopes of his genius and feeling— and the charadlers he has fince appeared in, have not 
 inclined them to withdraw their approbation. It is fomewhat lingular, that Mifs Briniton'i age, on 
 the firft night of her appearing in Juliet, was little more than the real age of Capulet's daughter — 
 fcarcely turned of lixteen. Her performance of the garden-fcene, and of thofe other fcenes which fo 
 
 2 well 
 
 ^■\
 
 ( Ht ) 
 
 We are told at the conclufion of this play, of a refolution of th« re- 
 conciled parents to eternize their names: 
 
 Cap. O brother Montague, give me thy hand : 
 
 This is my daughter's jointure, for no more 
 Can I demand. 
 
 Mon. But I can give thee more r 
 
 For I wUlraife herjlatiie injure gold ; 
 
 Thar 
 
 well paint sffsftion and tender grief, was animated with the fpirit of her poet's page ; but it is wonder- 
 ful that (he could fo well exprefs, at fo early an age, the violent and powerful fcenes of defpalr and 
 frenzy. 
 
 The Morning Poll: for November 1 8, 1785, fpeaks thus of her : — 
 
 " Her balcony-fccne was a fine plfture of fenfibility and innocence ; it was painted with rapture, 
 " and in lively and lovely colours. The lail aft was a confiderable amendment of her firft perform- 
 " ance ; her attention, anxiety, and tendernefs to Romeo in his dying moments, were pathetic and 
 " interefting" in an uncommon degree. Her fuccecding frenzy was truly espreffive of her affe<fling' 
 " fituation, and did not fail of bedewing the cheeks of her fair auditoi-s with fympathetic tears." 
 
 And the fame paper for November 22, 1781;, ftill confirms her merit in ^i'/zV/.— 
 
 " The play oi Romeo and JuUet feems to adorn the brow of Mifs Brunton with frefli laurels every 
 " time fhe performs in the lovely character — flie was not inferior Isft night to her forjner reprefen- 
 " tations in any of the fcenes, but fuperior in mofl.^The parting of the lovers, in the garden-fcene 
 " of the fourth act was truly affectionate luid pathetic ; and the climax in the chamber-fcene was finely 
 " wrought up to a pitch of phreazy and madnefs. 
 
 " And in this rage with fome great kinfman's bone, 
 " As with a club, dafli out my defperate brains," 
 
 " fpoke forcibly to the feelings of her audience, and plainly evinced the excellency of her powers. 
 " The whole fcene afte.r the death of Romca, was managed with peculiar fpirit and judgment, and 
 " proved what has been often aflbrted, that her merits cannot be afcertained by a fingle performance ; 
 " file varies her manner of performing particular paffages according to the impulfe of the moment ; for 
 " what appears tame and indifferent at one time, does frequently in her nest performance kindle into- 
 " warmth and excellence. 
 
 " O thou curfed Friar ! patience ! 
 
 " Talk'it thou of patience to a wretch like me !" 
 
 " wai-
 
 ( H^- ) 
 
 llmt, while Ferona by that name h known, 
 'Jhcrej})ail no figure at fuch rate he Jet, 
 ^s that of true and faithful Juliet. 
 
 Cnp. ^s richjhall Romeo by his lady lie ; 
 Poor faerifiees of our enmity / 
 
 The novel of Bandello makes no mention of this defigned ftatiie or 
 maufoleum ; but the l^rcigicall Hyjlory of Roviein and Juliet, by Luigi da 
 Porto, a gentlemen of Vicenza, firft printed in 1535, (and which very 
 
 rc-^re 
 
 ■" was Iieard, vas fc!t, aiu-l the manner was extolled ; particularly the laft three words, equal to any 
 
 " fentcnce that e'.-cr was .pronounced on the ftage. Her dvlng-fcene was exceedingly improved ; her 
 
 '' convulfcd llute, after takini»- off the poifon, and the tendernefs of her laft moments, were truly dif- 
 
 " treirmg and compaffionate, nor did they fail of meeting with the heartiell applaufe."— 
 
 In the tribute due to living genius, let us not forget deceafed favourites— 
 
 But yejlirday, the ivord of Cafar might 
 
 Haye flood againjl the ivorld : >ioii', iione fo poor 
 
 To do hUii reverence. — 
 
 Thofe who have witneffed the excellencies of Garrici and Bctrry in this tragedy, will fcarce believe 
 it poflible that another after can ever arife, who will furpafs them — and jhey will with difficulty belieire, 
 that another aftor can arife, to equal them. The Romeo of Po-ivell too, that feeling afior, glowed 
 with all the fervour of Shakefpeare's fcenes. — On this tragedian's death, the following epitaph appeared 
 in the publick papers, which is here given, from its not being fo generally known, as are thofe lines 
 with which Mr. Colman has grac'd the memory of his friend : — 
 
 Whoe'er thou, art that tread''Jl this awful dome. 
 Oh, paji not heedlefs by thiifacrcd tomb ; 
 Wit, art, and graec, the pleafure of the age. 
 The pride atid farrow of the Britijljfage, 
 (Read thi: — and reading drop the tender tear) 
 ^11 lie interrd with gentle Powell here. 
 
 That claffick and energetick pen which has twined round her Cooke's Morai, a never dying wreath, 
 has been no lefs anxious to immortalize David Garrlck — for flie has preferved his memory in lines 
 which breathe the true fpirit of poetry. — This note will not feem long or tedious, when concluded with 
 lines fuch as thefe ; 
 
 PRIZE
 
 i ^43 ) 
 
 rare piece Mr. Malone has prefented to the publick in his Supplement) 
 thus mentions it : 
 
 yfnd left that length of time might from our mynjgs remove. 
 
 The memory of Jo perfefi found andfo approved love. 
 
 The bodies dead, removed from vault e luhere they did dye, 
 
 Injtately tombe, on pillars great of marble, rayfe they hye» 
 
 On every fyde above were fet, and eke beneath. 
 
 Great fiore of cunning epitaphes, in honor of theyr death. 
 
 And even to this day the tombe is to be fecne ; 
 
 So that among the monumentes that in Verona been. 
 
 There is no monumente more worthy of the fight. 
 
 Then is the tombe of Juliet and Romeus her knight. 
 
 If it were poffible to obtain a drawing of this tomb, it might with 
 great propriety accompany the page of our great Poet, who has fo well 
 
 recorded 
 
 PRIZE MONODY on the DEATH of Mr. G A R R I C K, 
 
 FOR THE VASE AT BATH EASTON, FEB. nth, 1779. 
 B Y M I s s S E W A R D. 
 
