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Contents.
13483.11
William .
1. Shakespeare , Hamlet.
London . 1818.
3.. Lee,Nathaniel .
p Alexander the
London . 1819.
Romeo andJuliet
.
London .
1819
.
等
Nicholar
Rowe, . Jane Shore . London 1919.
hum
London . 1820..
D.
Otway ,Thomas, Venice preserved
London . 1820.
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33
Orberry's Edition.
HAMLET,
A TRAGEDY ;
BY
William Shakspeare.
AS IT IS PERFORMED AT THE
Theatres Koyal.
LONDON:
1818.
13483.11
All nations seem orginally to have felt this, for song and poetry
were with them synonimous terms, and the same mode of expres
sion has descended to modern times ; the Greek ade , the Latin
canere, the Italian cantare, the German singen, the English sing,
the French chanter, are invariably with their synonimes and cor
responding nouns applied to poetry. To give examples of a subject
so familiar would only be to incumber our pages ; it is sufficient to
have pointed out the fact ; the reader's memory will furnish him
with many more illustrations than are requisite.
a2
iv
Now, not one word of this description is true ; the crows and
choughs do not look so small as beetles ; the man gathering sam
phire half way down the rock does not seem " no bigger than his
head ; " the boat does not appear diminished to her cock ; and the
roaring of the surge would be distinctly heard, if the rock were as
high again as it really is ; here then is a description , the separate
images of which are all locally untrue ; still the effect on the
reader's fancy, resulting from the whole combined is little, if at all
beyond reality ; he conceives at once the enormous height of the
eliff, much better than he would from any arithmetical statement
of its feet and inches ; we cannot carry measure in our eye, and
even if we could, a dry detail would have no effect upon the fancy ;
the terrors of the height would not be present to the mind from
such a statement, because the cliff itself would not be visible to
the imagination .
Another draw-back to what is usually supposed to be exaggera
tion is the superior power of the poet's fancy, when compared
with that of his readers ; the one will find beauty in a barren
heath or a stormy sky, while the other sees nothing in them, or
nothing but deformity ; the poet, wishes to communicate the pic
ture which is present to his own fancy ; his mind is filled with
images that would not occur to another traversing the same
ground, and these he delineates with the same glow that he him
self feels ; here then will be two sources of apparent exaggera
tion ; first his impression or sensation of the objects seen is
more acute ; secondly he must equalize the disproportion be
tween language and its effects by exaggerating the former ; but
a dull matter of fact critic comparing such a description with
his own recollection, will be disposed to think all is false, be
cause these are objects which he did not see, and feelings which
he did not feel ; the barren waste brought no other idea to his
mind, but that of dreariness ; he saw neither beauty nor subli
mity; his impressions therefore are different, and to this is su
peradded the necessary and natural aggravation in the language.
All this of course applies more immediately to description, and
that too of inanimate nature ; but then it extends to exaggeration
of one kind as well as another-to that of deformity as well as
beauty ; all depends upon the texture of the poet's mind ; the
gloomy Byron would find a desert in a flower garden, and the vo
luptuous Moore would as certainly find a flower garden in a desert.
vii
ground was cultivated, but the richness of the soil was not yet
drained ; men thought and acted as vigorously, but not as
wildly as before :-the poet had excellent materials to work upon
in the life that surrounded him , and even if that were not enough
for his genius, he might borrow from the time which was still fresh
to the fancy ofmen ; his cotemporaries were minds ofthe same bold
stamp, though bitted and curbed by social discipline, and would
acknowledge the reality of his pictures. * It is not fair therefore
to condemn such writers, because we have not the same originals
before us ; and equally unjust is it to censure modern poets, who
are forced to borrow their description of the passions from them,
because the tameness of modern life is utterly inadequate to the
purposes of tragic action ; hence also it is that we find the de
scriptive poets of the present day are infinitely superior to those
who exhibit human nature, for man has acquired from different
habits a different and less interesting seeming, but inanimate
objects, the earth , the sky, the heavens, remain unaltered . It is
indeed true that the desert may have become fertile, and fer
tility may have become desert ; earth and ocean may have changed
their places ; still the materials are the same ; there is the same
grandeur, the same beauty ; the change is local, not general.
In regard to Epic, Lyric, and the minor kinds of poetry, all ci
vilized nations are agreed, and simply from this- they all have
taken the Greek for their model ; -in regard to the stage the
matter is reversed ; the Italian and French have been contented
to imitate, and very indifferently, the Grecian masterpieces,
while the English have formed a school for themselves upon very
different principles, which has been successfully followed by the
Germans. Nothing can be more absurd than to try an English
Dramatist by the laws of Grecian Tragedy ; it is mangling a
giant in the bed of Procrustes ; the two are essentially distinct
in the principles of their construction. If we look for a mo
the same place, and the variety in these, of course, called for a
large allowance of time. Thus, the origin and consequent ten
dencies of the English drama were totally opposed to that of
Athens. The latter was essentially heroic ; its fables were heroic,
and the manner of handling them no less so ; any history that was
real, or exhibited natural events and passions, was adopted without
selection by the English drama ; the one told a tale, partly in
dialogue and partly by narration , but chiefly by the latter ; the
dialogue only seemed to link the different parts of the recital to
gether ; the other, on the contrary, puts the whole into action ; the
story is not told but acted before our eyes. It only remains to con
sider which system deserves the preference.
It must be allowed that the Greek tragedy shuts out variety by
the rigid observation of the unities, and the utter exclusion of
comedy. * This same monotony is extended to the language, which
is never marked by any visible differences according to the quality
and feeling of the characters ; it is always elevated and weighty,
the only distinction being, the chorusses are of a purely lyric
nature with all its perplexity of metaphor and involutions of speech,
while the iambic portion has all the tone and manner of epic poesy.
The structure is extremely rude ; nothing evinces this more strongly
than the awkward contrivance of the prologue to tell what the story
ought to tell for itself; all reality is destroyed by this immediate
address to the spectators . In the middle of the play the presence of
the chorus is no less to be deprecated ; their cold moralizing on the
able ; but we may very safely leave the Doctor and his materialities;
there is no truth to be got from that quarter.
The secret of the unities of time and action lies in a very narrow
compass. -As long as the mind is occupied by any fiction, that
fiction is to it a reality ; it does not consider but voluntarily
believes ; that particular faculty of the mind, which may be called
reason, lies dormant ; its operation is purposely suspended, and
imagination is nearly if not entirely the only active power ;
whatever is so weak that it fails to keep it in this state of excita
tion, or so exaggerated that it violently arrests its operation,
equally tends to awaken the reasoning faculty, and the consequence
is, the illusion is destroyed ; the fiction , which was truth to the
imagination, is a falsehood to the reason. Here, at once , we get a
clue to the whole mystery ; so long as the action flows on in one
uninterrupted progress the fancy is satisfied ; let there be any
striking chasm, any complete breaking off in the story, and the
imagination is also stopt in its career. For instance, in " The
Winter's Tale," there are several distinct actions occupying days
before the supposed death of Hermione, to all of which the imagi
nation accedes ; but when the poet destroys the link and wishes us
to suppose that years are past, which years are marked by no visible
action , then, indeed, we can endure no longer ; the thoughts in
our minds go on link by link, and that which we are called upon to
believe must go on in the same progression ; it is not then, Unity,
but uninterrupted continuation ofaction, that is requisite to reality.
The unityof place is thus naturally destroyed, for it is impossible
to conduct a multitude of opposite events on one spot of ground ;
and even here the same rule seems to hold ; we bear the being
transported from one house to another, nay from distant parts of
the same country, and yet the wildest imagination would not endure a
change of scene from London to the Indies .- Why is this ? Simply,
because here again is supposed a breaking away of several links in
the chain to which the other unities are subservient.
The next subject which should demand our attention is, how far
horror may be admissible in tragedy. There is a sickliness of taste,
a mawkishness of refinement in the present day, which shrinks
XV
sure on the poet; had Hamlet been perfect he had not been human.
There could have been no great difficulty in making him most
heroically avenge his father's death upon his uncle ; he might have
been an Alexander in sables without any great exertion of talent on
the part ofthe author ; but such was not Shakspeare's mode of
delineating character ; he meant to paint a man, not to exhibit a
monster, and therefore Hamlet, like other men, acts from mixed
motives. If we understand the prince rightly, his imagination is
stronger than his understanding ; he is always busied in satisfying
the cravings of a romantic fancy, picturing to himself what he will
do, and thus losing the time for action in thinking upon its effects.
A morbid melancholy seems to have unstrung his whole frame, and
produced a mental lassitude which renders him incapable of ex
ertion ; he cannot act, but when action is literally forced upon him;
never indeed does he appear so happy as when, by some subtlety
of excuse, he can deceive himself and escape from the reality of
deeds. His purposes and his acts are ever at variance ; nor is this
strange ; his intents are the offspring of his excited imagination ,
not of understanding, and consequently when the fancy cools or
turns to some other object, the intention also fades ; it is a cloud
sailing on the winds of evening and changing with the winds. Every
line, every incident throughout the play in which he is concerned,
combine to create andjustify this opinion : When the ghost appears,
Hamlet is all energy ; his every thought is bent upon revenge ; he
will forget the records of his youth, the treasures of his studious
hours,-every thing-to think upon his father's wrongs and the
villainy of his uncle ; but the spirit passes away with the night, and
with it dies his energy ; his imagination, which was all his strength,
has slackened ; he will " have grounds more relative."-" The
spirit may be a devil.” —The play's the thing."-The play accord
ingly is tried and flashes conviction upon his mind ; he could
" drink hot blood, and do such business as the better day would
quake to look on"-but still his resolution is the creature of impulse
only, and fades with the fading impulse. It is impossible forthe eye
of dulness itselfto miss this trait ; it occurs perpetually throughout
the drama ; Hamlet is most consistent in his inconsistency ; always
irresolute, always intending, and never doing : And, surely, it re
xvii
reader's pardon for having dwelt so long upon the subject, but the
cause of Shakspeare sits most nearly at our heart ; he has long been
our best companion, friend, instructor- nay, we might almost say,
divinity; the habit of years has taught us to look upon him with
a holy regard, and naturally makes us anxious to snatch one of his
beautiful flowers from under the hoof of the critical elephant,
whose heavy tread had bent though it could not crush it. If any
admirer of Johnson think we treat his name with too little respect,
let him consider that the humblest talent is better authorized to
criticize Johnson, than he himself to attack Shakspeare ; were we
even in the dust, we yet should not be so far below the critic as he is
below the poet, whose glory is now as the polar star,'as bright and as
unchangeable. Besides, the writer who could publish such idle sophis
tries upon Gray, and, moreover, declared against blank verse, has alto
gether degraded himself from the lists of criticism ; he has himself
proclaimed that he is no true knight, and his arms should be broken,
and his name dishonoured. The fact is, and it is evinced by a thou
sand different declarations on his own part, that the heavy critic
had no ear for the music of poesy ; no verse was verse to him,
unless it was distinguished as such by rhyme ; he expected, what
many other pretenders to wisdom expect, that poetry should address
itselfto the understanding wholly, and not at all to the imagination ;
his own poetry evinces this without any other proof; it is little
more than harmonious prose, from which it differs only by the
stated recurrence of rhymes.- But he has too long led us from our
subject.
The rudeness, with which Hamlet treats Ophelia, has also been
objected to, and with as little reason as any of the foregoing een
sures have been past. His object was to convince the world that
he was essentially mad, and his conduct to Ophelia, whom he was
known to love most tenderly, was of all things the best calculated
to produce such belief. In fact he had no choice but to do so, or
trust her with his secret, an act of confidence that would have very
little corresponded with his general temper, in which suspicion is a
decided feature. So nicely jealous is he in this respect, that he will
not reveal the secret of the spirit's embassy even to his old college
associates ; nay, he is a niggard of it to his bosom friend, Horatio,
xix
father died." This is indeed pathos , pathos that flushes the cheek
and makes the eye grow dim whenever it is read, though it may
have been read a thousand times before.
The constant recurrence to that one cherished idea, her father,
is most strictly natural, for it is the peculiar disposition of madness
to view every thing it comes in contact with in reference to some
single absorbing thought that has possessed it, as a coloured glass
lends its own tinct to every object which is seen through it ; nothing
can be more erroneous than the idea which the generality of poets
evidently entertain , that insanity indulges in any nonsense indis
criminately ; there is most frequently a startling mixture of sense
with its errors, and it always lays hold on some one idea to which it
clings pertinaciously, connecting and referring almost every thing
to it in some way or another. It is this exclusive and overwhelm
ing mastery of one particular thought that constitutes madness,
distinguishing it from idiotism, which does not think at all ; it
raves, it is true, but then its ravings have a determinate object.
All this Shakspeare has shown in the wanderings of Ophelia's mind;
indeed nothing* can surpass the truth of this lovely character ; it
is drawn with unerring hand ; all the light, delicate shades, the
sudden flyings-off and as sudden returns to the subject, which are
peculiar to insanity, he has here touched with unexampled nicety.
Polonius is a picture of no less truth ; it is a character which we
shall in vain look for in Greek, German, and Italian, or French
tragedy. Loquacious , supple, on the very verge of dotage, the
wreck of a mind, that in its best days, mistook cunning for wisdom,
he contrasts delightfully with the King and Hamlet, and relieves
her to her last home- can any thing be conceived more pathetie,
more sublime ?
If we consider the plot in its individual parts, we may perhaps
find some few scenes that do not materially assist the progress of the
story ; but they are so rich in poetry, and tend so admirably to the
developement of the various characters, that he must he a heavy
critic who would consent to lose them. If we must call this a fault,
it is at least a fault that carries its own excuse in its beauty.
Shakspeare not only gave the full measure, but more than measure ;
his mind was wonderfully exuberant, and sometimes, like a flooded
river, poured forth its treasures too abundantly.
The catastrophe has been much censured , and always most un
justly, as if it had not weight corresponding with the substance of
the fable. The fault, however, is, in that craving appetite for the
wonderful which diseases the many, and not in the immortal poet ;
he well knew that the most important events in real life were often,
nay usually, brought about by means of very inferior dignity, and
not only on this, but on almost all other occasions, he has employed
the same species of developement.* The habit of the present day
expects a catastrophe of surprise ; the different threads of the story
are not to be gradually unravelled, but suddenly cut ; a play, like
told they ought to admire him ; but they are not for that a jot the
more sensible of his extraordinary merits. As for horror, they
have one and all a most decided aversion to it ; their delicate nerves
are not to be shaken.
Before concluding this long note, we would just quote another of
Johnson's remarks, which will show how admirably he was calcu
lated for a critic on Shakspeare. " The pretended madness of
Hamlet causes much mirth."-We cannot for a moment suppose
that Johnson did not understand what he read, but it is very fair
to conclude that he had not read the play when he undertook to
write the criticism.
xxviii
HAMLET.
Black doublet, trunks, cloak, and hose, of rich silk velvet, ele
gantly trimmed with bugles, buttons, and satin.
KING .
Black velvet doublet, and trunks, crimson velvet robe , elegantly
trimmed with gold.
POLONIUS.
Crimson doublet, and trunks, and cloak, trimmed with gold.
LAERTIS .
Green doublet, and trunks, cloak, trimmed with silver. Se
cond dress- Black velvet, ditto, ditto, with bugles and buttons.
HORATIO.
Scarlet doublet, trunks, and cloak, trimmed with silver.
ROSENCRANTZ.
Blue doublet, trunks, and cloak, trimmed with silver.
GUILDENSTERN.
Purple doublet, trunks, and cloak , trimmed with silver.
