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Hubert. Come forth ; do as I bid you.
[Stamps, and the men enter. Arthur. () save me, Hubert, save me! my eyes are out Ev’n with the fierce looks of these bloody men.
Hubert. Give me the iron, I say, and bind him here.
Arthur. Alas, what need you be so boist'rous rough?
Hubert. Go, stand within ; let me alone with him.
Hubert. Come, boy, prepare yourself.
Arthur. O heav'n! that there were but a moth in yours,
Hubert. Is this your promise ? go to, hold your tongue.
Arthur. Let me not hold my tongue ; let nie not, Hubert;
spare mine eyes !
Hubert. I can heat it, boy.
Arthur. No, in good sooth, the fre is dead with grief.
The breath of heav'n hath blown its spirit out,
Hubert. But with my breath I can revive it, boy.
Arthur. All things that you should use to do me wrong,
Hubert. Well, see to live; I will not touch thine eyes
Arthur. O, now you look like Hubert. All this while
Hubert. Peace no more. Adieu,
Arthur. O heav'n! I thank you, Hubert.
Hubert. Silence, no more; go closely in with me;
His death afterwards, when he throws himself from his prison-walls, excites the utmost pity for his innocence and friendless situation, and welt justifies the exaggerated denunciations of Falconbridge to Hubert whom he suspects wrongfully of the deed.
* There is not yet so ugly a fiend of hell
The excess of maternal tenderness, rendered desperate by the fickleness of friends and the injustice of fortune, and made stronger in will, in proportion to the want of all other power, was never more finely expressed than in Constance. The dignity of her answer to King Philip, when she refuses to accompany his messenger, “ To me and to the state of my great grief, let kings assemble," her indignant reproach to Austria for deserting her cause, her invocation to death, " that love of misery," however fine and spirited, all yield to the beauty of the passage, where, her passion subsiding into tenderness, she addresses the Cardinal in these words :
“ Oh father Cardinal, I have heard you say
K. Philip. You are as fond of grief as of your child.
Constance. Grief fills the room up of my absent child :
Then have I reason to be fond of grief."
trolable affliction of Constance for the wrongs which she sustains as a mother, is no less naturally conceived than it is ably sustained throughout these two wonderful characters.
The accompaniment of the comick character of the Bastard was well chosen to relieve the piognant agony of suffering, and the cold, cowardly policy of behaviour in the principal characters of this play. Its spirit, invention, volubility of tongue, and for. wardness in action, are unbounded. Aliquando sufflaminandus erat, says Ben Jonson of Shakspeare. But we should be sorry if Ben Jonson had been his licenser. We prefer the heedless magnanimity of his wit infinitely to all Jonson's laborious caution. The character of the Bastard's comick humour is the same in essence as that of other comick charac. ters in Shakspeare; they always run on with good things and are never exhausted; they are always daring and successful. They have words at will and a flow of wit, like a flow of animal spirits. The difference between Falconbridge and the others is that he is a soldier, and brings his wit to bear upon action, is courageous with his sword as well as tongue, and stimulates his gallantry by his jokes, his enemies feeling the sharpness of his blows and the sting of his sarcasms at the same time. Among his happiest sallies are his descanting on the composition of his own person, his invective against “commodity, tickling commodity," and his expression of contempt for the Archduke of Austria, who had killed his father, which begins in jest but ends in serious earnest. His conduct at the siege of Angiers shews that his resources were not confined to
verbal retorts. The same exposure of the policy of courts and camps, of kings, nobles, priests, and cardinals, takes place here as in the other plays we have gone through, and we shall not go into a disgusting repetition.
This, like the other plays taken from English his. tory, is written in a remarkably smooth and flowing style, very different from some of the tragedies, Macbeth, for instance. The passages consist of a series of single lines, not running into one another. This peculiarity in the versification, which is most common in the three parts of Henry VI., has been assigned as a reason why those plays were not written by Shakspeare. But the same structure of verse occurs in his other undoubted plays, as in Richard II., and in King John. The following are instan
"That daughter there of Spain, the lady Blanch,