 D I M Piveeps tbefjovuer along the mifty vah; 
 And Grief i loiv accents murmur in the gale. 
 O'er the damp vafe Horatio fighing leans, 
 And gazes ahfent on the faded fccnes ; 
 And Sorroiv's gloom has veil'd each fprightly grace. 
 That usd to revel in his Laura's face. 
 When, nuith Ixveet fmiles, her garlands gay Jbe twin' d. 
 And each light fpray ivith ■ of eat ribbons join'd, 
 Dropt from her l^and the fcatt r' d myrtles lie ; 
 And lo ! dark cyprefs meets the mournful eye ; 
 Tor thee, oh Garrick ! fighs front Genius breathe. 
 For thee, fad Beauty iveaves the funeral ivreath. 
 Shakefpeare's great fpirit, in its cloudlefs blaze. 
 Led him unequal' d thro' th' inventive maze ; 
 'Midf the deep pathos of his melting themes, 
 Ihro' the light magic of his playful dreams. 
 He caught the genuine humour glowing there, 
 if it's vivid flajh, and Cunning' s/oler Iter ; 
 
 The
 
 ( H4 ) 
 
 recorded this flory of woe. The tomb was no doubt rich in decorative 
 fplendour, from the lafl: promife of their parents. Some of the old, as 
 well as the more modern accounts of Italy, may perhaps furnifh fome 
 particulars on this head — and fome of the accounts of Verona, may 
 contain the ^r^/3:/j^(jr5 of cunning epitaphesy in honor of they r death. And 
 
 yet 
 
 'Ihe Jlrange dijirefi that fires the kindling Irain 
 Offcclle madnefs on the ftarmy plain • 
 Or ivhcn pale youth, in midnight Jl^ade, 
 Purfiies the Jlccl-clad phantom thro' the glade ; 
 Or, fiartingfrom the couch vjitb dire affright^ 
 When the croi\in'd murderer glares upon the Jight 
 In all the horrors ef the guilty foul. 
 Dark as the night that ivraps the frozen pole: 
 — Our fuhjeB pajjions oivn'd thefvjay complete. 
 And haiCd their Garrsck as their Shakcfpcare great. 
 
 That voice, ivhich pour'd its vtufic on our ear, 
 iSiveet as the fongfler of the •vernal year, 
 Thofe graceful gejiures — and that eye of fire. 
 With rage thatjtam'd, or melted with dejire, 
 Aivak'd the radiant joy in dimple fleck. 
 Or made the chilly blood forfake the cheek- 
 Where are they no'M ? — Dark in the narroixj cell 
 Jnfenfate, — Jhrunk, — and fiill, — and cold they dwell ; 
 A filence folemn and eternal keep. 
 Where neither Liv ejlj all f mile— nor Anguifi iveep. 
 
 Breathe, Genius, fill the tributary fgh. 
 Still gufy, ye liquid pearls, from Beauty's eye ! 
 With facken'd firings fufpend your harps, ye Nine, 
 W7}ile round his urn yon cyprcjs ivreath ye twine ! 
 Then give his merits to ysur loudef fame, 
 Andvjrite in fuwbright lufre Garrick's name ! 
 
 As I confine myfelf religioufly to the Text of Shakefpeare ; it will prevent me from recommending 
 thofe truly fine points to draw from, which Mr. Garrick's judicious alteration of this laft fcene has 
 offered : in making Juliet awake before Romeo's death — and this confiderarion will prevent me from 
 offering any hints towards embellifhing an edition with a view of the pidlurefque and mournful pagean- 
 try of Juliet's funeral : a pageant, which on the ftage has chill'd many bofoms— and which is decked 
 
 with
 
 ( 145 ) 
 
 yet Lady Millar (who fo lately vifited Italy) in her account of Verona, 
 makes no mention of their tomb : and I think fhe would not have over- 
 looked it, had it been then in exiftence. Had their tomb or ftatue been 
 raifed /« pure gold: we (hould not have wondered had it been no longer 
 in exiftence. There is no mention made of it by Madame de Bocage, in 
 
 her Letters on England, Holland, and Italy — nor by Miflbn — Laflel 
 
 Cochin — Keyfler — Addifon — Wright — SmoUet — Sharp — Brown, in his 
 Travels through France and Italy — Drummond — Northall — Baretti — 
 Moore — nor in the long but entertaining account of Verona, in the 
 
 U Travels 
 
 all the pomp of Romifh rites. The funeral obfequies of Juliet, fliould have the fame effed on the 
 mind, as thofe had which were paid to the lately deceafed Sacchini— " I never in my life (Gys agen- 
 *' tieman in a letter from Paris) v/as aftefted in fuch a manner, as at the performance of a funeral fer- 
 " vice, or mafs for the dead, at which I was lately prefeiu — It was the requiem of the celebrated 
 " Sacchini, performed in the Capuchin's church, rue St. Honore. The opening of the ceremony was 
 *' inconceivably awful ! — The moment the priefts prefented themfelvcs to the altar, muffled drums, 
 " kettle-drums, and other inftruments, emitted tones that affefted the heart with deep forrow, intcr- 
 
 " mingled with terror. ' In this part, an Abbe of the cathedral was heard with peculiar 
 
 . " delight, whofc melodious tones recalled to the rapt foul, Sacchini's magic powers."— y«//rt's pro- 
 ceffion (in her hejl roles uncover'' d on the Iter) fliould exhibit that painting, which the real interment of 
 Cil'ier gave rife to, in the poem of Mr. Keate : 
 
 I turn, and while my eye the cloifter roves, 
 The flaring taper pour upon my fight ; 
 Solemn and flov/ the black proccilion moves, 
 And darts a terror thro' the gloom of night. 
 
 Sorrowing, I fee the holy rites begin ; 
 Refign'd, the fad fepulchral ofhce hear : 
 A thoufand foft ideas ftir within, 
 And a(k once more, the tributary tear. 
 
 From thelaft fcene of this tragedy, as altered by Mr. Garrick, have been taken the three following 
 prints. 
 
 I . The laft print of Walker's fet. I have before mentioned (in a note to the fccnes recommended 
 for page 152) all that can be worth looking at in this print, for our prcfcut purpofe. 
 
 1. Mr. 
 
 \
 
 ( U6 ) 
 
 Travels of Blainville.* But I have lately met with thefoUowhig traces 
 of this tomb, in Captain Breval's Remarks on feveral parts of Europe, 
 which work was firfl publilhed in the year 1726 : " As I was furveying 
 (fays Captain Breval) the churches and other religious places in Verona, 
 my guide, (or as the Italians call him my Cicerone) made me take no- 
 tice of an old building which had been formerly a nunnery, but was 
 converted into an houfe for orphans, about an hundred years fince. The 
 fubftance of what I could gather from the long flory he told me con- 
 cerning it, was this, that at the time when that alteration was making, 
 in the pulling down of a wall, the workmen happened to break down 
 an old tomb, in which there were found two coffins, which by the in- 
 
 fcription 
 
 2. Mr. Garrick and Mifs Bellamy, in the charaders of Romeo and Juliet : Engraved by Ravenet, 
 from after B. Wilfon. The original was painted for Mr. Hoare. In the engraving of this print, the 
 countenance of Juliet, is by no means what it iLould be — it more refetnbles Juliet's mother than herfelf. 
 The countenance of Mr. Garrick is finely expreffed, and his attitude is well drawn ; and the light froai 
 the lamp, the landfcape, and nwon-light fcenery, are worth referring to. 
 
 3. Mr. Holman and Mifi Brunton, in the characters of Romeo and Juliet. Painted by Brown, 
 and publiflied in 1787. A large metzotinto. The figure and countenance of Holman, exhibit a fine 
 and interefting idea of the youthful Romeo. His countenance is more charafteriftically expreffed 
 than is that of Juliet. 
 