OSRICK.
White doublet, trunks, and cloak, trimmed with silver.
OFFICERS .
Buff doublet, trunks, and cloak, trimmed with silver.
PRIEST.
Black gown, with rosary and russet sandels.
OPHELIA.
1st Dress.-White satin dress, trimmed with silver ; and
spangled drapery. 2nd Dress.--Plain white muslin, and plain
white muslin veil.
QUEEN.
White satin dress, trimmed with silver ; blue velvet robe ; veil in
the fourth act.
PLAYER QUEEN.
1st Dress.- Grey Callico dress, grey callico scarf; and hat ;
trimmed with pink points. 2nd Dress .--White satin petticoat,
trimmed with gold ; black velvet train ; dress short in front ; and
trimmed with gold.
VIRGINS.
Plain white dresses.
PERSONS REPRESENTED.
Drury-lane. Covent-garden.
Hamlet ...... Mr. Kean. Mr. Young.
King . Mr. Powell. Mr. Chapman.
Polonius.. .. Mr. Munden. Mr. Blanchard:
Laertes Mr. Wallack. Mr. Abbot.
Horatio .... Mr. Holland. Mr. B. Thornton.
Rosencrants Mr. Kent. Mr. Treby.
Guildenstern .... Mr. Fisher. Mr. Claremont..
Osric Mr. Penley. Mr. Farley. 1
Marcellus Mr. Miller. Mr. King.
Bernardo .... Mr. Cooke. Mr. Jeffries.
Francisco .Mr. Evans. Mr. Crumpton.
Priest.. .. Mr. Carr. Mr. Penn.. ↓
Sailor.. .. Mr. Ebsworth..
2 Sailor.. Mr. Appleby.
1 Actor Mr. Maddocks. Mr. Comer.
2 Actor Mr. Minton. Mr. Atkins
1 Gravedigger Mr. Dowton. Mr. Emery.
2 Gravedigger . Mr. Hughes . Mr. Menage..
Ghost ..
.... Mr. Pope. Mr. Egerton .
Gertrude .. Mrs. Brereton. Mrs. Egerton.
Ophelia ...... .... .... Miss Kelly. Miss Matthews ..
Actress ..... .......... ...Miss Tidswell. Miss Logan..
Stage Directions :
By R. H....... is meant. ..... Right Hand:
L. H.... .... Left Hand.
S. E.. Second Entrance..
U. E. Upper Entrance.
M. D. .... Middle Door.
D. F. Door in Flat.
R.H.D. .... Right Hand Door.
L. H. D. .. .... Left Hand Door.
HAMLET. *
ACT I.
8 HAMLET.
As if increase of appetite had grown
By what it fed on and yet, within a month
Let me not think on't-Frailty, thy name is woman !
A little month ; or ere those shoes were old,
With which she followed my poor father's body,
Like Niobe, all tears
She married with my uncle,
My father's brother ; but no more like my father,
Than I to Hercules.
It is not, nor it cannot come to, good
But break, my heart ; for I must hold my tongue !
(Going towards L.H.)
6
HAMLET.
Did coldly furnish forth the marriage tables.
Would I had met my dearest* foe in heaven,
Or ever I had seen that day, Horatio
My father-methinks, I see my father.
Hor. Where,
My lord?
Ham. In my mind's eye, Horatio.
Hor. I saw him once ; he was a goodly king.
Ham. He was a man, take him for all in all
I shall not look upon his like again. (Crosses to L.H.) 1
Hor. My lord, I think I saw him yesternight..
Ham. Saw! who ?
Hor. My lord, the king, your father.
Ham. The king, my father !.
Hor. Season† your admiration for awhile :
With an attent ear, till I may deliver,
Upon the witness of these gentlemen,
This marvel to you.
Ham. For heaven's love, let me hear.
Hor. Two nights together had these gentlemen,.
Marcellus and Bernardo, on their watch,
In the dead waste and middle of the night,
Been thus encounter'd :-a figure like your father,
Armed at point, exactly, cap-à-pé,
Appears before them, and, with solemn march,
Goes slow and stately by them : thrice he walk'd
By their oppress'd and fear- surprised eyes,
Within his truncheon's length ; whilst they, distill'd
Almost to jelly with the act of fear,
Stand dumb and speak not to him. This to me
In dreadful secrecy impart they did ;
And I with them, the third night, kept the watch :
Where, as they had deliver'd, both in time,
* Unsifted untried,
14 HAMLET .
Ham. What hour now ?
Hor. I think, it lacks of twelve.
Mar. No, it is struck.
Hor. I heard it not ; it then draws near the season,
Wherein the spirit held his wont to walk.
(Flourish of Trumpets and Drums, and Ordnance
shot off, within.)
What does this mean, my lord ? (Crosses to L.H.)
Ham. The king doth wake to - night, and takes his
rouse ;
And as he drains his draughts of Rhenish down,
The kettle-drum and trumpet thus bray out
The triumph of his pledge.
Hor. Is it a custom ?
Ham. Aye, marry, is't :
But to my mind, though I am native here,
And to the manner born ,—it is a custom
More honour'd in the breach, than the observance.
* Despatched- bereft.
* Uneffectual fire-shining without heat.
HAMLET. 19
Within the book and volume of my brain,
Unmix'd with baser matter ; yes, by heaven .
I have sworn it.
Hor. (Within, R.H.) My lord, my lord,
Mar. (Within.) Lord Hamlet,
Hor. (Within.) Heaven secure him !
Ham. So be it !
Hor. (Within.) Hillo, ho, ho, my lord !
Ham. Hillo, ho, ho, boy ! come, bird, come.*
END OF ACT I.
1
ACT II.
C2
28 HAMLET.
Ham. My excellent good friends ! How dost thou,
Guildenstern? ( Crosses to the centre.) Ah, Rosen
crantz ! Good lads, how do ye both? What news ?
Kos. None, my lord ; but that the world's grown
honest.
Ham. Then is dooms-day near : but your news is
not true. In the beaten way of friendship, what make
you at Elsinore ?
Ros. To visit you, my lord ; no other occasion.
Ham. Beggar that I am, I am even poor in thanks ;
but I thank you. Were you not sent for ? Is it your
own inclining ? Is it a free visitation ? Come, come ;
deal justly with me ; come ; nay, speak.
Guil. What should we say, my lord ?
Ham. Any thing- but to the purpose. You were
sent for ; and there is a kind of confession in your
looks, which your modesties have not craft enough to
colour : I know, the good king and queen have sent
for you .
Ros. To what end, my lord ?
Ham. That you must teach me. But let me con
jure you, by the rights of our fellowship, by the conso
nancy of our youth, by the obligation of our ever-pre
served love, and by what more dear a better proposer
could charge you withal, be even and direct with me,
whether you were sent for, or no ?
Ros. What say you ? (Aside to Guildenstern.)
Ham. Nay, then, I have an eye on you. ( Aside.) If
you love me, hold not off.
Guil. My lord, we were sent for.
Ham. I will tell you why ; so shall my anticipation
prevent your discovery, and your secrecy to the king
and queen moult no feather. I have of late (but,
wherefore, I know not, ) lost all my mirth, forgone all
custom of exercises ; and, indeed, it goes so heavily
with my disposition, that this goodly frame, the earth,
seems to me a steril promontory ; this most excellent
canopy, the air, look you, this brave o'er-hanging firma
ment, this majestical roof fretted with golden fire, why,
it appears no other thing to me than a foul and pesti
HAMLET. 29
Tent congregation of vapours . What a piece of work is
man How noble in reason ! how infinite in faculties!
in form and moving, how express and admirable ! in
action, how like an angel ! in apprehension, how like a
god ! the beauty of the world ! the paragon of animals !
And yet, to me, what is this quintessence of dust ?
Man delights not me, nor woman neither ; though,
by your smiling, you seem to say so. (Crosses to L.H. )
Ros. My lord, there was no such stuff in my thoughts.
Ham. Why did you laugh then, when I said, Man
delights not me?
Ros. To think, my lord, if you delight not in man,
what lenten entertainment the players shall receive
from you : we met them on the way ; and hither are
they coming, to offer you service.
Ham. (Crosses to the Centre.) He that plays the
king, shall be welcome ; his majesty shall have tribute
of me ; the adventurous knight shall use his foil and
target ; the lover shall not sigh gratis ; the humorous
man shall end his part in peace ; and the lady shall say
her mind freely, or the blank verse shall halt for't
What players are they?
Ros. Even those you were wont to take such delight
1 in, the tragedians of the city.
Ham. How chances it they travel ? Their residence,
both in reputation and profit, was better both ways .
Do they hold the same estimation they did when I was
in the city? Are they so followed ?
Ros. No, indeed, they are not.
Ham. It is not very strange : for my uncle is king
of Denmark ; and those, that would make mouths at
him while my father liv'd, give twenty, forty, fifty, an
hundred ducats a-piece, for his picture in little. There
is something in this more than natural, if philosophy
could find it out. (Flourish of Trumpets.)
Guil. There are the players.
Ham. Gentlemen, you are welcome to Elsinore :
your hands ; you are welcome :-but my uncle-father
and aunt-mother are deceived .
€3
30 HAMLET.
Guil. In what, my dear lord ?
Ham. I am but mad north- north-west : when the
wind is southerly, I know a hawk from a hernshaw.*
(Crosses to L.H.)
Pol. (Within, L.H.) Well be with you, gentlemen !
Ham. Hark you, Guildenstern, and Rosencrantz,
-that great baby, you see there, is not yet out of his
swaddling-clouts.
Ros. Happily, he's the second time come to them ;
for, they say, an old man is twice a child.
Ham. I will prophesy, he comes to tell me of the
players ; mark it. You say right, sir ; o' Monday
morning ; 'twas then, indeed
C.5
34 HAMLET .
time ; After your death you were better have a bad
epitaph, than their ill report while you live.
Pol. My lord, I will use them according to their
desert.
Ham. Much better. Use every man after his de
sert, and who shall ' scape whipping ? Use them after
your own honour and dignity : the less they deserve,
the more merit is in your bounty. Take themin.
Pol. Come, sirs. (Crosses to L.H.)
Ham. Follow him, friends : we'll hear a play to
morrow. Old friend.- (To first Actor .)
[Exeunt Polonius, Second Actor, and Actress, L.H.D.
My good friends, I'll leave you ' till night : you are wel
come to Elsinore.
[ Exeunt Rosencrantz, and Guildenstern, R.H.
Can you play the murder of Gonzago ?
1 Act. Aye, my lord.
Ham. We'll have it to-morrow night. You could,
for a need, study a speech of some dozen or sixteen
lines, which I would set down, and insert in't ? could
you not ?
1 Act. Aye, my lord.
Ham. Very well.-Follow that lord ; and look you
mock him not. [Exit First Actor, L.H.D.
I have heard,
That guilty creatures, sitting at a play,
Have by the very cunning of the scene
Been struck so to the soul, that presently
They have proclaim'd their malefactions :
For murder, though it have no tongue, will speak
With most miraculous organ. I'll have these players
Play something like the murder of my father,
Before mine uncle : I'll observe his looks ;
I'll tent * him to the quick ; if he do blench,
I know my course. The spirit, that I have seen,
May be a devil : and the devil hath power
To assume a pleasing shape ; yea, and, perhaps,
Out of my weakness, and my melancholy,
1
* To tent-to probe, to search a wound.
HAMLET. 35
As he is very potent with such spirits,
Abuses me to damn me : I'll have grounds
More relative than this ; the play's the thing,
Wherein I'll catch the conscience ofthe king.
[Exit, L.H.
END OF ACT II.
ACT. III.
* Closely-i.e.—privately- secretly.--
+ Affront-i. e.—meet.
HAMLET, 37
And, by opposing, end them ? —to die ? —to sleep,
No more ; and, by a sleep, to say we end
The heart-ach, and the thousand natural shocks
That flesh is heir to,-' tis a consummation
Devoutly to be wish'd . To die :-to sleep ;
To sleep ! -perchance, to dream- Aye, there's the rub ;
For in that sleep of death what dreams may come,
When we have shuffled off this mortal coil,
Must give us pause ; There's the respect, *
That makes calamity of so long life :
For who would bear the whips and scorns of time,
The oppressor's wrong, the proud man's contumely,
The pangs of despis'd love, the law's delay,
The insolence of office, and the spurns
That patient merit ofthe unworthy takes,
When he himself might his quietus make
With a bare bodkin ? who would fardels bear,
To groan and sweat under a weary life ;
But that the dread of something after death --
The undiscover'd country, from whose bourn
No traveller returns,-puzzles the will,
And makes us rather bear those ills we have,
Than fly to others that we know not of ?
Thus conscience does make cowards of us all ;
And thus the native hue of resolution
Is sicklied o'er with the pale cast of thought ;
And enterprises of great pith and moment,
With this regard, their currents turn awry,
And lose the name of action.- Soft you, now !
(Seeing Ophelia, who advances, R.H. )
The fair Ophelia :-Nymph, in thy orisons
Be all my sins remember'd !
Oph. Good my lord,
How does your honour for this many a day ?
Ham. I humbly thank you ; well.
Oph. My lord, I have remembrances of yours,
That I have longed long to re-deliver ;
I pray you, now receive them.
D 4
1
56 HAMLET. 1
ACT IV.
1
Friends both, go join you with some further aid ;
Hamlet in madness hath Polonius slain,
And from his mother's closet hath he dragg'd him ;
Go seek him out ; speak fair, and bring the body
Into the chapel . I pray you, haste in this.
[Exeunt Rosencrantz and Guildenstern, L.H.
Come, Gertrude, we'll call up our wisest friends,
And let them know, both what we mean to do,
And what's untimely done. (Crosses to R.H.)
[Exeunt King and Queen, R.H.
HAMLET. 57
T
SCENE III .- An Apartment in the Palace.
HAMLET. 61
but I cannot choose but weep, to think, they should
lay him i' the cold ground : My brother shall know of
it, and so I thank you for your good counsel . Come,
my coach ! Good night, ladies ; good night, sweet
ladies ; good night, good night. [ Exit Ophelia, R.H.
King. Follow her close give her good watch, I
pray you. [Exit Horatio, R.H.
O ! this is the poison of deep grief ; it springs
All from her father's death. (A noise without, L.H. )
Enter MARCELLUS , L.H.
What's the matter ?
Mar. Save yourself, my lord ;
The young Laertes, in a riotous head,
O'erbears your officers the rabble call him, lord ;
They cry, Choose we, Laertes shall be king !
Caps, hands, and tongues, applaud it to the clouds,
Laertes shall be king, Laertes king !
(A Noise without, L.H.)
Laer. (Without L.H. ) Where is this king?-Sirs,
stand you all without.
* My will, not all the world's &c.- Perhaps it should be read thus.
-My will, not all the world, &c.- i . e.- By my will, as far as my
will is concerned, not all the world shall stop me ; and as for my
means I'll husband them so well, they shall go far, though
really little.
1
HAMLET. 63
ACT V.
(Grave-Digger sings.)
(Grave-Digger sings.)
A pick-axe and a spade, a spade,
For- and a shrowding sheet :
O, a pit of clay for to be made
For such a guest is meet.
(Throws up another scull.)
Ham. There's another. Why may not that be the
scull of a lawyer ? Where be his quiddits now, his
quillets, his cases, his tenures, and his tricks ? Why,
does he suffer this rude knave now to knock him about
the sconce with a dirty shovel, and will not tell him of
his action of battery ? I will speak to this fellow.
Whose grave's this, sirrah ? (Advances, R.H. )
1 G. D. Mine, sir.
Crants- garlands.
