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Under his own vine, what he plants; and sing
The merry songs of peace to all his neighbors.
God shall be truly known; and those about her
From her shall read the perfect ways of honor,
And by those claim their greatness

, not by blood.
[Nor shall this peace sleep with her ; but as when
The bird of wonder dies, the maiden phænix,
Her ashes new create another heir,
As great in admiration as herself;
So shall she leave her blessedness to one,
When Heaven shall call her from this cloud of darkness)
Who, from the sacred ashes of her honor,
Shall star-like rise, as great in fame as she was,
And so stand fixed. Peace, plenty, love, truth, terror,
That were the servants to this chosen infant,
Shall then be his, and like a vine grow to him;
Wherever the bright sun of heaven shall shine,
His honor and the greatness of his name
Shall be, and make new nations. He shall flourish,
And, like a mountain cedar, reach his branches
To all the plains about him.- Our children's children
Shall see this, and bless Heaven.
K. Hen.

Thou speakest wonders.]
Cran. She shall be, to the happiness of England,
An aged princess; many days shall see her,
And yet no day without a deed to crown it.
'Would I had known no more! But she must die;
She must; the saints must have her; yet a virgin,
A most unspotted lily shall she pass
To the ground, and all the world shall inourn her.

K. Hen. O lord archbishop,
Thou hast made me now a man; never, before
This happy child, did I get any thing.
This oracle of confort has so pleased me,




1 Some of the commentators think that this and the following seventeen lines were probably written by Ben Johnson, after the accession king James. We have before observed Mr. Gifford is of opinion that Ben Jonson had no hand in the additions to this play.

2 The year before the revival of this play there was a lottery for the plantation of Virginia. The lines probably allude to the settlement of that colony.

That, when I am in heaven, I shall desire
To see what this child does, and praise my Maker.-
I thank


all.—To you, my good lord mayor, And your good brethren, I am much beholden; I have received much honor by your presence, And


shall find me thankful. Lead the way, lords; Ye must all see the queen, and she must thank ye; She will be sick else. This day, no man think He has business at his house ; for all shall stay ; This little one shall make it holiday. [Exeunt. EPILOGUE.

'Tis ten to one, this play can never please
All that are here. Some come to take their ease,
And sleep an act or two; but those, we fear,
We have frighted with our trumpets; so, 'tis clear,
They'll say, 'Tis naught! others, to hear the city
Abused extremely, and to cry, That's witty!
Which we have not done neither: that, I fear,
All the expected good we are like to hear
For this play at this time, is only in
The merciful construction of good women;
For such a one we showed them. If they smile,
And say, 'Twill do! I know, within a while
All the best men are ours; for 'tis ill hap,
If they hold, when their ladies bid them clap.


The play of Henry VIII. is one of those which still keeps possession of the stage by the splendor of its pageantry. The coronation, about forty years ago, drew the people together in multitudes for a great part of the winter. Yet pomp is not the only merit of this play. The meek sorrows and virtuous distress of Katharine, have furnished some scenes which may be justly numbered among the greatest efforts of tragedy. But the genius of Shakspeare comes in and goes out with Katharine. Every other part may be easily conceived and easily written.

The historical dramas are now concluded, of which the two parts of Henry IV. and Henry V. are among the happiest of our author's compositions; and King John, Richard III., and Henry VIII., deservedly stand in the second class. Those whose curiosity would refer the historical scenes to their original, may consult Holinshed, and sometimes Hall. From Holinshed, Shakspeare has often inserted whole speeches with no more alteration than was necessary to the numbers of his verse. To transcribe them into the margin was unnecessary, because the original is easily examined, and they are seldom less perspicuous in the Poet than in the historian.

To play histories, or to exhibit a succession of events by action and dialogue, was a common entertainment among our rude ancestors upon great festivities.* The parish clerks once performed at Clerkenwell a play which lasted three days, containing the History of the World.


* It appears that the tradesmen of Chester were three days emplɔyed in the representation of twenty-four Whitsun plays or mysteries. See Mr. Markland's Disquisition, prefixed to his very elegant and interesting selection from the Chester Mysteries, printed for private distribution ; which may be consulted in the third volume of the late edition of Malone's Shakspeare, by Mr. Boswell. The Coventry Mysteries must have taken up a longer time, as they were no less than forty in number.



“ MR. STEEVENS informs us that Shakspeare received the greater part of the materials that were used in the construction of this play from the Troy Book of Lydgate. It is presumed that the learned commentator would have been nearer the fact, had he substituted the Troy Book, or Recueyl, translated by Carton from Raoul Le Fevre ; which, together with a translation of Homer, supplied the incidents of the Trojan war. Lydgate's work was becoming obsolete, whilst the other was at this time in the prime of its vigor. From its first publication, to the year 1619, it had passed through six editions, and continued to be popular even in the eighteenth century. Mr. Steevens is still less accurate in stating Le Fevre's work to be a translation from Guido of Colonna; for it is only in the latter part that he has made any use of him. Yet Guido actually had a French translation before the time of Raoul ; which translation, though never printed, is remaining in MS. under the whimsical title of · La Vie de la pitieuse Destruction de la noble et superlative Cite de Troye le grand. Translatée en François l'an MCCCLXXX. Such part of the present play as relates to the loves of Troilus and Cressida, was most probably taken from Chaucer, as no other work, accessible to Shakspeare, could have supplied him with what was necessary.” This account is by MR. Douce, from whom also what follows on this subject is abstracted.

Chaucer, in his Troilus and Creseide, asserts that he followed Lollius, and that he translated from the Latin ; but who Lollius was, and when he lived, we have no certain indication, though Dryden boldly asserts that he was an historiographer of Urbino, in Italy, and wrote in Latin verse. Nothing can be more apparent than that the Filostrato of Boccaccio afforded Chaucer the fable and characters of his poem, and even numerous passages appear to be mere literal translations; but there are large additions in Chaucer's work, so that it is possible he may have followed a free Latin version, which may have had for its author Lollius.

Boccaccio does not give his poem as a translation, and we must therefore suppose him to have been the inventor of the fable, until we have inore certain indications respecting Lollius. So much of it as relates to the departure of Cressida from Troy, and her subsequent amour with Diomed, is to be found in the Troy Book of Guido of Colonna, composed in 1287, and, as he states, from Dares Phrygius, and Dicty's Cretensis, neither of whom mention the name of Cressida. Mr. Tyrwhitt conjectured, and Mr. Douce confirmed the conjecture, that Guido's Dares was in reality an old Norman poet, named Benoit de Saint More, who wrote in the reign of our Henry the Second, and who himself made use of Dares, Guido is said to have come into England, where he found the Metrical Romance of Benoit, and translated it into Latin prose; and, following a practice too prevalent in the middle ages, he dishonestly suppressed the mention


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