 * The following works are not unlikely to furnifh fome particulars. — TorelH Saraynac Veronenfis, 
 de origine et amplltudine civitatis Verona. — Veron. i 54O — Defcrittione di tutta Italiii di Leandro 
 Albcrti. — Bolog. 1550 — Riftretto de la Antichita de Verona, con novi oglonti da M. Zuane, pitore 
 Veronenfe. — F'eren. 1560— Girdamo de la Corte's Hiftory of Verona — Compendio dell' Iftoriadi Ve- 
 rona — Antiqiiitates Veronenfes di Orniprius Pamunies — La Nobilita di Verona di Gio. Francefco 
 Tinto nella o.uale tutte le Aitioni, & Qualita di quella Citta fi defcrivono^ onde di tempo in tempo le 
 e derivata chiarezza, con I'Hiftorie anneffe & dipendenti— ^Vcn. 1592. — Cluverii Italiae, — Sicilie, 
 &c. ahtiquae defcriptio, 4 vol. cum Jig. 1619-^Dtir antica condizione di Verona, 1719 — Verona 
 lUuftrata,— ^froa. 1732. — Voyage d' Italie, Dalmatie, &c. par Spon. & Wheeler, 2 tom. avec Jig, 
 Anijl. 1679. — Montfaucon's Travels through Italy, in the years 1698 and 1699, ivhh cuts, iy2(^. — 
 Condamine's Tour to Italy — Burnet's Travels through Italy, 1724. — Stevens's Travels through 
 France, Italy, &c. — Ray's Travels through Germany, Italy, &c. — Thompfon's Travels through 
 France, Italy, &c.
 
 ( H7 ) 
 
 fcription yet legible upon the ftone, appeared to contain the bodies of 
 a young couple that had come by their death in a very tragical manner, 
 about three centuries before; ************ 
 all the city flocked to fee what was left of two fuch extraordinary per- 
 fons : Jince which time, what became either of thejlone-chejly or the q/hes that 
 were in it, is what I never could learn.^'' 
 
 A lift of fuch Paintings asjiave been taken from this play ; and from which, no Engravings have 
 23 yet been made. 
 
 1. Romeo dlfmilTing his fervant Balthazar at-Juliet's tomb. Painted by Ralph, No. 374 of the 
 Exhibition at Somerfet-Houfe iu 1782. 
 
 2. Romeo and Juliet. Aft 5. Sc. i. Painted by Ralph, No. 151 of the Exhibition at Somerfet 
 Houfe, in 1787. — I have not feen either of thefe paintings. 
 
 A Lift of fuch Prints as have been publilhed from this play. Thofe I have not feen, are printed in 
 Italics. 
 
 1. Bell's two editions. 
 
 2. Hanmer. 
 
 3. Theobald. 
 
 4. Rowe. 
 
 5. Lowndes. 
 
 6. A cut by Fourdrinier, in an edition, in 8 vols. 8vo. printed for Tonfon, 1735. — 
 
 7. In 1754, came out, " Five fccnes in Romeo and Juliet, price three fliillings." Thev are 
 painted and engraved by Anthony Walker. 
 
 8. Romeo and Juliet. Engraved by Houfton, from after Wilfon. 
 q. Juliet. Defigned by Harding. 
 
 10. Woodward in Mercutio. Publiflied by W. Herbert at the Globe on London Bridge, i7i;3. 
 
 11. Romeo. Painted and engraved by P. Dawe. 
 
 12. Juliet. Painted and engraved by P. Dawe. There is fome fmall merit in the look of Juliet. 
 
 13. Juliet. No painter or engraver mentioned, but faid to be publilhed by G. T. Stubbs, in 17S6. 
 
 14. " Romeo I come, this do I drink to thee." Painted by Singleton. 
 
 15. Romeo and Juliet. W.Hamilton, pinxlt. Bartolozzi, fculpfit. 
 
 1 6. General Magazine. 
 
 17. Pope. 
 
 18. Taylor. 
 
 19. Romeo and Juliet. Engraved l-y Sharp, from after B. If cf. 
 
 20. Romeo and Juliet. An oval, taken (I helicve) from the lajl garden-fcenc, ly B. Jfeft. 
 
 U 2
 
 GYMBELINE. 
 
 Every man finds his mind more ftrongly feized by the Tragedies of Shakefpeare 
 than of any other writer ; others pleafe us by particular fpeeches; but he always makes 
 us anxious for the event, and has perhaps excelled all but Homer in fecurino- the firft 
 purpofe of a writer, by exciting reftlefs and unquenchable curiofity, and compelling 
 him that reads his work to read it through. 
 
 Dr. Johnson. 
 
 There was a time when the art of Jonfon was fet above the divine infpiration of 
 Shakefpeare. The prefent age is well convinced of the miftake. And now the ge- 
 nius of Shakefpeare is idolized in its turn. Happily for the public tafle, it can: 
 fcarcly be too much fb. 
 
 Bishop Hurd, 
 
 Nature, her pencil to his hand commits. 
 
 And then in all her forms to this great matter fits. 
 
 Anon, on Shakespeare* 
 
 O, more than all in powerful genius bleft, 
 Come, take thine empire o'er my willing bread ! 
 
 Collins, on Shakespearev. 
 
 Vignette. 
 
 Many fanciful defigns for a Vignette, may be fi<etchcd from this play of Cymbe- 
 line : and they may partly have an allufion to the fcqueftered life of BdLiyius and 
 of his princely forefters. The ufual fcenery of a foreft may therefore be introduced, 
 
 3 together
 
 ( I50 ) 
 
 too-echer with fpears — horns — and a fmall dead fawn : and for which lafl idea, fee 
 the third plate in Taylor's prints from this play ; as well as the plates of Holkham in 
 Norfolk, Mellon ConjUble in Norfolk, and of Copped Hall in EJfex, in Watt's Views of 
 the Seats of the Nobility and Gentry. The flowers too may be interwoven in this 
 Vignette (coloured from Nature) which the young princes ftrewed over the fleeping 
 Fidel^- 
 
 ■ withfaireji flowers. 
 
 fVhilji fiimmer lajis, and I live here, F'ldcle, 
 
 ni fweeten thy fad grave • Thou Jhalt not lack 
 
 The flower, that's like thy face, pale primrofe ; nor 
 The a%ur''d hare-bell, like thy veins \ no, nor 
 The leaf of eglantine \ whom not to flander, 
 Oiitfwcctetid not thy breath : the ruddock would. 
 With charitable bill (0 bill, forefhaming 
 Thofe rich-left heirs, that let their fathers lie 
 Without a monument ! ) bring thee all this ; 
 Tea, and furrd mofs befldes, when flowers are none, 
 To winter-ground thy corfe. 
 
 Whatachafte and charadteriftic defign, might that gentleman flcetch, who has lately 
 furveyed the fcenery of Wales, and \\ ho has more lately furveyed the pidurcfque 
 beauties of the Mountains and Lakes of Cumberland and Weftmoreland. I muft 
 entreat the reader to infped the plate which illuftrates that kind of fcenery which is 
 prefentedby Ullefwaier, and which faces page 55, of the fecond volume of Mr. Gil- 
 pin's work, and he \\ill then join me in opinion. 
 
 This propofed fketch or drawing, may be engraved either fimilar to the above 
 one in Mr. Gilpin's work — or it might be coloured fimilar to that paftoral portrait of 
 Celia, which KaufFman's pencil has given us — It would then (from its contrafl: to the 
 mode or ftyle of the other engravings) richly embellifh and fct off an engraved title- 
 page — and the various hues of the flowers would be diflindtly vie\\ed. 
 
 There might alfo be introduced in this Vignette, the letter v^hich ftruck Lnogen 
 to the heart — the bloody cloth — and the ftandard of the Romans, w'xxh. the eagle (Jove's 
 bird) perched thereon. 
 