Burial, here means interment in consecrated ground.
E2
76 HAMLET.
(Flourish of Trumpets .)
KING, QUEEN, LAERTES, OSRICK , MARCELLUS,
BERNARDO, FRANCISCO, Lords, and Ladies discover'd..
Quit-i. e - requite.
† Union-one of the richest sort of pearls.- See Plin. Nat. His
82 HAMLET.
In Denmark's crown have worn- give me the cups, L
(To Francesco .)
And let the kettle to the trumpet speak
The trumpet to the cannoneer without
The cannons to the heavens-the heaven to earth
Now the king drinks to Hamlet. (He drinks . )
(Drums and Trumpets sound- Cannons shot
off within.)
Come, begin ;
And you, the judges, bear a wary eye.
Ham. Come on, sir.
Laer. Come, my lord. (They play. )
Ham. One.
Laer. No.
Ham . Judgment.
Osr. A hit, a very palpable hit.
Laer. Well- again
King. Stay, give me drink- Hamlet, this pearl
is thine ;
Here's to thy health. (He proceeds to drink.)
(Drums and Trumpets sound- Cannons shot
offwithin.)
Give him the cup.
Ham. I'll play this bout first, set it by awhile.
Come-(They play.)-another hit-What say you ?
Laer. A touch, a touch , I do confess .
King. Our son shall win.
Queen. The queen carouses to thy fortune, Ham -
let. (The Queen drinks, and returns the cup
to Francesco.)
Ham. Good madam
King, Gertrude, do not drink.—
Queen. I have, my lord-I pray you, pardon me.
King. It is the poison'd cup- it is too late.
(Aside.)
Laer. I'll hit him now ;
And yet it is almost against my conscience. (Aside.)
Ham. Come, for the third, Laertes-you do but
dally ;
I pray you, pass with your best violence ;
I am afeard you make a wanton of me.
HAMLET. 83
QUEE
AN
G N,
KS IN .
HO
CE
T E HAMLET
RA
SC
ER
TI
CK
O.
L A .
O
.
RI
OS
Finis.
11
R.H. CURTAIN. L.H.
* O'ercrows— i, e.—overthrows.
Orberry's Edition.
A TRAGEDY;
BY
W. Shakspeare.
AS IT IS PERFORMED AT THE
Theatres Royal.
LONDON :
1818.
W. OXBERRY AND CO. PRINTERS,
8, WHITE-HART-YARD.
¡, ⠀
Kemarks.
" KING Richard the Third" is among the most popular of Shak
speare's tragedies, though far inferior to many other efforts, of the
same mighty master. The reason of this preference is perhaps to
be sought in the common passions which it exhibits , and the obvious
means by which those passions are made successful. Ambition, or
in other words, the desire of acquiring something more than is
allotted to us, is a passion proper to all men ; no matter how high
or low the object, the affection is the same. Here then is the
point of contact between Richard and his audience, and the
means that he employs add strongly to the impression ; they are
indeed dexterous and daring in the highest degree, but we see
them only in their effects ; the preparation for his gigantic pro
jects, which must, from its nature, be too subtle for common appre
hensions, is kept out of sight ; we are hurried from one grand effect
to another, without pause, without argument ; and as the dullest ·
souls can admire great consequences, though few can appreciate
the means , we follow Richard with undivided attention . When at
last his crimes have multiplied beyond the bounds of endurance,
and disgust is beginning to arise, the poet opens a new source of
pleasure in his death.
The characters of Lady Anne and Buckingham, though obscured
by the splendid iniquity of Richard, are drawn with wonderful ac
curacy and power. The first, more particularly, is seldom con
sidered as such a creation should be considered ; her very failings
endear her to us : weak, but not vicious ; changeful , but not defi
cient in affection, she is, of all objects, the most calculated for
tragic pathos ; her miserable fate is the natural consequence of her
errors, but those errors are so skilfully touched , that they only add
to our conva Beling'an jemly ligh mand selish,
iv
is the portrait of half mankind ; with all the lesser vices of life he is
familiar ; he goes on quickly through a course of iniquity undis
turbed ; no feeling of gratitude, or honour, or pity, stops him, till
in the end, murder, the last link in the chain, stares him in the
face, and even his selfishness is aroused ; but even here, he acts
from impulse, and not from any exertion of the understanding ; his
vices and virtues are the effect of habit.
Of Cibber's alteration it is scarcely necessary to say much ; he has
improved the play, but he has destroyed the poem. Shakspeare
had originally conducted the plot with sufficient abruptness, but
this is tenfold increased under the hands of Cibber ; still he
deserves no little credit, and if the soliloquy on conscience be really
his production, and of this there seems no rational cause for doubt,
Pope's snarling criticism, in the Dunciad, reflects disgrace upon
himself and not his victim ; but Pope was an ungenerous enemy and
a worse friend : on the one he would trample when fallen, and the
other he would deceive when trusting.
1
Costume.
Stage Directions.
By R. H....... is meant..... Right Hand.
L. H.... ………. Left Hand.
S. E....... Second Entrance. A
U. E.... .. Upper Entrance.
M. D.. Middle Door.
D. F.. Door in Fut.
.. Ti 2 1 Door .
212.11 vai.
KING RICHARD III.
ACT I.
END OF ACT I.
ACT II.
ACT III.
32 RICHARD III.
And take me while my penitence is warm ;
Oh sir, forgive and kill me.
Glos. Umph ! the meddling world will call that
murder,
And I would have them think me pitiful:
Now, wert thou not afraid of self-destruction ,
Thou hast a fair excuse for't.
Lady A. How fain would I be friends with death !
-Oh name it.
Glos. Thy husband's hate : nor do I hate thee only
From the dull'd edge of sated appetite,
But from the eager love I bear another.
Some call me hypocrite- what think'st thou, now ?
Do I dissemble ?
Lady A. Thy vows of love to me were all dissembled .
Glos. Not one-for when I told thee so , I loved :
Thou art the only soul I never yet deceiv'd ;
And ' tis my honesty that tells thee now,
With all my heart I hate thee.
If this have no effect, she is immortal.
Lady A. Forgive me, heav'n, that I forgave this
man.
Oh may my story, told in after ages,
Give warning to our easy sex's ears ;
May it unveil the hearts of men, and strike
Them deaf to their dissimulated love !
ACT IV.
Cates . My lord—
Glos. Good news, or bad, that thou com'st in so
bluntly ?
Cates. Bad news, my lord ; Morton is fled to Rich
mond,
And Buckingham, back'd with the hardy Welshmen ,
Is in the field, and still his power increases .
Glos. Morton with Richmond touches me more
near
Than Buckingham, and his rash-levy'd numbers .
But come, dangers retreat when boldly they're con
fronted, (Crosses to L.H.)
And dull delay leads impotence and fear ;
Then fiery expedition raise my arm,
RICHARD III. 49
And fatal may it fall on crush'd rebellion !
Let's muster men, my council is my shield :
**
We must be brief when traitors brave the field.
[Exeunt, L.H.
ACT V.
Who's there ?
Cates. 'Tis I, my lord ; the early village cock
Hath thrice done salutation to the morn :
Your friends are up, and buckle on their armour.
Glos. Oh, Catesby ! I have had such horrid dreams .
Cates. Shadow's, my lord-below the soldier's heed
ing.
Glos. Now, by my this day's hopes- shadows to
night
Have struck more terror to the soul of Richard,
Than can the substance of ten thousand soldiers,
Arm'd all in proof, and led by shallow Richmond.
Cates. Be more yourself, my lord : consider, sir,
Were it but known a dream had frighted you,
How would your animated foes presume on't!
Glos. Perish the thought !-no, never be it said
That fate itself could awe the soul of Richard.
Hence, babbling dreams ! you threaten here in vain !
Conscience, avaunt ! Richard's himself again :
(Trumpets sound a call.)
Hark ! the shrill trumpet sounds to horse ; away ;
My soul's in arms, and eager for the fray.
[Flourish of Drums and Trumpets. Exeunt, R.H.
RICHARD III. 63
Rich. Halt.
Sold. (Without) Halt-halt !
Rich. How far into the morning is it, friends ?
Or. Near four, my lord.
Rich. 'Tis well
I am glad to find we are such early stirrers.
Ox. Methinks the foe's less forward than we thought
' em ;
Worn as we are, we brave the field before 'em.
Rich. Come, there looks life in such a cheerful
haste :
If dreams should animate a soul resolv'd,
I'm more than pleas'd with those I've had to night ;
Methought that all the ghosts of them , whose bodies
Richard murder'd, came mourning to my tent,
And rous'd me to revenge ' em,
Ox. A good omen, sir,-(Trumpets sound a distant
March, R.H.) hark ! the trumpet of
The enemy ; it speaks them on the march.
Rich. Why then let's on, my friends, to face ' em !
In peace, there's nothing so becomes a man,
As mild behaviour and humility ;
But, when the blast of war blows in our ears,
Let us be tigers in our fierce deportment :
For me, the ransom of my bold attempt
Shall be this body on the earth's cold face ;
But, ifwe thrive, the glory of the action
The meanest here shall share his part of ;
Advance your standards, draw your willing swords ;
Sound drums, and trumpets, boldly and cheerfully.
The word's St. George, Richmond, and Victory.
[Flourish of Drums and Trumpets, Exeunt, R.H.
E2
64 RICHARD III.
UTE
FO
OX
NAN
.
T.
NT
BLU
Finis .
.
A TRAGEDY ;
By Nathaniel Lee,
AS IT IS PERFORMED AT THE
Theatres Royal,
LONDON :
1818..
1
Remarks.
ALEXANDER.
Scarlet velvet robe ; buff and scarlet vest ; buff lambrokeens
flesh legs and arms ; the dress elegantly embroidered and studded
with steel ornaments ; helmet, with laurels.
CLYTUS.
Russet sandals ; flesh legs and arms ; vest and lambrokeens.
CASSANDER.
Ibid.
LYSIMACHUS.
Ibid.
HEPHESTION.
Ibid.
POLYPERCHON.
Ibid.
THESSALUS.
Ibid.
PERDICCAS.
Ibid.
EUMENES.
Ibid.
ARISTANDER.
1bid.
ROXANA.
White cloth dress and robe, richly trimmed with gold.
STATIRA.
White satin dress, with silver border ; leno robe, spangled with
silver.
PARISAIS .
Spangled dress, blue velvet robe ; spangled border.
SYSIGAMBIS .
White satin dress, trimmed with silver ; spangled leno upper
short dress ; orange velvet robe, trimmed with silver.
Drury-lane. Covent-garden.
Alexander .... Mr. Kean. Mr. C. Kemble.
Nytus .. Mr. Pope. Mr. Egerton.
Cassander. Mr Bengough . Mr. Barrymore.
Lysimachus ... •• Mr. Wallack. Mr. Abbott.
Hephestion Mr. Barnard. Mr. Connor.
Polyperchon .. Mr. R. Phillips. Mr. Claremont.
Thessalus.... Mr. Coveney. Mr. Chapman.
Perdiccas ....
. Mr. Kent. Mr. J. Matthews.
Eumenes ... Mr. Cooke. Mr. King.
1ristander • Mr. Miller.. Mr. Jefferies.
Slave ..... Mr. Ebsworth. Mr. Norris.
Roxana Mrs. Bartley. Mrs. Egerton.
Statira .. Mrs. Robinson. Mrs. Faucit.
Parisatis . Miss Ivers. Mrs , Capell.
Sysigambis.. Mrs. Brereton. Miss Logan.
Stage Directions .
By R. H...... .is meant.. Right Hand.
L. H ...... Left Hand.
S. E ...... Second Entrance.
U. E..... Upper Entrance.
M.D...... Middle Door.
D. F ...... .. Door in Flat.
R. H.D .... Right Hand Door,
L.H.D.... • Left Hand Door.
ALEXANDER THE GREAT.
ACT I.
END OF ACT I.
ACT II.
ACT III.
SCENE II -A Pavillion,
ACT IV.
D 2
28 ALEXANDER
ACT V.
Slave. Madam, the king and all his guards are come ;
With frantic rage they thunder at the gate,
And must, ere this, have gain'd admittance.
[Exit Slave, L.H.
Rox. Ha!
Too long I've trifled ; let me then redeem
The time mispent, and make great vengeance sure.
Sta. Is Alexander, Oh, ye gods, so nigh,
And can he not preserve me from her fury ?
Rox. Nor he, nor heav'n, shall shield thee from my
justice.
Die, sorc'ress, die, and all my wrongs die with thee.
(Stabs her.)
Alex. (Without.) Away, ye slaves, stand off !
Quick let me fly
On lightning's wings ;-nor heav'n nor earth, shall
stop me.
E3
42 ALEXANDER
S,
CH
MA
EUM
SI
ENE
LY
S.
Finis.
SPOKEN BY ROXANA.
ale
But what, still worse than all the rest, provokes me,
To think his crowns and sceptres e'er cou'd coax me.
Let all the empire of the world's wide span
Be her's-but not an atom of my man.
Methinks I hear each wedded fair-one cry,
Well done, Roxana- -she deserv'd to die.
What Christian wife cou'd bear such double-dealing ?
And, sure, your heathen women have their feeling,
Two wives !-'Tis matrimonial fornication :
Pray heav'n avert such customs from this nation !
By such, let Eastern wives be bubbled still ;
Two wives ! for shame ! two husbands if you will.
Aye, this, indeed, might suit a free-born woman,
Besides, our beaus-poor things !-are not like Ammon .
While thus you plead, this inference let me draw,
Nature is love's great universal law.
All feel alike what some disguise with art,
And each wrong'd wife's Roxana in her heart.
If none of you cou'd tamely yield her man,
Then find me guilty, ladies, if you can.
OTHELLO .
A TRAGEDY,
By William Shakspeare.
AS IT IS PERFORMED AT THE
Theatres Royal.
BY W. OXBERRY, Comedian.
LONDON:
1819
W. OXBERRY, AND CO. PRINTERS,
8, WHITE HART YARD .
Remarks .
OTHELLO.
There are some subjects and some feelings, which are wholly
poetical, and offer no point for the contact and sympathy of the
common mind ; such are the exquisite fairy scenes in " Midsummer's
Night's Dream ," and the enchantment in the " Tempest ;" they are
the visions of another world, not the reality of this ; Othello, on the
contrary, is a faithful portrait of the life with which we are daily
and hourly conversant ; love and jealousy are passions, which all
men, with few exceptions, have at some time felt ; the imitation of
them, therefore, finds an immediate sympathy in every mind ;
Othello, has no feelings that we should not ourselves have in his
situation.
The dark and desperate villainy of Iago, however, carried to
excess, has yet no want of external motives, which, besides
acquiring a double force from the character of the man, a reckless
and sweeping selfishness is the principal feature in Iago's mind ;
and this becomes increased in action, from the utter brutality of his
a 2
iv.
Emilia has the common vices and common virtues of the world ;
she may rather be said to have no principles than bad principles,
and is a very tolerable specimen of mankind in general ; she is
guilty of petty vices without remorse, because they are familiar,
and shrinks from crime, because it is unusual ; she is , in fact, one 1
of those instruments which knavery employs to work its ends, and
which would excite abhorrence, but that abhorrence is lost in our
contempt ; the introduction of this character, is a proof of the
profound insight into human nature, which forms the great praise of
our immortal poet.
If perfection exist in any human production, it is to be found in
King Lear, and the third act of this Tragedy, in either of which it
would be difficult to find out a single point for censure ; they are
both of that exceeding excellence, which renders hope hopeless,
and competition useless.
a3
Time of Representation.