 Head-
 
 ( '5' ) 
 
 Head-Piece, 
 
 In the Head-Piece might be drawn fmall and very neat whole length 
 portraits of Pojihutnom and Imogen^ from one of thefe lines in page 179* 
 
 Poft. My queen ! my mijlrefs ! 
 
 lady, weep no more ; left I give caufc 
 To be fufpefted of more tendernefs 
 Than doth become a man ! / w'tll remain 
 The loyaVJl hufoand that did e'er plight troth — 
 My refideqce in Rome, at one Philario'si— 
 
 Some may prefer that point of this fame fcene where {he gives her 
 diamond to Pojihumous — Or the anfwer which he makes to her, when flie 
 has prefented it to him. And perhaps there is one other paflage in this 
 fcene, which will ftrike an artift as being well calculated for the printing 
 thefe two graceful charafters. 
 
 Scene Prints. 
 
 An artift will find himfelf obliged (in order to guard againft the too 
 much crowding of an edition with engravings) to relinquifh painting 
 the looks and attitudes of Pifanio and Imogen, in page 186, where Pifanio 
 
 repeats
 
 ( ^52 ) 
 
 repeats to her the laft words of her embarkuig hufband— as well as that 
 •fine attitude and lovely expreffion with which Imogen repeats thefe words : 
 
 Jtnd like the tyrannous breathing of the north, 
 Shake i all our buds from growing : 
 
 \vith the foftened look of earneft faithfulnefs which Pifam'o gives her — 
 and he may likewife for the fame reafon rehnquiih (unwillingly) the 
 figure antl expreffive attitude of J^chimo, when breaking out in page 202, 
 with : 
 
 Jach. ^11 of her, that is out of door mo ft rich ! 
 If Jhe be furnijhed with a mind fo rare. 
 She is alone the Arabian bird; and I 
 Have lofl the wager — 
 
 as well as that point of this fame fcene, where the yellow yacbimo at- 
 tempts to ingratiate himfelf with Imogen, at this infinuating paffage : 
 
 Jach. Had I this cheek 
 
 To bathe my lips upon \ this hand, whofe touchy 
 Whofe every touch, would force the feeler's foul 
 To the oath of loyalty — 
 
 in order to paint from that fpirited paffage, where fhe indignantly tells 
 him : 
 
 Imeg, K'fiVLy ! — I do condemn mine ears, that have 
 
 So long attended thee. — If thou wert honourable. 
 Thou would'fi have told this tale for virtue, not 
 For fuch an end thou fceVfl — as bafe as flrange ! — 
 Thou wrong'ft a gentleman, who is as far 
 From thy report, as thou from honour ; and 
 Sohcit'ft here a lady, that difdains 
 Thee and the devil alike ! — 
 
 The
 
 ( ^53 ) 
 
 The virtuous indignation in her countenance, and the audacious vil- 
 lainy in that of the detefted Jachlmo^ together with the rich ornaments 
 of the apartment, will give full fcope to an artift's fancy, and to his 
 power of expreffing the paffions. 
 
 Page 217. 
 
 Scene, a magnificent Bed Chamber, in one part of it a large Trunk. 
 
 "When Imogen, in this fcene, has commended herfelf to the protedion 
 of celeflial powers, befeeching them to guard her from fairies, and the 
 tempters of the night, fhe then falls faft afleep — and from Jachimo's ad- 
 drefs to her when fleeping, when he rifes from the trunk, many fine 
 points might be feleded for a beautiful painting — and perhaps the lines 
 of: 
 
 Jach. OurTarquin thus 
 
 Did foftly prefs the ruflies, ere he awaken'd 
 The chaftity he wounded. — Cytherea, 
 How bravely thou becorrCJl thy bed! — 
 
 Or the line of : 
 
 Jach. OJlcep, thou ape of death, lie dull upon her! 
 
 Or Jachimo's flart when the clock ftrlkes. 
 
 One, two, three: — Time, time I 
 
 are the points which beft demand the artlft's attention. Tiie attitude of 
 Jachimo in each of the above paflhges will be very graceful— and the 
 
 X richly
 
 ( ^54 ) 
 
 richlv ornamented chamber of Imogen (with her fair and chafte body re- 
 clined in fleep) will all tend to beautify and to enrich the fcene. The 
 ornaments and decorations of her chamber are beft defcribed in a future 
 fcene where 'Jachhno awakens the jealou fy cf Pnjlhiimous : for he there de- 
 fcribes fome of them to be, — the Jlory of proud Cleopatra, worked in 
 tapeflry and filver, a piece of wovkfo bravely done, Jo rich, that It did 
 ftrive in -worhnanpip and value — and a bafs relief of Dian bathing, than 
 which were never figures fo likely to report themjelves. Thefe ornaments 
 will be diflin(fllj viewed, by means of the taper which is left burning.* 
 
 Page y^^. 
 
 In the fcene at this page, the treacherous Jachimo (the counterpart 
 of liigo) urges the proofs of his intimacy with Imogen, to the too cre- 
 dulous Pojlhumous, wuth fuch artful policy, and with fuch redoubled 
 force, that Pojlhumous exhibits throughout this whole fcene, an alarming 
 pidlure of contending pafiions — and though he is ftill unwilling to be- 
 lieve the infidelity of Imogen — and wifhcs flill to feize every circum- 
 
 flance 
 
 * If an artlft wifhes to render his fcene, in every point charafteriftick, he lliould then ftrew the floar 
 with rvlhei — for it feems this cuftom was prevalent in Shakefpeare's time, from the following note to this 
 play: 
 
 *' It was the cuflom in the time of our author to ftrew chambers with ruflies, as we now cover them 
 " with carpets. This pradice is mentioned in Caiui de Ephemera Britannica." Johnson. 
 
 " So, in Thomas Newton's Herhall to the Bible, 8vo. 1587, — Sedge and rujhes, with the which 
 " many in this country do ufe ui fumnp.er time to ftrawe their parlours and churches, as well for cool- 
 " nefs as for pleafant finelL" Steevens.
 
 ( ^55 ) 
 
 fiance that can lead him to believe her not unfaithful — yet when Jachima 
 ftartles him with the fight of the bracelet : 
 
 Jach. Then, if you can, [pulling out the bracelet. 
 
 Be pale; I beg but leave to air this jewel ; See ! 
 
 And when he urges to him, a ftill ftronger proof of his having cor- 
 rupted her honour, from having viewed 
 
 on her left breajl 
 
 A mole c'lniue-fpottcd, like the crimfon drops 
 I'' the bottom of a cowjlip. — 
 
 this accumulation of agonizing proofs overpower the confidence which 
 he wifhed to retain of her, and his wildly alarmed looks betray the fuf- 
 ferings of his grieved fpirit — Perhaps the bell painting might be caught 
 from this fpirited paffage : 
 
 PoJ}. There, take thy hire ; and all the fiends of hetl 
 Divide thcmfelves between you ! 
 
 Page 253. 
 
 An Interelling half length portrait might be talcen of Pifam'o, from 
 page 242, where he meditates on the command of his ma{ler to murder 
 Imogen ; and no line would flronger paint his good mind, than when he 
 thus exclaims : 
 
 0, my maflcr / 
 
 X 2 Or
 
 C 156 ) 
 
 Or when he immediately after cries out, with honefl indignation: 
 
 O, damn' d paper ! 
 
 BLick as the Ink that's on thee ! 
 