Stage Directions.
By R.H... .is meant..... Right Hand.
L.H. Left Hand.
S.E. .. Second Entrance.
U.E. Upper Entrance.
M.D. Middle Door.
D.F. .... Door in Flat.
R.H.D. ...... ... Right Hand Door. 1
L.H.D. ... Left Hand Door.
1
1
1
Costume.
OTHELLO.
A green velvet fly, scarlet vest, and white muslin trowsers, yel
low morocco boots, copper- coloured corset and pantaloons, cestus,
rich turban, and sarsnet cloth robe.
CASSIO AND IAGO.
Blue fly jacket with hanging sleeves, scarlet under jacket, white
pantaloons, blue silk sash , and the whole richly embroidered
with gold, russet boots, grey roquelaure, black velvet hat and fea
thers.
DUKE.
Crimson velvet robe trimmed with ermine, &c. Gold crimson
velvet jacket and trunks puffed with yellow satin, silk pantaloons,
white russet shoes, &c. Coronet.
BRABANTIO.
Brown velvet cloak, jacket, and trunks, puffs, white satin,
richly embroidered with gold, silk pantaloons, white shoes, morning
gown.
GRATIANO .
Purple cap, jacket, cloak, and trunks puffed with light blue sa
tin, silk pantaloons, white shoes. Second dress, purple hat and
feathers, a suit of black velvet.
MONTANO.
Light blue cloth jacket, cloak, and trunks, puffed with orange
satin, trimmed with silver, white silk pantaloons , white shoes,
black velvet hat, white feather.
RODERIGO .
White cap, cloak, jacket, and pantaloons, puffed with orange
satin, russet boots , white hat and feather.
ANTONIO .
Light blue jacket, white pantaloons and waistcoat, embroidered
with silver, russet boots.
DESDEMONA.
White satin dress , trimmed with silver, white and silver drapery.
Second dress, muslin bed gown.
EMILIA.
Black velvet dress , trimmed with point lace.
a 4
PERSONS REPRESENTED.
1818.
Drury-lane. Covent-garden.
Duke of Venice ... .... Mr. R. Phillips. Mr. Chapman.
Brabantio .. ......... .... Mr. Powell. Mr. Egerton.
Gratiano Mr. Carr. Mr. Atkins.
Lodovico ....... .... Mr. Ley. Mr. Comer.
Montano ...... .. Mr. Barnard. Mr. Claremont.
Othello ...... Mr. Kean. Mr. Young.
Cassio .. Mr. Holland. Mr. C. Kemble.
Iago Mr. Bengough. Mr. Yates.
Roderigo ...... .... Mr. Penley. Mr. Farley.
Antonio ........ .... Mr. Coveney. Mr. Penn.
Julio. .......... .... Mr. Ebsworth. Mr. T. Matthews.
Marco ........ .... Mr. Matthews. Mr. Collet .
Paulo ........ .... Mr. Goodman . Mr. Menage.
Giovanni ...... Mr. Buxton. Mr. Healy .
Luca Mr. Cooper. Mr. Norris.
Leonardo ...... Mr. Evans.
Messenger Mr. Minton .
Desdemona ... Mrs. W. West. Miss O'Neill.
Emilia .... ... Mrs. Glover. Mrs. Yates.
ACT I.
ACT II.
" Let down" would here be more " german to the matter."
OTHELLO . 23
of grapes if she had been bless'd, she would never
have lov'd the Moor : bless'd pudding ! Didst thou
not see her paddle with the palm of his hand ? didst
not mark that ?
Rod. Yes ; but that was but courtesy.
Iago. Lechery, by this hand ; an index and obscure
prologue to the history of lust and foul thoughts.
Sir, be you rul'd by me : I have brought you from
Venice : watch you to-night ; for the command , I'll
lay't upon you : Cassio knows you not ;-I'll not be
far from you : do you find some occasion to anger
Cassio, either by speaking too loud, or tainting his
discipline ; or from what other cause you please ,
which the time shall more favourably minister.
Rod. Well,
Iago. Sir, he is rash, and very sudden in choler ;
and, haply may strike at you :-provoke him that
he may ; for, even out of that, will I cause these of
Cyprus to mutiny, whose qualification shall come
into no true taste again, but by the displanting of
Cassio.
Rod. I will do this, if you can bring it to any op
portunity.
Iago. I warrant thee, Meet me by and by at the
citadel : I must fetch his necessaries ashore . Farewell.
Rod. Adieu. [Exit Roderigo, R.H.
Iago. That Cassio loves her, I do well believe it ;
That she loves him , ' tis apt, and of great credit :
The Moor- howbeit that I endure him not,
Is of a constant, loving, noble nature ;
And, I dare think, he'll prove to Desdemona
A most dear husband. Now I do love her too ;
Not out of absolute lust, (though, peradventure,
I stand accountant for as great a sin,)
But partly led to diet my revenge,
For that I do suspect the lusty Moor
Hath leap'd into my seat : the thought whereof
Doth, like a poisonous mineral , gnaw my inwards ;
And nothing can nor shall content my soul,
B 4
24 OTHELLO .
Till I am even with him, wife for wife ;
Or, failing so, yet that I put the Moor
At least into a jealousy so strong
That judgment cannot cure. Which thing to do,
If this poor brach* of Venice, whom I trace
For his quick hunting, stand the putting on,
I'll have our Michael Cassio on the hip ;
Abuse him to the Moor in the rank garb,
For I fear Cassio with my night- cap too,
Make the Moor thank me, love me, and reward me,
For making him egregiously an ass,
And practising upon his peace and quiet,
Even to madness.-'Tis here, but yet confus'd ;
Knavery's plain face is never seen till us'd. [Exit, L.H.
Enter RODERIGo, r h.
ACT III.
Oth. Ha ! ha false to me ? to me ?—
(Comes down, R.H.)
Iago. Why, how now, general ? no more of that.
Oth. Avaunt ! be gone ! thou'st set me on the rack :
I swear, ' tis better to be much abus'd,
Than but to know't a little.
Iago. How now, my lord ?
* Owd'st.-i. e.- Possessed.
OTHELLO. 45
Oth. What sense had I ofher stol'n hours of lust ?
I saw't not, thought it not, it harm'd not me :
I slept the next night well, was free and merry ;
I found not Cassio's kisses on her lips :
He that is robb'd, not wanting what is stol'n,
Let him not know't and he's not robb'd at all.
(Crosses to L.H. )
lago. I am sorry to hear this.
Oth. I had been happy, if the general camp,
Pioneers and all, had tasted her sweet body,
So I had nothing known : O now, for ever,
Farewell the tranquil mind ; farewell content !
Farewell the plumed troop, and the big war,
That make ambition virtue, O, farewell !
Farewell the neighing steed, and the shrill trump,
The spirit-stirring drum, the ear-piercing fife,
The royal banner,—and all quality,
Pride, pomp, and circumstance ofglorious war !
And, O, ye mortal engines , whose rude throats
The immortal Jove's dread clamours counterfeit,
Farewell ! Othello's occupation's gone.
Iago. Is it possible ? -My lord,
Oth. (Seizing him. ) Villain, be sure thou prove my
love a whore ;
Be sure of it ; give me the ocular proof ;
Or, by the worth of mine eternal soul,
Thou hadst better have been born a dog, Iago,
Than answer my wak'd wrath.
Iago. Is't come to this ?
Oth. Make me to see't ; or, (at the least,) so prove ,
That the probation bear no hinge, nor loop,
To hang a doubt on ; or, woe upon thy life !
Iago. My noble lord,
Oth. If thou dost slander her, and torture me,
Never pray more : abandon all remorse ;
On horror's head, horrors accumulate ;
Do deeds to make heaven weep , all earth amaz'd ;
For nothing canst thou to damnation add
Greater than that. (Crosses to R.H.)
Iago. O grace ! O heaven defend me !
с 3
46 OTHELLO .
Are you a man ? have you a soul, or sense ?
Heaven be wi' you ; take mine office.-O wretched
fool,
That liv'st to make thine honesty a vice !
O monstrous world ! Take note, take note, O world,
To be direct and honest, is not safe.
I thank you for this profit ; and, from hence,
I'll love no friend, since love breeds such offence.
(Going, L.H.)
Oth. Nay, stay : ( Crosses to centre.) - thou should'st
be honest.
Iago. I should be wise ; for honesty's a fool,
And loses that it works for.
Oth. By the world,
I think my wife be honest, 4 and think she's not ;
I think that thou art just, and think thou'rt not ;
I'll have some proof : her name, that was as fresh
As Dian's visage, is now begrim'd, and black
As mine own face.
'Would I were satisfy'd !
Iago. I see, sir, you are eaten up with passion ;
I do repent me, that I put it to you.—
You would be satisfy'd ?
Oth. Would ? nay, I will .
Iago. And may: but, how? how satisfy'd, my lord ?
Would you, the supervisor, grossly gape on ?
Behold her
Oth. Death and damnation ! O !
Iago. It were a tedious difficulty, I think,
To bring them to that prospect : damn them then,
If ever mortal eyes do see them bolster,
More than their own ; * what then ? how then ?
What shall I say ? Where's satisfaction ?
If imputation, and strong circumstances, —
Which lead directly to the door of truth, —
Will give you satisfaction, you may have it.
Oth. Give me a living reason she's disloyal.
Iago. I do not like the office :
But, sith I am enter'd in this cause so far,
Prick'd to't by foolish honesty and love,
* Ifever &c.—i.e— ifany eyes but their own see them , &c.
OTHELLO . 47
I will go on. I lay with Cassio lately ;
And, being troubled with a raging tooth,
I could not sleep .
There are a kind of men so loose of soul,
That in their sleep will mutter their affairs ;
One of this kind is Cassio :
In sleep I heard him say, -Sweet Desdemona,
Let us be wary, let us hide our loves.
And then, sir, would he gripe, and wring my hand ;
Cry,-O, sweet creature !
And then cry,-Cursed fate, that gave thee to the
Moor!
Oth. O monstrous ! monstrous !
Iago. Nay, this was but his dream.
Oth. But this denoted a foregone conclusion .
lago. "Tis a shrewd doubt, though it be but a
dream :
And this may help to thicken other proofs,
That do demonstrate thinly.
Oth. I'll tear her all to pieces.
Iago. Nay, but be wise : yet we see nothing done ;
She may be honest yet. Tell me but this,
Have you not sometimes seen a handkerchief,
Spotted with strawberries, in your wife's hand ?
Oth. I gave her such a one ; 'twas my first gift.
Iago. I know not that : but such a handkerchief,
(I am sure it was your wife's, ) did I to- day
See Cassio wipe his beard with.
Oth. If't be that, -
Iago. If it be that, or any that was hers ;
It speaks against her, with the other proofs.
Öth. Oh, that the slave had forty thousand lives ;
One is too poor, too weak for my revenge !
(Crosses to L.H. )
Now do I see, ' tis time.- Look here, Iago :
All my fond love thus do I blow to heaven :
'Tis gone.
-
Arise, black vengeance, from thy hollow cell :
Yield up, O love, thy crown and hearted throne,
To tyrannous hate !-Swell, bosom, with thy fraught ;
C4
48 OTHELLO.
For 'tis of aspicks ' tongues !
Iago. ' Pray, be content.
Oth. O, blood, lago, blood ! (Crosses to R.H.)
lago. Patience, I say ; your mind, perhaps, may
change .
Oth. Never, Iago : (He kneels .)
By yon marble heaven,
In the due reverence of a sacred vow
I here engage my words.
Iago. Do not rise yet.
(Crosses to R.H. and kneels by his side.)
Witness, you ever-burning lights above,
You elements that clip us round about,
Witness , that here Iago doth give up
The execution of his wit, hand, heart,
To wrong'd Othello's service !-Let him command,
And to obey shall be in me remorse ,
What bloody work soe'er.* .
Oth. I greet thy love,
Not with vain thanks, but with acceptance bounteous,
And will upon the instant put thee to't :
Within these three days let me hear thee say,
That Cassio's not alive.
Iago. My friend is dead ;
'Tis done, as you request : but let her live.
Oth. Damn her, lewd minx !-O, damn her !
(Crosses to L.H.)
Come, go with me apart ; I will withdraw,
To furnish me with some swift means of death
For the fair devil .-Now art thou my lieutenant.
Iago. I am your own for ever. [Exeunt, R.H.
ACT IV.
* It does not appear for what purpose Othello procures this inter
view with Desdemona.
OTHELLO. 57
Oth. (Weeps .) O Desdemona ! -away ! away ! away!
Crosses to L.H.)
Des. Alas, the heavy day ! —Why do you weep ?
Am I the occasion of those tears, my lord ?
If, haply, you my father do suspect
An instrument of this your calling back,
Lay not your blame on me ; if you have lost him ,
Why, I have lost him too.
Oth. Had it pleas'd heaven
To try me with affliction ; had he rain'd
All kind of sores and shames on my bare head ;
Steep'd me in poverty to the very lips ;
Given to captivity me, and my hopes ;
I should have found in some part of my soul
A drop of patience : *
But there, where I have garner'd up my heart !
Where either I must live, or bear no life ;
The fountain from the which my current runs,
Or else dries up ; to be discarded thence ! —
Or keep it as a cistern, for foul toads
To knot and gender in !-Turn thy complexion there,
Patience,- thou young and rose-lipp'd cherubim,
Ay, there, look grim as hell !
Des. I hope my noble lord esteems me honest.
Oth. O, ay ; as summer flies are in the shambles,
That quicken e'en with blowing. O thou weed,
Who art so lovely-fair, and smell'st so sweet,
That the sense aches at thee, -' would thou had'st ne'er
been born.
Des. Alas, what ignorant sin have I committed ?
Oth. Was this fair paper, this most goodly book,
Made to write whore upon ?-What committed !
Heaven stops the nose at it, and the moon winks :
The bawdy wind that kisses all it meets,
Is hush'd within the hollow mine of earth ,
And will not hear it:-What committed !
Impudent strumpet ! (Crosses to R.H.)
Des. By heaven, you do me wrong.
* The pathos of this high-souled lamentation , almost reconciles
us to the fierce and vindictive nature of him who utters it. Let us
consider, too, that Othello's jealousy has resulted from a diffidence
of his own attraction, and how venial it will appear.
58 OTHELLO .
Oth. Are you not a strumpet?
Des. No, as I am a christian.
Oth. I cry you mercy, then ;
I took you for that cunning whore ofVenice,
That married with Othello.-You, mistress,
That have the office opposite to Saint Peter,
And keep the gate of hell,
ACT V.
* The actors of this part are sometimes apt to say more here than
is set down for them, by crying out to be helped first, &c. &c. a
liberty which destroys the texture of the scene.
OTHELLO. 65
Gra. Cassio ? (Gratiano, L.H. Lodovico, R.H. raise
Cassio and support him. )
Iago. How is it, brother ?
Cas. My leg is cut in two.
lago. Marry, heaven forbid ! —
-Knowwethis face, orno?-(Turns andlooks on Rod.)
Alas ! my friend, and my dear countryman,
Roderigo ! no : — -yes, sure ; -O heaven ! -Rode
rigo !
Enter EMILIA, with a light R.H.D.
Emil. 'Las, what's the matter ? what's the matter,
husband ?
Iago. Cassio hath here been set on i'the dark,
By Roderigo, and fellows that are ' scap'd ;
He's almost slain, and Roderigo dead.
Emil. Alas, good gentleman ! alas, good Cassio !
Iago. Emilia, run you to the citadel,
And tell my lord and lady what hath hap'd.
(Servants bear off Roderigo, R.H.) [Exit Emilia L.H.
Will you go on, I pray ?—This is the night,
That either makes me, or foredoes me quite. (Aside.)
[Exeunt Gratiano, Cassio, Lodovico, and Iago,
R.H.D.
nd
Disposition ofthe Characters when the Curtain falls.
ou
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Finis.
.
R.H. CURTAIN. L.H.
Orberry's Edition.
KING JOHN.
HISTORICAL PLAY;
By William Shakspeare.
AS IT IS PERFORMED AT THE
Theatres Koyal.
BY W. OXBERRY, Comedian.
London.
1819.
From the Press of W, Oxberry and Co.
8, White-hart Yard.
Remarks .
KING JOHN .
KING JOHN, though certainly not the best, is amongst the best,
of Shakspeare's Tragic Dramas ; there is in it, a great va
riety of characters and all distinguished with most wonderful
precision. The great defect is, that the interest does not suffi
ciently centre in any one individual of the play, and the death of
King John, the ultimate object, is not obviously connected with the
minor incidents ; yet, even this last censure must be admitted
within certain limits, for a connexion does exist between the general
events and the catastrophe, though not perhaps very strongly
marked ; the quarrel with France, respecting Arthur, leads to the
invasion of that country, the invasion to a treaty ; and from the
breaking of this treaty, by the papal han , arises the violent seizure
of the property of the Church, and this again induces the poisoning
of the monarch, by a revengeful monk.. In all this, there seems to
be no want of context ; not a link in the chain is broken ; the fact
seems to be, that the beginning and the end are too remote from each
other ; there are too many connecting links between the first and
the last object, that when we have attained the one, we lose sight
ofthe other.
The character of John , though drawn with great accuracy and
vigour is not precisely one of those which affect our sympathy or
excite our admiration ; vice, when accompanied by any splendid
quality, whether it be wit, or mind, or courage, is sure to obtain our
reluctant approbation ; in the scale of depravity, Richard is infi
nitely above King John, yet the giant iniquities of the former
always delight ; while the cold, weak, suspicious John lives with
out our pleasure and dies without our regret. Not that we would
infer that the character of John is less true to nature ; far from it,
but there are some virtues as well as vices, which are too quiet to
excite our sympathy.
ii
Faulconbridge, is one ofthose characters which Shakspeare appa
rently delighted to draw, and in which he has never found a rival.
In Congreve, and in the French Comedies, all the witty characters
seem to be wits by profession ; their aim is, ever to say, smart
pointed things ; and certainly, these efforts are successful ; -but
Shakspeare's Faulconbridge has no effort ; he is humorous from the
overflowing abundance of his fancy, and from animal spirits that are
incapable of restraint ; with him wit is a part of his nature, a qua
lity which he can no more change than the height of his stature ;
with the French, wit is an assumption ; a thing of education, or
rather of habit.
The grief of Constance, on the loss of her darling child, is another
proof of Shakspeare's admirable knowledge of the human heart ; it
is not only true to nature, but true to character ; it is indeed royal
grief.
The scene between Hubert and the child, though it has been
much praised, has little deserved it ; the wretched conceits put into
the mouth of young Arthur, are fatal to it ; and, neither on the
stage, or in the closet, does it produce the least effect.
As a whole, though the plot is far from excellent, and the language
with few exceptions is not of the first order, yet the variety and ex
quisite truth of the characters, place it high in the scale of dramatie
composition.
Time of Representation.
The time this piece takes in representation, is two hours and
thirty minutes. The first act occupies the space of thirty
minutes ; the second, twenty-nine;-the third, thirty ;-the
fourth thirty-five ;-and the fifth, twenty-six. The half price
commences, generally, at a quarter before nine o'clock.
Costume.
KING JOHN.
Orange kerseymere tunick, richly embroidered, purple velvet
robe embroidered, chain armour for the legs and arms, gauntlets,
and helmet.
PRINCE HENRY.
Scarlet kerseymere old English dress embroidered with gold.
PRINCE ARTHUR.
White kerseymere old English dress.
EARL OF PEMBROKE,
Black velvet old English dress, amber satin puffs , and dress richly
embroidered.
EARL OF ESSEX.
A green old English dress, white satin puffs and richly em
broidered.
EARL OF SALISBURY.
A fawn coloured old English dress , and white satin puffs em
broidered with silver.
HUBERT.
A black velvet old English dres and black satin puffs.
FAULCONBRIDGE.
First dress .- Brown old English tunick with buff satin trimming,
and buff kerseymere pantaloons. Second dress .-Mail armour.
ROBERT FAULCONBRIDGE.
A fawn coloured old English tunick, and pantaloons trimmed
with sky-blue.
JAMES GURNEY.
A green tunick, and pantaloons trimmed with amber coloured
satin .
ENGLISH HERALD .
A buff old English dress trimmed with silver, and a Herald's coat.
FRENCH HERALD.
A blue jacket and trunks, and a Herald's coat.
ARCHDUKE OF AUSTRIA.
A complete suit of armour.
KING OF FRANCE.
White tunick, and crimson robe, richly embroidered.
DAUPHIN.
First dress. A white purple dress, richly embroidered . Second
dress. A complete suit of armour.
CARDINAL.
A scarlet chemise and robe, a scarlet hat, and dress trimmed with
point lace.
CONSTANCE.
Black velvet dress trimmed with gold.
QUEEN.
Purple velvet dress trimmed with gold.
BLANCH.
White satin dress trimmed with point lace and beads.
LADY FAULCONBRIDGE.
Grey cloth dress trimmed with black velvet, open in the front,
and white satin petticoat.
Persons Represented .
Drury-lane. Covent-garden.
John, King ofEngland Mr. Kean. Mr. Young..
Prince Henry Mr. Barnard. Mr. Menage .
Earl of Pembroke. Mr. S. Stanley. Mr. Treby.
Earl of Essex Mr. Kent. Mr. T. Matthews.
Earl of Salisbu ry. Mr. Bengough, Mr. Connor.
Hubert Mr. Pope. Mr. Egerton.
Faulconbridge .... Mr. Wallack. Mr. C. Kemble.
Robert Faulconbridge Mr. Coveney. Mr. King.
English Herald..... Mr. Minton. Mr. Jefferies.
James Gurney .... Mr. Miller. Mr. Crumpton.
1st Executioner .. Mr. Ebsworth. Mr. Atkins.
2nd Executioner .... Mr. Buxton. Mr. Banks.
Philip, King ofFrance ………. Mr. R. Phillips. Mr. B. Thornton .
Lewis, the Dauphin ...... Mr. Penley. Mr. Abbott.
Prince Arthur Miss C. Carr. Miss Boden.
Archduke of Austria.. Mr. T. P. Cooke. Mr. Comer.
Cardinal Pandulph Mr. Holland. Mr. Chapman.
Chatillon .... Mr. Carr. Mr. Claremont,
French Herald Mr. Marshall. Mr. Faucit.
Mr. Duruset.
Citizens ofAngiers Mr. Powell. Mr. Collet.
{ Mr. Platt.
Stage Directions.
By R.H....... .is meant.... ... Right Hand.
L.H..... Left Hand .
S.E ...... .. Second Entrance.
U.E... .. Upper Entrance.
M.D... Middle Door.
D.F... .. Door in Flat.
R.H.D... • .... Right Hand Door.
L.H.D. .. .... Left Hand Door.
KING JOHN .
ACT I.
* Trace, outline.
KING JOHN. 5
And, if he were, he came into the world
Full fourteen weeks before the course of time.
Then, good my liege, let me have what is mine,
My father's land, as was my father's will .
John. Sirrah, your brother is legitimate ;
Your father's wife did after wedlock bear him :
And, if she did play false, the fault was hers ;
Which fault lies on the hazards of all husbands
That marry wives. #
Your father's heir must have your father's land .
Rob. Shall then my father's will be of no force
To dispossess that child which is not his ?
Faul. Of no more force to dispossess me, sir,
Than was his will to get me, as I think.
Eli. Whether hadst thou rather, be a Faulconbridge,
And like thy brother, to enjoy thy land ;
Or the reputed son of Coeur - de - lion ,
Lord of thy presence*, and no land beside ?
Faul. Madam, an if my brother had my shape,
And I had his, sir Robert his, like him ;
And if my legs were two such riding-rods,
My arms such eel- skins stuff'd ; my face so thin ;
And, to his shape, were heir to all this land,
'Would I might never stir from off this place,
I'd give it every foot to have this face ;
I would not be sir Nob‡ in any case.
Eli. I like thee well.-Wilt thou forsake thy for
tune,
Bequeath thy land to him, and follow me ?
I am a soldier, and now bound to France.
Faul. Brother, take you my land , I'll take my
chance
Your face hath got five hundred pounds a year ;
Yet sell your face for five pence , and ' tis dear .
Madam, I'll follow you unto the death .
Eli. Nay, I would have you go before me thither.
Faul. Our country manners give our betters way.
John. What is thy name ?
* Great in thine own person.
+ Sir Nob is used contemptuously for Sir Robert.
B3
6 KING JOHN.
Faul. Philip, my liege, so is my name begun ';
Philip, good old sir Robert's wife's eldest son.
John. From henceforth bear his name, whose form
thou bear'st.
Kneel thou down, Philip, but arise more great ;
Arise sir Richard, and Plantagenet .
Faul. Brother, by the mother's side, give me your
hand ;
My father gave me honour, yours gave land.
Now blessed be the hour, by night or day,
When I was got, sir Robert was away.
John. (Comes down. ) Go, Faulconbridge ! now hast
thou thy desire,
A landless knight makes thee a landed ' squire.—
[Exit, Robert Faulconbridge, L.H.
Come, madam, and come, Richard, -we must speed
For France, for France : for it is more than need .
(Flourish of Drums and Trumpets . )
[Exeunt all but Faulconbridge.- King John,
and Elinor, led by Pembroke, R.H. - Salisbury,
Essex, and two English Gentlemen and La
dies, R.H. U.E,
1Faul. A foot of honour better than I was ;
But many a many foot of land the worse .
Well, now can I make any Joan a lady- .-
" Good den* sir Richard" - " God-a-mercy fel
low !"
And if his name be George, I'll call him Peter ;
For new-made honour doth forget men's names ;
But who comes in such haste ?
What woman-post is this ? hath she no husband,
That will take pains to blow a horn before her ?—
O me! it is my mother.
* Good evening.
KING JOHN. sig
L. Faul. Where is that slave, thy brother ? where
is he ?
That holds in chase mine honour up and down ?
Faul. My brother Robert ? Old sir Robert's son ?
Colbrand the giant, that same mighty man ?
Is it sir Robert's son, that you seek so ?
L. Faul. Sir Robert's son ! Aye, thou unreverend
boy,
Sir Robert's son : why scorn'st thou at sir Robert ?
He is sir Robert's son, and so art thou.
Faul. James Gurney, wilt thou give us leave a
while ? (Crosses to Centre.)
Gur. Good leave,* good Philip .
Faul. Philip ?-Sparrow !-James,
There's toys abroad+ ; anon I'll tell thee more.
[Exit Gurney, L.H.
Madam, I was not old sir Robert's son ;
Sir Robert might have eat his part in me
Upon Good Friday, and ne'er broke his fast.
Sir Robert could do well ; -marry, (to confess,)
Could he get me ? Sir Robert could not do it ;
We know his handy-work. - Therefore, good mother,
To whom am I beholden for these limbs ?
Sir Robert never holp to make this leg.
L. Faul. Hast thou conspired with thy brother too,
That for thine own gain should'st defend mine honour ?
What means this scorn , thou most untoward knave ?
Faul. Knight, knight, good mother,-Basilisco
liket !
What ! I am dubb'd ! I have it on my shoulder.
But, mother, I am not sir Robert's son ;
I have disclaim'd sir Robert, and my land
Legitimation , name, and all is gone :
Then, good my mother, let me know my father ;
Some proper man, I hope.-Who was it, mother ?
L. Faul. Hast thou denied thyself a Faulconbridge?
Faul. As faithfully as I deny the devil .
ACT II.
KING JOHN. 13
John. England, for itself:
You men of Angiers, and my loving subjects,
Phil. You loving men of Angiers, Arthur's sub
jects ,
Our trumpet called you to this gentle parle.
John. For our advantage ;-therefore, hear us
first.
These flags of France, that are advanced here
Before the eye and prospect of your town,
Have hither march'd to your endamagement :
All preparation for a bloody siege,
And merciless proceeding by these French,
Confront your city's eyes, your winking gates ;*
But, on the sight of us, your lawful king,
Behold, the French, amaz'd, vouchsafe a parle :
And now, instead of bullets wrapp'd in fire,
To make a shaking fever in your walls,
They shoot but calm words, folded up in smoke,
To make a faithless error in your ears ;
Which trust accordingly, kind citizens,
And let us in, your king, whose labour'd spirits,
Forweary'd in this action of swift speed,
Crave harbourage within your city walls.
Phil. When have said, make answer to us both.
Lo, in this right hand,
Stands young Plantagenet ;
Son to the elder brother of this man ,
And king o'er him, and all that he enjoys :
For this down- trodden equity, we tread
In warlike march these greens before your town ;
Being no further enemy to you ,
Than the constraint of hospitable zeal,
In the relief of this oppressed child,
Religiously provokes.
Then, tell us, shall your city call us lord,
In that behalf which we have challeng'd it ?
Or shall we give the signal to our rage ,
And stalk in blood to our possession ?
.
Enter the two Kings, with their Powers, as before,
the English, L.H. the French, R.H.
* Soul appalling.
18 KING JOHN.
Of Lewis the dauphin, and that lovely maid,
O, two such silver currents, when they join,
Do glorify the banks that bound them in :
Two such controlling bounds shall you be, kings,
To these two princes , if you marry them .
This union shall do more than battery can,
To our fast- closed gates ;
(Elinor gives Blanch to King John.)
Without this match,
The sea enraged is not half so deaf,
Lions more confident, mountains and rocks
More free from motion : no, not death himself
In mortal fury half so peremptory,
As we to keep this city.
Faul. Here's a stay,
That shakes the rotten carcase of old death
Out of his rags ! Here's a large mouth, indeed,
That spits forth death, and mountains, rocks, and seas ;
Talks as familiarly of roaring lions,
As maids of thirteen do of puppy-dogs !
What cannoneer begot this lusty blood ?
Zounds ! I was never so bethump'd with words
Since I first call'd my brother's father, dad .
Cit. Why answer not the double majesties
This friendly treaty of our threaten'd town ?
Phil. What say'st thou , boy ? look in the lady's
face .
Lew. I do, my lord ; and in her eye I find
A wonder or a wondrous miracle,
The shadow of myself,
Drawn in the flattering table of her eye
(King John, King Philip, Lewis, and Blanch,
talk apart .)
C
Faul. Drawn in the flattering table* of her eye !
Hang'd in the frowning wrinkle of her brow !
And quarter'd in her heart ! -he doth espy
Himselflove's traitor. This is pity now,
ACT III.
ACT IV.
* Confounded.
Greatness obtained by violence.
+ Girdle .
ACT V.
* Appropriated,
54 KING JOHN.
He flatly says, he'll not lay down his arms.
Faul. By all the blood that ever fury breath'd,
The youth says well .-Now hear our English king ;
For thus his royalty doth speak in me ;
He is prepar'd, and reason too, he should,
To whip this dwarfish war, these pigmy arms,
From out the circle of his territories.
Shall that victorious hand be feebled here,
That in your chambers gave you chastisement ?