 And this fame fcene might likewife lead an artifl to paint the tender 
 and loving Imogen, when with fond impatience, flie cries out : 
 
 0, for a horfe with -jo'ings ! Hcar'ft thou, Pifanio ! 
 He is at Millbrd-Haven. — 
 
 Yet, the preference may by fome artifts be given to that fcene at page 
 253, which lies in a romantick wood near Milford-Haven, and which 
 fcene will furnifii many fine fituations for interefting paintings — for, in- 
 dependent of the rocky and woody fcenery, which the pencils of Mr. 
 Gainfborough or Mr. Farrington might to perfe£lion give : the fcene 
 would be animated with mofl expreffive charadler — and there are various 
 pafliiges in this fcene at page 253, from which the remorfe which Pifanio 
 feels, at executing the command oi Fofihumous, and the tender and heart- 
 ftruck Imogen mav be fpiritedly painted — Perhaps the fineft point in the 
 whole Icene to paint from, would be from one of the following paflages 
 in italic?, which Imogen addreflcs to Pifanio, after flie has read her huf- 
 band's letter, and fainted mPifamVs arms : 
 
 Pi/. What (hall I need to draw my fword ? the paper 
 
 Hath cut her throat already. No, 'tis flandcr ; 
 
 Whofc edge is fliarper than the fword ; vvhofc tongue 
 Out- venoms all the worms of Nile; whofe breath 
 Rides on the porting winds, and doth belye 
 All corners of the world ; kings, queens, and ftatcs, 
 Maids, matrons, pay the fecrets of the grave 
 This viperous fiander enters. — /Fbat cheer madam ?
 
 Imo£. Fcilfe to his led! What is it, to be falfe ? 
 
 To lie in watch there, and to think on him ? 
 
 To weep twixt clock and clock ? if fleep charge nature. 
 
 To break it with a fearful dream of him, 
 
 And cry myfelf awake ? that's falfe to his bed ? 
 
 Is it ? 
 
 Pif. Alas, good lady ! 
 
 The extreme beauty of the above two fituations, force one to pafs 
 over fome other fine paffages in this fame fcene.* 
 
 Paae 268. 
 
 Scene, a Forejl and Cave — Imogen in Boy^s Clothes. 
 
 The fcenes in this dramatick romance, begin now to be touched with 
 the magic of Shakefpeare's pen, and he has drawn the portrait of Imogen 
 in very lovely colours. — Her beautiful and youthful figure (drefled like 
 that fweetrofy lad Fidele) with the plaintive fweetnefs of her countenance, 
 will claim a pencil of moft tender expreflion were fhe to be painted when 
 thus apoftrophizing her abfent and revolted lord : 
 
 My dear lord ! 
 
 Thou art one o'the falfe ones : Now I think on thee, 
 < My hunger's gone ; but even before, I was 
 
 At point to fink for food. — 
 
 * The Scene Print in Bell's laft edition of this play, is taken from this feene, and thou-h the figures 
 arp-pplsafing, yet they by no means convey a perfect, or even chara<fterillic idea of ir. 
 
 After
 
 ( ^58 ) 
 
 After wandering In the pathlefs and romantick foreft, Imogen fearfully 
 enters the cave — and as the hunters are approaching the cave on their re- 
 turn from the chace, Bellarlus views his unexpected vifitor : 
 
 Bdl. Stay; come not in: — [Looking in the cavt. 
 
 But that it eats our viftuals, I fnould think 
 Here were a fairy. 
 
 Guid. What's the matter, fir ? 
 
 Bell. By Jupiter, an angel! or, if not, 
 
 An earthly paragon ! — Behold divinenefs 
 No elder than a boy ! 
 
 Emer Imogen. 
 
 Imog. Good mqjtcrs, harm me not : 
 
 Before I enter'd here, I call'd ; and thought 
 
 To have begg'd, or bought, what I have took : Good troth, 
 
 I have flolen nought ; nor would not, though 1 had found 
 
 Gold llrew'd o'the floor — Here's money for my meat : 
 
 I would have left It on the board, fofoon 
 
 jis I had made my meal ; and parted 
 
 With prayers for the provider. 
 
 The remaining part of this fcene is fpent in the kind cheerings of old 
 Bellarius to his woe-fick guefl:, and in proteftations of endearment and 
 afFedlion, from the princely brothers — and as the night is now approach- 
 ing, Bellarlus invites her to the refrefhments of his cave : 
 
 Fair youth, come in: 
 
 Difcourfe is heavy, falling ; when we have fupp'd, 
 We'll mannerly demand thee of thy llory. 
 As far as thou wilt fpeak it.
 
 C ^59 ) 
 
 It will be difficult for an artift to fix his choice, from which line to 
 paint this pleafing fcene. — But we muft all unite in declaring how fweet 
 a pifture might be taken by fome of our English painters,, and particu- 
 larly by, Mr. Gainfborough.* 
 
 Page 286, 
 
 As BellariuSf and his two princely boys are advancing towards their rock, 
 on their return from the chace : jirviragus h^ikem to the cave with ftrong 
 atFeflion, in order to v\{\X. poor fick Fuiele. — During his being in the cave, 
 and as Bellarius and Guiderius are moving towards it, their fpirits are fud- 
 denly charmed by ftrains oi Jolcmn mujick iffuing from the cave : 
 
 Bel. My ingenious injirument ! 
 
 Hark, Polydore, it founds ! But what occa/ion 
 Hath Cadwall now to zive it motion ? Hark ! 
 
 Guid. Is he at home ? 
 
 Bel. He went hence even new. 
 
 Guid. 
 
 * From this beautiful fcene, the following Prints have been taken ; and I am forry the following 
 is all that can be faid in favour of them : 
 
 1. Hayman's Print to Hanmer, where the only thing worth looking at, is the attitude of Bellarius, 
 
 and little can be faid even in favour of that. 
 
 2. The Print to Bell's inferior edition on common printing paper. Contemptibly unchara£lcriftick. 
 It is ftrange the artift who drew this print fiiould fo often fail in his defigns for this edition, when he has 
 fo well drawn the figure of Lady Macbeth. 
 
 3. A print
 
 ( i6o ) 
 
 Guid. PVhat does he mean ? Jtncc death of my dearejl mother f 
 It did not [peak before. All folcmn things 
 Should anfwer folemn accidents. 
 
 Re-enter Arviragus, with Imogen as dead, bearing her in his arms. 
 
 Bel, Look, here he comes, 
 
 jind brings the dire occajion in his arms^ 
 Of what we blame him for I 
 
 Arv. The bird is dead, 
 
 "That we have made fo much on. I had rather 
 Have fkipp" d from Jix teen years of age to fixty. 
 And turnd my leaping time into a crutch. 
 Than have fecn this, 
 
 Guid. Ofweetefi, fairefi lily! 
 
 My brother wears thee not the one half fo well. 
 As when thou grew'fl thyfelf. 
 
 Bel. O, melancholy! 
 
 Who ever yet could found thy bottom ? find 
 The ooze, toJJiew ivhat coafl thy fiuggifh crare 
 Might eafilieft harbour in ? — Thou blcffed thing ! 
 Jove knows what man thou mighCft have made ; but I, 
 Thou dydfi, a mojl rare boy, of melancholy! — 
 How found you himP 
 
 Arv; 
 
 3. A Print by Harding, engraved by Parker, publiflied in 1785. The mouth of the cave, and the 
 landfcape, have much merit ; but nothing can be faid in favour of the other parts of this print. 
 
 '4. The Print in Taylor's publication, contains a figure oi Imogen, which is very pleafing — and with 
 fome few alterations, this figure of Imogen might be rendered worthy of accompanying the page of 
 Shakefpeare. The introduftion of the dead fawn is a well conceived idea. 
 
 5. Cymbeline, Act 3, Sc. 4. Painted by Penny, and engraved by Walker. The artift has failed in 
 his attempt to esprefs Shakefpeare's chaia(fters. 
 