No : know, the gallant monarch is in arms ;
And like an eagle o'er his aiery towers,
To souse annoyance that comes near his nest.
And you degenerate, you ingrate revolts,
You bloody Neroes, ripping up the womb
Of your dear mother England, blush for shame !
Lew. We grant, thou canst out-scold us : fare thee
well ;
We hold our time too precious to be spent
With such a brabbler.
Pan. Give me leave to speak.
Faul. No, I will speak.
Lew. We will attend to neither ; -
Strike up the drums ; and let the tongue ofwar
Plead for our interest, and our being here.
Faul. Indeed, your drums, being beaten, will cry
out :
And so shall you, being beaten . Do but start
An echo with the clamour of thy drum ,
And even at hand a drum is ready brac'd,
That shall reverberate as loud as thine :
Sound but another, and another shall,
As loud as thine, rattle the welkin's* ear,
And mock the deep -mouth'd thunder :-for at hand,
Not trusting to this halting legate here,
Whom he hath us'd rather for sport than need,
1
Is warlike John ; and in his forehead sits
A bare-ribb'd death, whose office is this day
To feast upon whole thousands of the French .
* Sky.
KING JOHN. 55'
(Alarums.)
(A Retreat sounded.)
* Model.
62 KING JOHN.
Faul. O, let us pay the time but needful woe,
Since it hath been beforehand with your griefs.
This England never did, nor never shall,
Lie at the proud foot of a conqueror,
But when it first did help to wound itself.
Now these her princes are come home again,
Come the three corners of the world in arms,
And we shall shock them : nought shall make us rue,
If England to itself do rest but true.
DS
AR
GU
Disposition ofthe Characters when the Curtain falls.
S
N
ER
E
HN
H
H
AR
RC
JO
P.
K.
BE
TO
&
,
c
.
,
.
,
L
FAU .
B
U
SA
H .
L.
X
SE
PEM
ES
.
Finis .
Orberry's Edition.
A TRAGEDY;
By W. Shakspeare,
AS IT IS PERFORMED AT THE
Theatres Koyal.
BY W. OXBERRY, Comedian.
LONDON.
1819
From the Press of W. Oxberry & Co.
8, White-hart Yard.
Costume.
PRINCE.
Green vest, trunks and cloak, embroider'd.
PARIS.
White dress do, do. Second Dress.- do, do.
MONTAGUE.
Blue do. do.
CAPULET.
Brown do. do.
ROMEO.
White dress do. Second Dress.-Black do. do. do.
MERCUTIO.
Scarlet dress do:
BENVOLIO.
Fawn dress do.
TYBALT .
Black dress lined with buff and yellow.
APOTHECARY.
Coarse serge.
BALTHAZAR .
Grey and scarlet livery.
PETER.
Brown do. do.
CHORUS.
White surplices
FRIAR.
Grey Friar's dress.
JULIET .
First Dress.- White trimmed with silver, and spangled muslin
drapery.-Second dress-White muslin and drapery.
LADY CAPULET.
First Dress. Black velvet, trimmed with gold and lace drapery.
Second Dress,-Black velvet and black veil.
NURSE .
Black calico gown, trimmed with point lace, brocade, silk petticoat
Persons Represented .
Time of Representation.
Stage Directions .
ACT I.
END OF ACT I.
15
T JULIET.
ACT .II.
ACT III.
30 ROMEO AND
should bave none shortly, for one should kill the other.
Thou ! why thou wilt quarrel with a man that hath a
hair more, or a hair less on his head than thou hast.
Thou wilt quarrel with a man for cracking nuts, having
no other reason, but because thou hast hazel eyes ;
thou hast quarrelled with a man for coughing in the
street, because he hath wakened thy dog that hath lain
asleep in the sun. Didst thou not fall out with a tailor,
for wearing his new doublet before Easter ? with ano
ther, for tying his new shoes with old riband ? and
yet thou wilt tutor me from quarrelling !
Ben. An' I were so apt to quarrel as thou art, any
man should buy the fee-simple of my life for an hour
and a quarter. By my head, here come the Capulets.
Mer. By my heel, I care not.
Nurse. Madam .
Jul. Nurse ?
Nurse. Your lady mother ' s coming to your
chamber ;
The day is broke ; be wary, look about.
[ Exit, L.H.
Jul. Art thou gone so ?-Love ! lord ! ah, husband !
friend !
I must hear from thee every day i' the hour ;
For in love's hours there are many days.
O! by this count I shall be much in years,
Ere I again behold my Romeo .
Rom. Farewell ! I will omit no opportunity
That may convey my greetings to thee, love.
Jul. O, think'st thou we shall ever meet again ?
Rom. I doubt it not ; and all these woes shall serve
For sweet discourses in our time to come.
Jul. O heaven ! I have an ill- divining soul :
Methinks, I see thee, now thou'rt parting from me,
As one dead in the bottom of a tomb ;
Either my eye-sight fails, or thou lookest pale .
Rom. And trust me, love, in my eye so do you;
Dry sorrow drinks our blood . - Adieu ! Juliet, fare
well !
My life !
Jul. My love !
Rom. My soul, adieu !
[Exeunt Juliet, L.H. Romeo, R.H.
44 ROMEO AND
ACT IV.
D3
54 ROMEO AND
ACT V.
Rise, rise,
Heart breaking sighs,
The woe-fraught bosom swell ;
For sighs alone,
And dismal moan,
Should echo Juliet's knell.
AIR.
CHORUS.
AIR.
CHORUS .
AIR
CHORUS,
Enter ROMEO, L. H.
D6
60 ROMEO AND
PRI
CA EN
. ML
E
UL
.N
EM
PA
. P
TL
GE
.
Finis .
W. OXBERRY, PRINTER,
8, WHITE HART YARD, LONDON.
។
3
Orberry's Edition.
JANE SHORE.
TRAGEDY ;
By Nicholas Rowe.
AS IT IS PERFORMED AT THE
Theatres Koyal.
BY W. OXBERRY, Comedian.
London.
1819.
From the Press of W. Oxberry and Co.
8, White-Hart Yard.
Remarks .
JANE SHORE .
Stage Directions .
By R.H... is meant.. ·· Right Hand.
L.H .. Left Hand.
S.E.. Second Entrance.
U.E... Upper Entrance.
M.D.. Middle Door.
D.F...... .Door in flat.
R.H.D .... Right Hand Door.
L.H.D.... Left Hand Door.
PROLOGUE.
LORD HASTINGS. *
Blue doublet, trunks, and cloak, trimmed with gold, black vel
vet hat, and white feathers.
DUKE OF GLOSTER.
A purple velvet doublet and trunks, crimson velvet robe, richly
embroidered.
BELMOUR .
Grey dress trimmed with black.
RATCLIFFE.
Buff doublet and trunks, scarlet cloak, embroidered with silver.
CATESBY:
Light blue doublet and trunks, and cloak trimmed with silver.
SHORE.
First dress.- Slate coloured kerseymere.- Second dress.-Black
velvet.
JANE SHORE.
First dress.-Grey satin Old English dress trimmed with point
lace, and lined with black.- Second dress.- White muslin.
ALICIA.
First dress. White satin, trimmed with beads and point lace.
-Second dress.-Black velvet, and black crape veil.
Persons Represented.
ACT I.
END OF ACT I.
ACT II.
ACT III.
Jane S. O my Alicia !
Alic. What new grief is this ?
What unforeseen misfortune has surpris'd thee,
That racks thy tender heart thus ?
Jane S, O Dumont !
Alic. Say, what of him ?
Jane S. That friendly, honest man,
Whom Belmour brought of late to my assistance,
On whose kind care, whose diligence and faith,
My surest trust was built, this very morn
Was seiz'd on by the cruel hand of power,
Forc'd from my house, and borne away to prison .
Alic. To prison, said you ? Can you guess the
cause ?
Jane S. Too well, I fear. His bold defence of me
Has drawn the vengeance of lord Hastings on him.
Alic. Lord Hastings ! ha !
Jane S. Some fitter time must tell thee
The tale of my hard hap. Upon the present
Hang all my poor, my last remaining hopes.
Within this paper is my suit contain'd ;
Here as the princely Gloster passes forth,
I wait to give it on my humble knees,
And move him for redress.
(She gives the paper to Alicia, who opens and seems
to read it ; Jane Shore retires up the Stage.)
Alic. Now for a wile,
To sting my thoughtless rival to the heart ;
To blast her fatal beauties, and divide her
For ever from my perjur'd Hastings' eyes :
Their fashions are the same, it cannot fail.
(Aside.- Pulling out the other Paper.)
Jane S. (Advancing .) But see the great protector
comes this way.
Give me the paper, friend.
Alic. For love and vengeance !
1. (Aside. She gives her the other Paper.)
C 4
32 JANE SHORE.
ACT IV.
ACT V.
SCENE I - A Street.
SCENE II -A Street.
Is your lady,
My gentle friend, at home ! Oh ! bring me to her.
(Going in.)
Serv. Hold, mistress, whither would you ?
(Throwing her back.)
Jane S. Do you not know me !
Serv. I know you well, and know my orders too ;
You must not enter here ;
Jane S. Tell my Alicia,
"Tis I would see her.
Serv. She is ill at ease,
And will admit no visitor
D 3
54 JANE SHORE.
Jane S. But tell her
'Tis I, her friend, the partner of her heart,
Wait at the door and beg
Serv. 'Tis all in vain :
Go hence and howl to those that will regard you.
[ Shuts the Door.
Jane S. It was not always thus : the time has been,
When this unfriendly door, that bars my passage,
Flew wide, and almost leap'd from off its hinges,
To give me entrance here : when this good house
Has pour'd forth all its dwellers to receive me ;
When my aproaches made a little holiday,
And every face was dress'd in smiles to meet me :
But now ' tis otherwise ; and those who bless'd me,
Now curse me to my face. Why should I wander,
Stray further on, for I can die ev'n here ?
( She sits down in the centre of the Stage.)
SB
R
SH ,
OU
Y.
AR
LM
DS
BE
.
.
404 at
Orberry's Edition.
KING LEAR,
A TRAGEDY ;
By Nahum Tate.
AS IT IS PERFORMED AT THE
Theatres Royal.
BY W. OXBERRY, Comedian.
London.
1820.
Oxberry and Co. Printers, 8 , White Hart Yard.
Remarks .
KING LEAR.
THE Tempest and King Lear seem to be the opposed and extreme
links of the chain which connects imagination with reality ; in the
first are the creatures of the wildest and most unbounded fancy ; in
the latter is a faithful picture of the human mind in its ordinary
habits. The action of the play, coloured as it is by the manners
of a barbarous period , tends to blind us to this truth ; we feel that
neither kings nor daughters could be so situated in the present state
of society ; yet, still their passions and feelings are those of our
own day ; the race of unjust fathers and ungrateful children is not
yet extinct.
This tragedy alone is a sufficient proof that Shakspeare was not
the rude uncultivated genius which it has been the fashion to sup
pose him ; it would be difficult in the whole circle of the drama,
ancient or modern , French or Grecian, to point out a single play of
so much dramatic skill ; great as is Shakspeare's merit in the deli
neation of individual character, it is not in that he has deserved
the greatest praise ; is in the mutual action and re-action of the
characters on each other ; in the whole numerous groupe there is
not a single figure, whether it stand in light or in shadow, which
does not tend to heighten the effect of the principal character. The
assumed idiotism of Edgar, the satire of the fool,* the cruelty of
Regan and Goneril, and even the folly of Oswald, are made essen
tial to this point ; there is no moral description in the whole play,
the language and actions of the several characters are sufficient to
their illustration. It is this that the modern dramatist never can
accomplish, and which the best of the French writers never have
endeavoured to accomplish ; character is profusely described but
it is never called into action : in witnessing a modern English
play or a French one of any period , we seem to be called upon to
gaze at a lifeless picture, while the author acts the part of a cice
Now wholly omitted in Representation.
iv
rone. " This is the most noble and most terrible Apostate ; " " This
is the Lady Evadne, " &c. &c. &c. In this indictment, moreover, it
is not stated, that the said Apostates and Evadnes may belong to
the moon or the evening star, for certainly they do not appertain
to earth .
Much has been said against the horrible catastrophe of this play,
and the dictum of Dr. Johnson has been held forth against all who
were rash enough to prefer Shakspeare to Nahum Tate. Johnson has
left it on record that nothing but his duty of editor could induce
him to re-peruse the play ; but it is not easy to conceive what
the Doctor's nerves have to do with the point in dispute ; the me
rits of the question must be tried on other grounds than that of
individual feeling. Is not the restoration of Lear to felicity, after
so much suffering, an anti-climax ? Is not death the only thing
that could be super-added without untuning the mind of the
spectator, wrought up to the highest pitch of sensation ? But as
authority weighs more than argument with the many, let us en
quire what were the opinions of Addison and Schlegel, men as ho
nourably distinguished in the annals of literature as Dr. Johnson.
" Aristotle considers the tragedies that were written in either of
these kinds (with happy or unhappy catastrophes ,) and observes,
that those which ended unhappily had always pleased the people,
and carried away the prize in the public disputes of the stage, from
those that ended happily. Terror and commiseration leave a
pleasing anguish in the mind, and fix the audience in such a seri
ous composure of thought, as is much more lasting and delightful
than any little transient starts of joy and satisfaction . The best
plays of this kind are the Orphan, Venice Preserved, Alexander
the Great, Theodosius, All for Love, Edipus, Oroonoko, Othello,
&c. King Lear is an admirable tragedy of the same kind, as
Shakspeare wrote it ; but as it is reformed according to the chime
rical notion ofpoetical justice, in my humble opinion it has lost half
its beauty." SPECTATOR, No. 40.
The German Critic is no less decided in its opinion :
" Man hat ihren Tod zu herbe gefunden , und das Stück wird in
England mit der Veränderung aufgeführt, das sie siegreich und
glücklich bleibt. Ich gestehe es, ich begreife nicht, welche Vor
stellungen von der Kunst und dem dramatischen Zusammenhange
diejenigen haben, welche glauben, man könne einen Trauerspiele
nach Belieben einen doppelten Ausgang anpassen ; einen trauriger
für hartherzige Zuschaner, und einen frölichen für weichgeschaffene
Seelen. Nachdem Lear so vieles überstanden, kann er nur am
Schmerz über Cordelia's Tod auf eine tragische Art sterben, und
soll er gleichfalls gerettet werden und noch eine glückliche zeit
erleben, so verliert das Ganze seine Bedeutung.
" Zwölfte Vorlesung."
" Her death (Cordelia's death) has been found too dreadful, and
in England the piece is represented with a change, in which she
remains victorious and happy. I confess I do not understand what
ideas of dramatic art and combination they have, who fancy that
one can at pleasure fit a double catastrophe to a piece-a melan
choly one for hard-hearted spectators, and a happy one for tender
hearted souls. After Lear has gone through so much, he can only,
in a tragic style, die of grief upon Cordelia's death, and the whole
loses its meaning if he is saved and lives happily." Twelfth Lecture.
The poetry of this piece is of the highest order ; it combines the
excellencies of Euripides and the sublimity of Eschylus ; it is even
superior to them, by as much as reality is superior to description.
The Greek poet describes his storm ; Shakspeare brings it actually
before our eyes ; of course we do not allude to the mechanical imi
tation of the tempest, but to the poetical contrivance of either : all
this however will be made more plain by bringing together the two
storms, and leaving the reader to form his own judgment.
" Blow, wind, and crack your cheeks ! rage ! blow !
You cataracts , and hurricanoes, spout
Till you have drench'd our steeples, drown'd the cocks !
You sulphurous and thought-executing fires,
Vaunt-couriers to oak-cleaving thunder-bolts,
Singe my white head ! And thou , all-shaking thunder,
Strike flat the thick rotundity o'the world !
Crack nature's moulds , all germens spill at once,
That make ingrateful man.
" Rumble thy belly full ! Spit, fire ! spout, rain !
Nor rain, wind, thunder, fire, are my daughters ;
I tax not you, ye elements, with unkindness ;
I never gave you kingdoms, call'd you children ;
vi
viii
than toong could expresse, and farre aboue all other creatures of the
world."
Then called he his yoongest daughter Cordeilla before him, and
asked of hir what account she made of him , vnto whome she made
this answer as followeth : " Knowing the great loue and fatherlie
zeale that you haue alwaies borne towards me (for the which I maie
not answere you otherwise than I thinke, and as my conscience
leadeth me) I protest vnto you, that I haue loued you euer, and will
continuallie (while I liue) loue you as my naturall father. And if
you would more vnderstand of the loue that I beare you, assertaine
your selfe, that so much as you haue, so much you are woorth, and
so much I loue you, and no more. The father being nothing content
with this answer, married his two eldest daughters, the one vnto
Henninus the duke of Cornewall, and the other vnto Maglanus the
duke of Albania, betwixt whome he willed and ordeined that his
land should be diuided after his death, and the one half thereof im
mediatlie should be assigned to them in hand : but for the third
daughter Cordeilla he reserued nothing. "
Neuertheless it fortuned that one of the princes of Gallia (which is
now called France) whose name was . Aganippus, hearing of the
beautie, womanhood, and good conditions of the said Cordeilla, de
sired to haue her in marriage, and sent ouer to hir father, requiring
that he might haue hir to wife : to whome answer was made, that
he might haue his daughter, but as for anie dower he could haue
none, for all was promised and assured to hir other sisters alreadie.
Aganippus notwithstanding this answer of deniall to receiue anie
thing by way of dower with Cordeilla, tooke hir to wife, only moued
thereto ( I saie) for respect of hir person and amiable vertues. This
Aganippus was one of the twelue kings that ruled Gallia in those
daies, as in the British historie it is recorded. But to proceed.
After that Leir was fallen into age, the two dukes that had mar
ried his two eldest daughters, thinking it long yer the gouernment of
the land did come to their hands , arose against him in armour, and
reft from him the gouernance of the land, vpon conditions to be
continued for terme of life : by the which he was put to his portion,
that is, to liue after a rate assigned to him for the maintenance of
his estate,which in processe of time was diminished as well by Mag
lanus as by Henninus. But the greatest griefe that Leir tooke, was
ix
Drury-lane. Covent-garden.
King Lear..... Mr. Kean. Mr. Booth.
Duke of Burgundy ....
.. Mr. Thompson. Mr. Norris.
Duke of Cornwall ..... Mr. Penley. Mr. Jefferies.
Duke of Albany... Mr. Barnard. Mr. Connor..
Earl of Kent.... Mr. Dowton . Mr. Fawcett.
Earl of Closter... Mr. Holland. Mr. Egerton.
Edgar.... Mr. Rae. Mr. C. Kemble.
Edmund , ... •• Mr. Hamblin. Mr. Macready.
...
Oswald…….... Mr. Russell. Mr. Farley.
Old Man.. Mr. Foote. Mr. Barnes.
Goneril.... Mrs. Glover. Mrs. Connor.
Regan.. Mrs. Egerton. Mrs. Yates.
Cordelia ... Mrs. W. West. Miss S. Booth.
Time of Representation.
Stage Directions..
ACT I.
(1) Do me this.
KING LEAR. 11
ACT II.
(1) Frighted.
(2) Capable of succeeding to my land, notwithstanding the legal
bar to thy illegitimacy.
18 KING LEAR . "
Osw. I am in haste, pr'y thee, an'thou lov'st me,
tell me .
Kent. I love thee not.
Osw . Why then, I care not for thee.
Kent. An I had thee in Lipsbury pinfold, ( 1 ) I'd
make thee care for me.
Osw. What dost thou mean ? I know thee not.
Kent. But, minion , I know thee.
Osw. What dost thou know me for ?
Kent. For a base, proud, beggarly, white liver'd,
glass -gazing, super- serviceable , finical rogue ; one that
wou'd be a pimp in way of good service, and art no
thing but a composition of knave, beggar, coward,
pander, -
Osw. What a monstrous fellow art thou, to rail at
one that is neither known of thee, nor knows thee ?
Kent. Impudent slave ! not know me, who but two
days since, tript up thy heels before the king ? Draw,
miscreant, or I'll make the moon shine through thee.
(Draws his sword.)
Osw. What means the fellow? I tell thee, I have
nothing to do with thee.
Kent. Draw, you rascal . I know your rogueship's
office : you come with letters against the king, taking
my young lady Vanity's part against her royal father :
Draw, rascal.
Osw. Murder, murder, help .
[Exit, Kent after him, R.H.S.E.
(2) Betray.
20 KING LEAR .
In pity to my beard ! Your leave, my lord,
And I will tread the musk-cat into mortar.
Corn. Know'st thou our presence ?
Kent. Yes, sir, but anger has a privilege.
Corn. Why art thou angry?
Kent. That such a slave as this should wear a sword,
And have no courage ; office , and no honesty ;
Not frost and fire hold more antipathy
Than I and such a knave ?
Glost. Why dost thou call him knave ?
Kent. His countenance likes me not. ( 1 )
Corn. No more, perhaps, does mine, nor his, or hers.
Kent. Plain dealing is my trade ; and, to be plain, sir,
I have seen better faces in my time,
Than stand on any shoulders now before me.
Reg. This is some fellow, that having once been
prais'd
For bluntness, since affects a saucy rudeness :
But I have known one of these surly knaves,
That in his plainness harbour'd more design
Than twenty cringing complimenting minions.
Corn. What's the offence you gave him ?
Osw. Never any, sir ;
It pleas'd the king, his master, lately
To strike me on a slender misconstruction ;
Whilst, watching his advantage, this old lurcher
Tript me behind, for which the king extoll'd him ;
And, flush'd with the honour of this bold exploit,
Drew on me here again.
Corn Bring forth the stocks ; (Two guards exeunt
at the gate.) we'll teach you.
Kent. Sir, I'm too old to learn ;
Call not the stocks for me ; I serve the king.
On whose employment I was sent to you :
You'll shew too small respect, and too bold malice
Against the person of my royal master,
Stocking his messenger.
(Re-enter two guards, they bringforth the Stocks,
and seat, which they place R.H. of the gates.)
ACT III.
(1 ) Shameful ; dishonourable.
(2) Gallow, a west country word, signifies to scare or frighten.
(3) Summoners are here the officers that summon offenders be
fore a proper tribunal.
KING LEAR. 31
I'm cold myself: shew me this straw, my fellow ;
The art of our necessity is strange,
And can make vile things precious- My poor knave,
Cold as I am at heart, I've one place there
That's sorry yet for thee.
(Rain- Thunder- Lightning.— Exeunt, R.H. )
(1) But where the greater malady is fix'd, the lesser is scarce
felt, that of two concomitant pains, the greater obscures or relieves
the less, is an aphorism of Hippocrates. See Disquisitions, Meta
physical and Literary, by F. Sayers, M.D. 1793, p. 68.
c6
I
36 KING LEAR .
Sustain this shock ; your raggedness defend you
From seasons such as these ? Oh, I have ta'en
Too little care of this. Take physic, pomp ;
Expose thyself to feel what wretches feel,
That thou may'st cast the superflux to them,
And shew the heav'ns more just !
Edg. (In the Hovel . R.H.U.E. throwing out Straw.)
Five fathom and a half.- Poor Tom !
Kent. What art thou that dost grumble there i'th'
straw ? Come forth .
ACT IV.
ACT V.
IAN
SIC
PHY
EE NIGHTS
THR K AND .
R GLOSTER . LEAR.
GA KE
ED . NT
.
AL
BA
. A
I
EL
NY
,
Finis .
CORIOLANUS ; ·
A TRAGEDY ;
By W. Shakspeare.
AS IT IS PERFORMED AT THE
Theatres Koyal.
BY W. OXBERRY, Comedian.
London.
1820.
From the Press of W. Oxberry and Co.
8, White-hart-Yard.
Remarks .
CORIOLANUS .
hero, the conqueror of Corioli she doats upon, and she contrasts
well, though rather too strongly, with the tender and timid
Virgilia.
There is less of poetical detail in this play, than is usual with
Shakspeare ; but what it thus loses in beauty of language, it gains
in rapidity of action. That it is not so popular as other of his
works, is owing to the heroism of its subject ; or perhaps , to
speak more correctly, from want of its domestic interest ;-it is
indeed, a volume of wisdom, but that is a book which few can read
and still fewer understand.
Time of Representation.
T
Stage Directions,
CAIUS MARCIUS .
First dress. Scarlet robe, white tunic, flesh dress complete,
black sandals-Second dress .-Rich embroidered cuirass and lam
barakins, scarlet mantle, red sandals, Roman sword and shield.
Third dress .-A white robe.-Fourth dress.-The Toga. -Fifth
dress.- A dark purple mantle, with the cuirass and lam
barakins.
MENENIUS.
Roman cuirass and lambarakins, red sandals and helmet.
SICINIUS.
Roman cuirass and lambarakins.
BRUTUS.
Roman tunic, robes, and sandals.
COMINIUS.
Ibid.
AUFIDIUS.
Roman cuirass and lambarakins, richly embroidered, scarlet
mantle, red sandals, and helmet.
VOLUSIUS.
Roman cuirass and lambarakins, helmet.
•
VOLUMNIA.
A drab coloured cloth dress, to come up to the throat, with train
and long sleeves, trimmed with plain gold lace, a long veil, and
gold band.
VIRGILIA.
White, Ibid.
VALERIA.
Violet-coloured, Ibid. and white veil.
SERVILIA.
Dark,-ibid.
Persons Represented .
Covent-garilen.
ROMANS.
PLEBEIANS .
VOLSCIANS .
ACT I.
Com . Marcius, ' tis true, that you have lately told
us,
The Volscians are in arms.
Mar. They have a leader,
Tullus Aufidius, that will put you to't.
I sin in envying his nobility :
And, were I any thing but what I am,
I'd wish me only he.
Com . You have fought together ?
Mar. Were half to half the world by the ears, and he
Upon my party, I'd revolt, to make
Only my wars with him :-he is a lion
That I am proud to hunt.
Men. Then, worthy Marcius,
Attend upon Cominius to these wars.
Com . It is your former promise.
Mar. Sir, it is :
And I am constant : *-thou
Shalt see me once more strike at Tullus' face.
Men. O, true bred !
Com. Your company to the Capitol : where, I know,
Our greatest friends attend us.
(Tribunes and Citizens advance, R.H.)
* Immovable in my resolution.
CORIOLANUS.. 5
Mar. Lead you on.
[Exeunt Fulvius , Lictors, and Cominius, L.H.
Men. Hence ; to your homes ! -begone.
Mar. Nay, let them follow ;
The Volscians have much corn ; take these rats
thither,
To gnaw their garners. Worshipful mutineers ,
Your valour puts well forth ;-pray, follow. (To Men.)
[ Exeunt Men. and Mar. L.H. Citizens, R.H.
Sic. Was ever man so proud,
As is this Marcius ?
Bru. He has no equal,
Sic. When we were chosen tribunes for the peo
ple,
Bru. Mark'd you his lip, and eyes ?
Sic. Nay, but his taunts.
Bru. Being mov'd, he will not spare to gird the
gods.
The present wars devour him ! He is grown
Too proud to be so valiant.
Sic. Such a nature ,
Tickled with good success, disdains the shadow
Which he treads on at noon. But I do wonder,
His insolence can brook to be commanded
Under Cominius.
Bru. Fame, at which he aims,
In which already he is well grac'd, cannot
Better be held, nor more attain'd, than by
A place below the first ; for what miscarries
Shall be the General's fault, tho' he perform
To the utmost of a man ; and giddy censure
Will then cry out of Marcius, O, if he
Had borne the business !
Sic. Besides, if things go well ,
Opinion, that so sticks on Marcius, shall
Of his demerits * rob Cominius .
Bru.Come ;
Half of Cominius' honours are to Marcius,
Thy news?
App. The citizens of Corioli have issued,
And given to Marcius battle :
I saw our party to the trenches driv'n,
And came in haste away.
Com. How long is't since ?
App. About an hour, my lord . Spies of the Volscians
Held me in chase, that I was forc'd to wheel
Three or four miles about ; else had I , sir,
Half an hour since brought my report.
(Appius retires towards the Soldiers, R.H. U.E.)
Com.(Looking off, L.H.U.E.) Who's yonder,
That does appear as he were flay'd ? O Gods !
He has the stamp of Marcius .
(Marcius within, L.H. U.E.)
Mar. Come I too late ?
Com. The shepherd knows not thunder from a
tabor,
B 5
10 CORIOLANUS .
More than I know the sound of Marcius' tongue
From every meaner man's.
END OF ACT I.
ACT II .
the moon ,
( and the
How now, my as fair as noble ladies, ` (and
* With allusion to the fable, which says, that every man has a
bag hanging before him, in which he puts his neighbour's faults,
and another behind him in which he stows his own.
16 CORIOLANUS .
were she earthly, no nobler, ) whither do you follow
your eyes so fast ?
Vol. Honourable Menenius, my boy Marcius ap
proaches ; for the love of Juno, let's go.
(Crosses to L.H.)
Men. Ha! Marcius coming home !
Vol. Ay, worthy Menenius ; and with most pros
perous approbation .
Men. Take my cap, Jupiter, and I thank thee :
Hoo ! Marcius coming home !
Vol. Look, here's a letter from him ; the state hath
another, his wife another ; and, I think, there's one at
home for you .
Men. I will make my very house reel to night. — A
letter for me ?
F'ir. Yes, certain, there's a letter for you ; I saw it.
Men. A letter for me ? It gives me an estate of
seven year's health ; in which time, I will make a lip
at the physician.- Is he not wounded ? He was wont
to come home wounded.
Vir. O, no, no, no.
Vol. O, he is wounded, I thank the Gods for't.
Men. So do I too, if it be not too much :-brings he
a victory in his pocket, the wounds become him.
Vol. On's brows , Menenius : he comes the third
time home with the oaken garland .
Men. Has he disciplin'd Aufidius soundly ?
Vol. Titus Lartius writes,-they fought together,
but Aufidius got off.
Men. And ' twas time for him too, I'll warrant him
that : an he had staid by him , I would not have been so
fidius'd for all the chests in Corioli, and the gold that's
in them . Is the senate possess'd of this ?
Vol. Yes, yes, yes : the senate has letters from the
general, wherein he gives my son the whole name of
the war he hath in this action outdone his former
deeds doubly .
Val. In troth , there's wondrous things spoke of him .
Men. Wondrous ! ay, I warrant you, and not with
out his true purchasing .
Vir. The Gods grant them true !
CORIOLANUS . 17
Val. True ?
(Sicinius and Brutus comeforward, R.H.)
Men. True ? I'll be sworn they are true.- Where is
he wounded ? —Heaven save your good worships ! ( To
the Tribunes.) Marcius is coming home : he has more
cause to be proud. Where is he wounded ? (To Val.)
Val. I'the shoulder and i'the left arm. He receiv'd,
in the repulse of Tarquin, seven hurts i'the body.