 I
 
 ( i6. ) 
 
 Arv. Stark, as you fee; 
 
 ThusfmUing, as fame fy had tickled Jlumlcr, 
 
 Not as death's dart, being laugVd at : his right cheek 
 
 Repojing on a cuJJoion, 
 
 Guid. Where? 
 
 Arv. 0' the floor ; 
 
 His arms thus leagued: I thought, heflept; and put 
 My clouted brogues from off my feet, whofe rudcnefs 
 Jnfwer d my Jleps too loud. 
 
 Guid. TTl}y, hebutflecps: 
 
 If he begone, he" II make his grave a bed; 
 With female fairies will his tomb be haunted^ 
 And worms will not come to thee. 
 
 Arv. With fair cji flowers. 
 
 While fummer lafls, and I live here, Fidele, 
 rilfweetcn thy fad grave : Thoujhalt not lack 
 The flower, that's like thy face, pale primrofe ; nor 
 Ihe azur'd hare-bell, like thy veins ; no, nor 
 The leaf of eglantine, whom not toflander, 
 Out-fweeten'd not thy breath: the ruddock would. 
 With charitable bill (0 bill, fore-fhaming 
 Thofe rich-left heirs, that let their fathers lie 
 Without a monument l) bring thee all this ; 
 Yea, andfurrdmofsbefides, when flowers are none. 
 To winter-ground thy corfe.* 
 
 Guid. Prythee have done; 
 
 And do not play in wench-like words with that 
 Y 
 
 which 
 
 * No Poet ever more delighted in the diArlbution of flowers than Shakefpeare Many .nftances oc 
 cur in many of his plays, particularly in Lear, the Ten,peft. in Pericles Prince of Tyre and m the 
 MidfumJ Night's Dream-but the ,noft charmmg inftances n.ay be felefted trom- Perd.as ^Hand 
 in the Winter's Tale, and from the diftribution by Opbella. Perhaps the vernal flowers wbch M.Uoa 
 ftrewed o'er Lycidas, might have been conceived from fome of the above pafliiges.
 
 ( 1^2 ) 
 
 Un^ich h fo ferious. Let us bury him, 
 jind not protraii with admiration, what 
 Is noiv due'debt — ^/o the grave, 
 
 Arv. Say, vjhcreJhaWs lay him P 
 
 Guid. By good Euriphile, our mother, 
 
 Arv. Be'tfo: 
 
 And let us, Polydore, though now our voices 
 Have got the mannijh crack, Jing him to ihegroundf. 
 As once our mother ; ufe like note, and words f 
 Save that Euriphile muji be Fideh. 
 
 Guid. Cadwal, 
 
 I cannot Jing : lUl weep and word it with thee : 
 For notes of for row, out of tunc, are worfe 
 Than priefls and fanes that lie, 
 
 Arv. TVc' II [peak it then: 
 
 Be]. Great griefs, I fee, medicine the lefs : for Clcten 
 Is quite forgot. He was a queen's fon, boys; 
 And, though he came cur enemy, remember. 
 He was paid for that : Though mean and mighty, rotting 
 Together, have one dufi ; yet reverence 
 (That angel of the world), doth make diflinflion 
 Of place ^twixt high and low. Our foe %vas princely; 
 And though you look his life, as being our foe, 
 Yet bury him as a prince, 
 
 Guid. Pray you, fetch him hither. 
 
 Therftes'' body is as good as Ajax, 
 ff'hen neither are alive. 
 
 Arv. If you' II go fetch him, 
 
 ff ill fay our fang thewhilfl. — Brother begin. 
 
 [Exit Bellarius. 
 
 ^uid. l^ay, Cadwal, we mufl lay his head to the eajl ; 
 My father hath a reafonfor't. 
 
 Arv.
 
 ( i63 ) 
 
 Arv. ^Ti strut, 
 Guid. Come on then, and remove him. 
 fi.Tv. So, — Begin, 
 
 SONG. 
 
 Guid. Fear no more the heat o' the fun. 
 
 Nor the furious winter's rages ; 
 ^hou thy worldly tafk hajl done. 
 
 Home art gone, and to' en thy wages : 
 Both golden lads and girls all mufl, 
 jIs chimney-fweepers, come to duji. 
 
 Arv. Fear no more the frown o'the great,*' 
 
 Thou art pafi the tyrant' s flroke ; 
 Care no more to chath, and eat ; 
 
 To thee the reed is as the oak : 
 Thefceptre, learning, phyfic, mufl 
 All follow this, and come to dufi. 
 
 Guid. Fear no more the lightning flafh, 
 Arv. Nor the all-dreaded thunder -flone; 
 Guid. Fear not flander^ cenfure rafh \ 
 Arv. Thou haflfinifh'djoy and moan : 
 Both. All lovers young, all lovers mufl 
 Confign to thee, and come to dufl, 
 
 ■r Guid. No exorcifer harm thee f 
 
 Arv. Nor no witchcraft charm thee! 
 Guid. Gho ft unlaid forbear thee! 
 Arv. Nothing ill come near thee! 
 
 Both, ^iict confummation have; ^ 
 
 And renowned be thy grave ! 
 
 Y 2 Ri-enter 
 
 * " Tliis (favs Warburton) is the topic of confolation that nature diclates to all men on thefe occa- 
 « fions. The fame farewell wc hare over the dead body in Lucian."
 
 ( 1^4 ) 
 
 Re-enter Bellarius, with the Body «/" Cloten, 
 Guid. fVe have done our ohfequ'ies. Come, lay him down% 
 
 Eel. Here's a few flowers ; but about midnight , more : 
 The herbs that have on them cold dew o' the night. 
 Are Jlrewings fiitfl far graves. — Upon their faces :- 
 Jfou were as flowers, now wither'd : even fo 
 Thefe herVlets fhall, which we upon you flrow.^ 
 Come on, away : apart upon our knees. 
 The ground, that gave themfirfl, has them again . 
 Their pleafure here is pafl, fo is their pain.* 
 
 I 
 
 From this fcene, which breathes fo much the fpirit and the fancy of 
 Shakefpeare, there are fome inconceivably fine points to paint from : 
 
 points 
 
 * To this fcene Dr. Johnfon has fubjoined this note : " For the obfcquics of Fidele, a fong was 
 *' written by my unhappy friend, Mr. William Collins, of Chichefter, a man of uncommon learning 
 " and abilities. I fhall give it a place at the end of the play, in honor of his memory." For the fatif- 
 faftion of my reader this fong or dirge is here given — and he will obferve how finely Collins has felt 
 the magic of this fcene : 
 
 A SONG, fung by Guiderius and Arvirargus, over Fidele, 
 
 fuppofed to be dead. 
 
 By Mr. William Collins. 
 
 f 
 
 To fair Fidele' s graJJi) tomh. 
 
 Soft maids, and village hinds /hall bring 
 Each opening fivect, of earlief bloom. 
 
 And rifle all the breathing fpring. 
 
 No ivailing ghojl Jl'all dare appear 
 To vex nuith Jhrieks this quiet ^fove i 
 
 But Jhephcrd lads ajjemble here. 
 And melting virgins own their love. 
 
 3. N'
 
 ( 1^5 ) 
 
 points that will demand the tendereft expreffion and the fvveeteft grace. 
 And may this fcene receive the tributary praife of painting from no ar- 
 tift, whofe pencil cannot ftrike out fome fparks of that grace 
 
 - fo rarely given 
 
 To mortal man, not taught by art, but heaven. 
 