Men, One in the neck, and two in the thigh,-there's
nine that I know.
Vol. He had, before this last expedition, twenty-five
wounds upon him.
Men. Now it's twenty-seven : every gash was an
enemy's grave.
Vol. He with his single arm subdu'd Corioli.
His sword, death's stamp ,
Where it did mark, it took : from face to foot
He was a thing of blood, whose every motion
Was tim'd with dying cries ;
Where'er he went, before him fortune flew,
While victory upon his dreaded brow
Sat thron'd, and joyful clapp'd her silver wings ;
Three times mine eagle singled out Aufidius ,
And thrice the Volscians sunk beneath his thunder,
Bending the knee, as t'were in adoration.
Hark ! hark ! (Flourish of Trumpets, L.H.)
These are the ushers of Marcius ;-before him
He carries noise, and behind him he leaves tears.
[Exeunt, L.H.
ORDER OF PROCESSION.
Trophy.-S. P. Q. R.
Two Banners .- Corioli.- Two Banners.- Civic Crowns.
18 CORIOLANUS .
Two Banners.- Silver Eagles.
Six Fasces, two and two.
ChiefEagle.
Fulvius and Appius.
Two Swords and Shields.- Two Trophies,-Hands.
Two Spears and Shields.
Two Trophies,-Wolves.- Two Swords and Shields.
Fame.
Two Spears and Shields.
Two Golden Eagles.
Two Swords and Shields .- Two Battlements.
Two Spears and Shields.
Two Eagles and Patera's.- Two Swords and Shields.
(As they are going out , three shouts, L.H. U.E. )
SECOND DIVISION.
THIRD DIVISION.
S. P. Q. R.
Two Banners- Antium and Volsci.
Ten Musicians, two and two.- Six Fasces, two and two .
Two Trophies- Goat and Boar.
Two Trophies- Raven and Pegasus.
Sextus.
A Bier with Trophies.
Lucius.
Two Trophies- Lion and Ram.
Four Captive Generals, in Chains.
Two Trophies of Arms.
Navius.
Trophies on a Bier.
Aruns.
Two Trophies- Sphinx and Dragon.
CORIOLANUS . 19
Six Spears and Shields.
(As they go off, shouts, R.H. U.E. )
FOURTH DIVISION.
Choristers.
"See the Conquering Hero comes."
(As they go off, three shouts, R.H. U.E. )
FIFTH DIVISION.
R.H.D.
21
B 1
== ***** inius.
To hear tre of
Ladies an eds of
Upon him as
As to Jove's sis
A shower, an..
I never saw
Such a poi
As if that
Were slig
And gave.
Sic. "
I warra 1st,
Bri
Durin
Si
From
Los
pirit
22 CORIOLANUS .
Than have him hold that purpose, and to put it
In execution.
Bru. 'Tis most like he will.
Sic. It shall be to him then, as our good wills ;
A sure destruction .
(Flourish of Trumpets .)
Enter CAIUS MARCIUS CORIOLANUS, MENENIUS,
COMINIUS, SICINIUS, BRUTUS , Senators, and
Officers. L.H .- (They take their seats on each
side ofthe Stage.)
ACT III.
You being their mouths, why rule you not their teeth?
Have you not set them on ?
Men. Be calm, be calm. (To Cor.)
Cor. It is a purpos'd thing, and grows by plot,
To curb the will of the nobility.
Bru. Call't not a plot .
The people cry you mock'd them ; and, of late,
When corn was given them gratis, you repin'd,
Scandal'd the suppliants of the people ; call'd them
Time-pleasers, flatterers, foes to nobleness.
Cor. Why, this was known before.
Bru. Not to them all.
Cor. Have you informed them since ?
Bru. How ! I inform them !
Cor. You are like to do such business.
Bru. Not unlike,
Each way, to better yours.
Cor. Why then should I be consul ? By yon clouds,
Let me deserve so ill as you, and make me
Your fellow tribune.
Men. Well, no more.- (To Cor.)
Cor. How!-no more ?
As for my country I have shed my blood,
Not fearing outward force, so shall my lungs
Coin words till their decay, against those meazels*,
Which we disdain should tetter us, yet sought
The very way to catch them.
Bru. You speak o'the people,
As if you were a God to punish, not
A man of their infirmity.
Sic. "Twere well
We let the people know't.
Men. What, what ? His choler ?
Cor. Choler !
Were I as patient as the midnight sleep,
By Jove, ' twould be my mind.
Sic. It is a mind
That shall remain a poison where it is,
Not poison any further.
* Measels- Mesell is used in Pierce Plowman's vision, for a leper.
C 4
32 CORIOLANUS.
Cor. Shall remain ?
Hear you this Triton of the minnows ? Mark you
His absolute shall?
Shall!
Com. Well, -on to the market-place.
Cor. Whoever gave that counsel , to give forth
The corn o'the storehouse gratis, as ' twas us'd
Sometime in Greece,
Men. Well, well, no more of that.
Cor. I say, they nourish'd disobedience, fed
The ruin of the state.
Bru. Why, shall the people give
One, that speaks thus , their voice ?
Sic. He has spoken like a traitor, and shall answer
As traitors do.
Cor. Thou wretch ! despite o'erwhelm thee !
What should the people do with these bald tribunes ?
On whom depending, their obedience fails
To the greater bench : in a rebellion ,
When what's not meet, but what must be, was law,
Then were they chosen ; in a better hour,
Let what is meet, be said, it must be meet,
And throw their power i'the dust.
Bru. Manifest treason . (Crosses to R.H.)
Sic. This a consul ? No.
Bru. The Ædiles, ho ! —Let him be apprehended .
Sic. Go, call the people ; (Brutus beckons the
Citizens, who enter immediately, R.H.)
In whose name , myself
34.
Attach thee, as a traitorous innovator,
A foe to the public weal :
Obey, I charge thee,
And follow to thine answer.
(Laying hold on Coriolanus.)
Cor. Hence, or I shall shake thy bones
Out of thy garments .
Bru. Or let us stand to our authority,
Or let us lose it ::-we do here pronounce,
Upon the part o'the people, in whose power
We were elected theirs, Marcius is worthy
Of present death.
CORIOLANUS. 33
Sic. Therefore, lay hold of him ;
Bear him to the rock Tarpeian, and from thence
Into destruction cast him .
Cor. No ; I'll die here. (Drawing his sword.)
Men. Down with that sword : -tribunes, withdraw
awhile.
I pr'ythee, noble friend, home to thy house ;
Leave us to cure this cause ;-for ' tis a sore
You cannot tent yourself : begone, ' beseech you.
Com. Come, sir, along with us.
Cor. On fair ground,
I could beat forty of them.
[ Exeunt Coriolanus, and Cominius, L.H.
Men. You worthy tribunes,
Sic. He shall be thrown down the Tarpeian rock
With rigorous hands ; he hath resisted law,
And therefore law shall scorn him further trial.
1st. Cit. He shall well know,
The noble tribunes are the people's mouths,
And we their hands.
All. He shall, be sure on't,
Men. Sir,
Sic. Peace.
Men. Do not cry havock, where you should but
hunt
With modest warrant.
Sic. Sir, how comes't,-that you
Have holp to make this rescue ?
Men. Hear me speak : -
As I do know the consul's worthiness,
So can I name his faults :
Sic. Consul !-What consul ?
Men. The consul Coriolanus..
Bru. He a consul ! .
All. No, no, no, no, no..
Men. If, by the tribunes' leave, and yours, good
people,
I may be heard, I'd crave a word or two ;
The which shall turn you to no further harm,
Than so much loss of time.
c 5
34 CORIOLANUS.
Bru. We'll hear no more ; -
Pursue him to his house, and pluck him thence ;
Lest his infection, being of catching nature,
Spread further.
( Citizens rush tumultuously towards L.A.
Men. One word more, one word : —
Proceed by process ;
Lest parties (as he is belov'd,) break out,
And sack great Rome with Romans .
Bru. If ' twere so,
Sic. What do ye talk ?
Have we not had a taste of his obedience ?
Men. Consider this ;-he hath been bred i'the
wars
Since he could draw a sword, and is ill school'd
In boulted language ; meal and bran together
He throws without distinction . Give me leave,
I'll go to him, and undertake to bring him
Where he shall answer, by a lawful form ,
(In peace) to his utmost peril.
Sic. Noble Menenius,
Be you then as the people's officer.--
(Crosses with Brutus, to R.H.)
Meet on the market-place :-we'll attend you there :
Where, ifyou bring not Marcius, we'll proceed
In our first way.
Men. I'll go and bring him to you.
[ Exeunt; Sicinius, Brutus, and Citizens, R.H.
Menenius, L.H.
ACT IV .
END OF ACT IV .
ACT V.
Twelve Lictors.
Ten Men with Spears and Shields .
Two Battering Rams.
Eight Men with Swords and Shields.
Six Men with Spears and Shields.
Banners-Fish, Antium, Hawk, Volsci and Fame.
Two Men with Spears and Shields.
Two Men with Spears. Raven.
Ram . Appius.
Two Men with Spears and Shields.
Raised Seats for Six Senators. Pegasus.
Six Men with Swords and Shields.
Fulvius.
Two Men with Spears and Shields.
Two Men with Spears and Shields.
Lion. Dragon.
Volusius. Sextus.
Chairs
State
Aufidius. Sphinx.
Coriolanus . Navius.
R.H. L.H.
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Finis . ru oferite
Orberry's Edition.
VENICE PRESERVED,
A TRAGEDY;
By Thomas Otway.
AS IT IS PERFORMED AT THE
Theatres Royal.
BY W. OXBERRY, Comedian.
London.
1820.
Oxberry and Co. Printers,
8, White Hart Yard.
Remarks,
VENICE PRESERVED.
P
EPILOGUE.
PRIULI.
Black velvet doublet, breeches and robe, trimmed with jet buttons,
and black braid, black shoes, roses, and silk stockings.
JAFFIER.
Black velvet doublet and breeches, black satin vest, trimmed , black
silk braid, and jet buttons , black satin scarf, black shoes, roses, and
silk stockings, vandyke, black hat, and plume of ostrich feathers, black
sword.
PIERRE.
First dress.-Jacket and pantaloons of buff kerseymere, blue Vene
tian fly. Second dress.- Ornamented richly with silver, black hat,
plume of scarlet ostrich feathers, pair of buff gauntlets, russet boots ,
scarlet roquelaure, and sword.
BEDAMAR.
Blue doublet and breeches trimmed with gold, russet boots, black
hat, and plume of feathers.
DUKE.
Crimson velvet dress, with robe richly embroidered with gold.
RENAULT.
Black velvet doublet, breeches , and cloak embroidered with gold.
CONSPIRATORS.
Various coloured richly embroidered Venetian dresses.
GUARDS.
Grey doublets, breeches, and grey hats.
SENATORS.
Black gowns with ermine capes, small black caps trimmed with er
mine.
BELVIDERA.
First dress.- Black velvet, trimmed with gold, black and gold dra
pery.- Second dress.-White muslin, ibid.
Persons Represented.
Time of Representation.
The time this piece takes in representation is about two hours and
thirty-six minutes.-The first act occupies the space of twenty-eight
minutes ;-the second, twenty-five ;-the third, thirty-six ;-the fourth,
thirty-five ;-and the fifth, thirty-two.-The half-price commences
generally about nine o'clock.
Stage Directions .
ACT I.
END OF ACT I.
ACT II.
·
Ren. Why was my choice ambition ? the worst
ground
A wretch can build on ! It's, indeed, at distance,
A goodly prospect, tempting to the view ;
The height delights us, and the mountain top
Looks beautiful, because it's nigh to heav'n.
16 VENICE PRESERVED .
But we ne'er think how sandy's the foundation ,
What storm will batter, and what tempest shake us.
Who's there ?
O, sir, welcome !
You are an Englishman ; when treason's hatching,
One might have thought you'd not have been behind
hand.
In what whore's lap have you been lolling ?
Give but an Englishman his whore and ease,
Beef, and a sea- coal fire, he's yours for ever.
Ell. Frenchman , you are saucy.
Ren. How ! (Puts his hand to his sword.)
ACT III.
Pier. Jaffier.
Jaf. Who calls ?
Pier. A friend, that could have wish'd
T' have found thee otherwise employed. What, hunt
A wife, on the dull soil ! Sure a staunch husband
Of all hounds is the dullest. Wilt thou never,
Never be wean'd from caudles and confections ?
What feminine tales hast thou been list'ning to,
Of unair'd shirts, catarrhs, and tooth-ache, gót
By thin- sol'd shoes ? Damnation ! that a fellow,
Chosen to be a sharer in the destruction
Of a whole people, should sneak thus into corners
To ease his fulsome lusts, and fool his mind.
VENICE PRESERVED . 27
Jaf. May not a man then trifle out an hour
With a kind woman , and not wrong his calling ?
Pier. Not in a cause like ours.
Jaf. Then, friend, our cause
Is in a damn'd condition : for I'll tell thee,
That canker-worm , called lechery, has touch'd it ;
'Tis tainted vilely . Wouldst thou think it ? Renault,
(That mortified, old, wither'd , winter rogue)
He visited her last night, like a kind guardian :
Faith ! she has some temptation , that's the truth on't.
Pier. He durst not wrong his trust.
Jaf. 'Twas something late, though,
To take the freedom of a lady's chamber.
Pier. Was she in bed?
Jaf. Yes, faith, in virgin sheets,
White as her bosom, Pierre, dish'd neatly up,
Might tempt a weaker appetite to taste.
Oh! how the old fox stunk, I warrant thee,
When the rank fit was upon him !
Pier. Patience guide me !
He us'd no violence ?
1 Jaf. No, no ; out on't, violence !
Play'd with her neck ; brush'd her with his grey beard ;
But not a jot of violence .
Pier. Damn him .
Jaf. Ay, so say I : but hush, no more on't.
All hitherto is well, and I believe
Myself no monster yet. Sure it is near the hour
We all should meet for our concluding orders :
Will the ambassador be here in person ?
Pier. No, he has sent commission to that villain,
Renault,
To give the executing charge :
I'd have thee be a man, if possible,
And keep thy temper ; for a brave revenge
Ne'er comes too late.
Jaf. Fear not, I am cool as patience .
Pier. He's yonder, coming this way through the
hall ;
His thoughts seem full.
C2
28 VENICE PRESERVED .
Jaf. Pr'ythee retire, and leave me
With him alone : I'll put him to some trial :
See how his rotten part will bear the touching.
Pier. Be careful, then. [Exit, R.H.
Jaf. Nay, never doubt, but trust me.
What ! be a devil, take a damning oath
For shedding native blood ! Can there be a sin
In merciful repentance ? Oh, this villain !
(Retires up the stage.)
c5
34 VENICE PRESERVED .
ACT IV.
c6
36 VENICE PRESERVED.
END OF ACT IV .
48 VENICE PRESERVED .
ACT V.
Oldy Bully
56 VENICE PRESERVED .
Am I to blame to love him ? Oh, thou dear one !
Why do you fly me ? Are you angry still then ?
Jaffier, where art thou ? Father, why do you thus ?
Stand off, don't hide him from me. He's here some .
where.
Stand off, I say : What gone ? Remember't, tyrant :
I may revenge myself for this trick, one day.
Enter OFFICER, L.H.
BEL
AN
N
VID
ERA .
ME
RV
PR
WO
SE
IU
.
OFF
LI
.
ICE
R.
Finis.
R.H. CURTAIN. L.H.
Oxberry & Co. Printers, 8, White-hart Yard.
3
1
•
PAMPHLET VOLUME