 Were the penfive fcenery, and the tender images here prefented, 
 conveyed to us through the conceptions of Sir Jofhua, Mr. Galnfbo- 
 
 borough, 
 
 No •wither' d imtcb Jliall here befeen, 
 Ho gohlins lead their nightly cmv : 
 
 The female fays Jlmll haunt the green. 
 And dreji thy grave "with pearly dew. 
 
 Till red-breajl oft at evening hours 
 
 Shall kindly lend his little aid. 
 With hoary mof, and gather" d flor^ers. 
 
 To deck the ground ■n.-hcre thou art laid. 
 
 When howling ivinds, and hating rain, 
 In teiupcj.sfiahe the fy Ivan celt ; 
 
 Or midji the chace on C'v'ry plain. 
 The tcn<Ur thought on thee Jhall dwell. 
 
 6. 
 
 Each lonely fcenc Jhall thee refiore ; 
 
 For thee the tear be duly fljed ; 
 JBelov'd, 'tilltr couldcharm no more ; 
 
 And mourn d, 'till pity's felf be dead. 
 
 Dr. Johnfon, in his Life of Collins, fpeaks of him, as if one with whom he once delighted to converfe, 
 (tndvjhom he yet remembered with tenderr.efs. 
 
 The
 
 ( i66 ') 
 
 rough, or Mr. Romney, we might then expe£l to view a faithful adher- 
 ence to the fancy and ideas of Shakefpeare. 
 
 An artift will find himfelf fllU more Interefted in painting the fweet 
 fimplicity of the innocent and meek Fidele, and in his conception of the 
 whole of this fcene may produce ftill more delicate and graceful touches 
 (particularly in the figure and perfon of jdrviragus, " who loved Fidcle ;") 
 were he to perufe the concluding part : where Fide!e (after awakening 
 from her trance) wifhes to pay the laft rites of forrow on the corfe of 
 him. whom fhe took to be her dead mailer, flain by mountaineers — 
 for, on the entrance of Lucius and the Roman Captains, Ihe is thus 
 queftioned : 
 
 Luc. Toung one. 
 
 Inform us of thy fortunes, for it feems 
 
 They crave to be demanded : IVho is this. 
 
 Thou makfi thy bloody pillow ? Or, who was he. 
 
 That, olhcrivfe than noble nature did. 
 
 Hath alter d that good piUure ? IVhaC s thy interejl 
 
 In this fad -wreck ? How came it ? Who is it ? 
 
 JVhat art thou? 
 
 The preftnt Bifliop of "IVorccfter, in the following note on Horace, feems to glance at the paftoral 
 fcenes of Cymbeline — " Palloral poetry hath ever found admirers, fincej it addrefTes itfelf to three 
 *' leading principles in human nature— the love of eafe — the -We- of beauty — and the moral fenfe : the 
 •' tranquillity, the innocence of .rural life. Taflb, by an effort of genius, which hath done him 
 *' immortal honour, produced a new kind of paftoral, by engrafting it on the Drama — Shakefpeare 
 " had indeed fet the example of fomething like Paftoral-Dramas, and in his AVinter's Tale, As you 
 *' Like it, and fame of his other pieces, he enchanted every body with his natural fylvan manners, and 
 
 •*' fylvan fcenes; Flet;her imitated the Italian : yet with an eye of reverence towards the Englifli poet. 
 " In his ' Faithful Shepherdefs,' he furpaffes the former, in the variety of his paintings, and the beauty 
 " of his fccncs, and only fill? fliort of the latter, in the truth of manners, and a certain original grace 
 
 ^* of invention, w hich no imitation can reach. The fcene at length was clofcd with the Conius of Mil- 
 •' ton, vvho in his rural paintings almoft equalled the fimplicity and natxire of Shakefpeare and Fiet- 
 
 •" cher, and in the purity and fplendor of his expreffion outdid Tafib."
 
 ( 1^7 ) 
 
 linog. / am nothing : or if not, 
 
 Nothing to be, were betur. This (pointing to the body) was my 
 
 majler — 
 ji vsry valiant Briton, and a good, 
 That here by. mountaineers lies Jlain : — Alas f 
 There are no more fuch majler s : I may wandxr 
 From eajl to Occident, cry out for fervicc. 
 Try many, all good, firve truly, never 
 Find fuch another majicr.* 
 
 X«uc. J lack, good youth! 
 
 Thou mov'Jl r.-! lefs with thy complaining, than 
 Thy maJlcr in bleeding : Say his name, good friend, 
 
 Im: - Richard du Champ. If I do lie, and do 
 
 . '■■ harm by it, though the Gods hear, I hope [ Afidc. 
 
 Thcj II pardon it. Say you, fir f 
 
 Luc. Ihy name? 
 
 Imog. Fidele, fir. ' 
 
 Luc. Thou dojl approve thyfclf the leryfamc: 
 
 Thy name -well fits thy faith , thy faith, thy name. 
 
 Wilt take thy chance with me? I will not fay, 
 
 Thoujhah be fo well mafierd; but be fure 
 
 No lefs beloved. The Roman Emperor's letters. 
 
 Sent by a conful to me, fhould not fooner 
 
 Than thine own worth prefer thee : Go with me. 
 
 Imog. Til follow, fir. But firfi,- and pkafe the Gods, 
 Til hide my mafier f om the fiies, as deep 
 As thefe poor pick axes can dig : and when 
 fTith wild wood-leaves and weeds I havefirew'dbis grave. 
 And on it /aid a century of prayers. 
 Such as I can, twice o'er. Til weep andfigh; 
 And, leaving fo his fa vice, follow you. 
 So pleafe you entertain me. 
 
 e- Luc. Aye, 
 
 • The afpca of Imogen, at this paffage, might fomewhat refemble that of Vicla-/-,v;/:>;i at pif/.
 
 ( i68 ) 
 
 Luc. /lye, good youth ; 
 
 And rather father thee, than majler ihce.-^ 
 
 My friends, 
 
 The boy hath taught us manly duties : let us 
 
 Find out the prettiej? daizy'd plot we can, 
 
 And mhke him with our pikes and partizans 
 
 A grave : Come arm him. — Boy, he is preferrd 
 
 By thee to us ? and hejhall be intcrrd. 
 
 As foidiers can. Be chearful ; wipe thine eyes : 
 
 Some falls are means the happier to rife. 
 
 [Exeunt. 
 
 Page 303. 
 
 When Po/Ihumous enters with the lloody handkerchief, ftained (as he be- 
 lieves) with the blood of Imogen: he utters a foliloquy which makes him 
 an obje£l of much concern, and which will demand his grief being paint- 
 ed with mafterly execution. This foliloquy is too beautiful to be given 
 the reader in detached parts — and it is therefore here tranfcribed at 
 length. — 
 
 Poflhumous. 
 
 Yea bloody cloth, I'll keep thee; for I wifli'd 
 Thou fliould'fl. be colour'd thus. You married ones. 
 If each of you would take this courfe, how many 
 Muft murder wives much better than themfelves 
 For wrying but a little? — O, Pifanio ! 
 Every good fervant does not all commands : 
 No bond, but to do juft ones. — Gods ! if you 
 Should have ta'en vengeance on my faults, I never 
 Had iiv'd to put on this : fo had you faved 
 The noble Imogen to repent; and ftruck 
 Me, wretch, more worth your vengeance. But, alack, 
 You fnatch fome hence for little faults ; that's love. 
 To have them fall no more ; you fome permit 
 
 To
 
 ( ^69 ) 
 
 To fecoad ills with ills, each eider worfe; 
 
 And make them dread it, to the doers' thrift. 
 
 But Imogen is your own : Do your beft wills. 
 
 And make me bleft to obey !— I am brought hither 
 
 Among the Italian gentry, and to fight 
 
 Againft my lady's kingdom : 'Tis enough 
 
 That, Britain, I have kill'd thy miftrefs ; peace! 
 
 ■I' II give no wound to thee. Therefore, good heavens. 
 
 Hear patiently my purpofe : I'll difrobe me 
 
 Of thefe Italian weeds, and fuit myfelf 
 
 As does a Briton peafant : fo I'll fight 
 
 Againft the part I come with ; fo I'll die 
 
 For thee, O Imogen, even for whom my life 
 
 Is, every breath, a death : and tlras, unknown, 
 
 Pity'd nor hated, to the face of Peril 
 
 Myfelf I'll dedicate. Let me make men know 
 
 More valour in me than my habits fhow. 
 
 Gods put the ftrength o' the Leonati in me ! 
 
 To fhame the guife o' the world, I will begin 
 
 The fafliion, lefs without, and more within. 
 
 Exit, 
 
 From fome of the above lines which fo well difclofe the fine qualities 
 of his mind, a half length portrait of Pojlhumous may perhaps be taken. 
 And were it poffible now to obtain the portrait of Mr. Garrick when 
 fpeaking them : a more animated and interefting one could not be 
 defired to accompany this fcene— for as the Dramatic Cenfor obferves of 
 Mr. Garrick's general performance of this chara£ler: " the tendemefs of 
 *' his love, the pathos of his grief, the fire of his rage, and the dif- 
 " tradtion of his jealoufy, have never been furpaffed, and pofilbly in 
 " Pofthumous, will never be equalled." The charafter of Pojlhumous 
 is finely drawn in the firft fcene of this play. 
 
 Page
 
 r 170 } 
 
 Page 332. 
 
 A piifturefque gronpe of moft impreffive figures might be drawn from 
 two points in the lafl: fcene of this play — for the eclairciflement of the 
 plot exhibits fo many fine attitudes of wondering expedlation, that a 
 pidlure of fingular effeft and force might be taken, either from that part 
 of the fcene where j^iJC/^/Vwo'j falfe fp'intsjtnk into deje^linrty and he faints — 
 or, from the fubfequent rapid pafTage, where (all the other charafters be- 
 ing on the tip-toe of expectation) Fojlhumous fprings forward to the dif- 
 hearten'd and treacherous villain : 
 
 Poft. Jy, fo thou doji, 
 Italian fiend. 
 
 What paflions! what attitudes to paint ! for in addition to the guilty 
 terror of Jachimo, and of the foldier-like impaflioned figure of Pojihu- 
 mous, the fcene will be compleated by figures no lefs interefting than 
 thofe of the tremblingly attentive Imogen, and of Pifanio, Bellariiis., Ar- 
 viragus, and Guiderius — and though the perfon of CymbeUne will demand 
 little grace of pencil, yet to the other charadlers fhould be given the 
 traits of thofe mental qualities, which have rendered them fo pleaf- 
 ing through every fcene of this drama.* 
 
 Tail- 
 
 * From the above point in italics, a mctzotinto print of RcdJifli in Pofthumous, has been taken by 
 Pine. Though the fingle figure of Po^Z-z/OTOw (diftinft from the reft of the ill-drawn groupe) has 
 feme merit . yet it does not ftrlke me as being fufficiently perfeft to be admitted into any projefted edi- 
 tion which fliould be attempted to be rendered as faultlefs as nice art, can, and ought to render one. 
 Btfides (in this print of Pine's) all the other charaders are omitted, except thofe of Lucius and the 
 other prifoners, which are moft vilely drawn.
 
 ( >7' ) 
 
 Tail-Piece. 
 
 There are two pages in this play, which would either of them fumifh 
 moft beautiful defigns for this department of an edition. For when 
 jlrviragus in page 288, is defcribing to Bellarlus the death of Fidek^ — 
 he thus relates it : 
 
 Bell. How found you him P 
 
 Arv. Stark, as you fee ^ 
 
 Thusfmilmg, as fame ^y had tickled flumber, 
 
 J^ot as death's dart, being laughed at : his right check 
 
 Repofing on a cujhion, 
 
 •Guid. Where? 
 
 Arv. O' the floor ; 
 
 His arms thus leagued: I thought he flept \ and put 
 My clouted brogues from off my feet, whofe rudenefs 
 ^nfwer'd myfleps too loud. 
 
 How very graceful would be the attitude, and how tender would be the 
 look of Arviragus, when he views Fidek fleeping, and is fearful to dil- 
 turb her (lumber. The wild fcenery of the cave too will not be un- 
 pleafing. 
 
 Another
 
 C ^72 ) 
 
 Another paffage too in the laft fcene of this play, may give rife to 
 fome pleafmg defign : where Imogen recognizes and embraces her bro- 
 thers : 
 
 Imog. 
 
 O my gentle brothers , 
 
 Have we thus met P never Jay hereafter. 
 But Jam irueji Jpeaker : you caWd me brother, 
 When I ivas but your Jtjler \ J you brothers. 
 When you tverefo indeed. 
 
 The delicacy of their afFe£lion, and their beautiful figures and dreffes, 
 would form a chafte and fweet groupe. How charmingly would Kauff- 
 man paint from either of the above pafTages : fhe who has fo paftorally 
 drawn Celia and Rofo/i^, from Shakefpeare's j^s you Like it.* 
 
 * A lift of fuch Paintings as have been taken from this play ; and from which, no Engravings have 
 as yet been made, 
 
 1. A fcene in Cymbeline, by W. Martin. No. 414 of the Exhibition of i;S2. 
 
 2. Imogen, from Shakcfpeare, by W.Martin, No. 23 of the Exhibition of 1784. 
 
 3. Landfcape, with the Story of Imogen and Pifanio, taken from Cymbeline, A£l: 3, Scene 4, by 
 W. Hodges, No. 138 of the Exhibition of 1 788. I have nor fcen cither of the above three paintings. 
 
 A Lid of fuch Prints as h.ive been publiflied from this play. Thoie I have not fcen, are printed in 
 Italics. 
 
 1. Bell's two editions, containing ^ve plates.. 
 
 2. Hanmer. 
 
 3. Theobald. 
 
 4. Rovve. 
 
 5. Lowndes. 
 
 6. A cut by du Guernier, in an edition, in S vols. Svo. printed for Tonfon, 1735.^- 
 
 7. Taylor's Piclurefque Beauties of Shakcfpeare. 
 S. General Magazine. 
 
 9. " Mr.
 
 ( 5/3 ) 
 
 g. '' Mr. Smith in the character of Jachimo." By W. Lawrcnfon. Price los. 6d. Mr. Smith's 
 refpeftable performance, and his pre-eminence in this charaifler, deferved not fo poor and paultry a me* 
 morial. 
 
 lo: Morning', a Landfcape from Cymbeline. Engraved by C. Taylor. 
 
 1 1 Cymbeline, A. 3, Sc. 4, By Penny. Engraved by Walker. 
 
 12. Reddifh in Pofthumous. Painted by Pine, and engraved in metzotinto. No engraver's name, 
 
 13. A print by Harding, from the words of, Goodmafters harm me not. Engraved by Parker, 1785. 
 
 14. " Imogen's Chamber." Engraved by Bartolozzi, from after W. Martin, 1786. 
 
 15 A print of Fidek^s gravCf 'ujith part of the linei of Collins, engraved under, from after Harding, 
 1 6. Pope. 
 
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