Let hell make crook"d my mind to answer it. And this word love, which greybeards call divine, And nut in me; I am myself alone. [Exit. SCENE VII.—The same. A Room in the Palace. King Edward is discovered sitting on his throne; Queen Elizaeeth, with the infant PRINCE, CLARENCE, GLOSTER, HASTINGS, and others, near him. K. Edw. Once more we sit in England's royal throne, Re-purchas'd with the blood of enemies. What valiant foemen, like to autumn's corn, For hardy and undoubted champions : Two Cliffords, as the father and the son; And two Northumberlands; two braver men Ne'er spurr'd their coursers at the trumpet's sound : With them, the two brave bears, Warwick and Montague> That in their chains fetter'd the kingly lion, And made the forest tremble when they roar'd. Have in our armours watch'd the winter's night; peace; the gain. Glo. I'll blast his harvest, if your head were laid; And heave it shall some weight, or break my back: [Aside. I seal upon the lips of this sweet babe. K. Edw. Thanks, noble Clarence; worthy brother, thanks. Glo. And, that I love the tree from whence thou sprang'st, Witness the loving kiss I give the fruit: To say the truth, so Judas kiss'd his master; [Aside. K. Edw. Now am I seated as my soul delights, Having my country's peace, and brothers' loves. Clar. What will your grace have done with Margaret? Reignier, her father, to the king of France Hath pawn'd the Sicils and Jerusalem, And hither have they sent it for her ransom. K. Edw. Away with her, and waft her hence to France. And now what rests, but that we spend the time With stately triumphs, mirthful comic shows, Such as befit the pleasure of the court? Sound, drums and trumpets!—farewell, sour annoy! For here, I hope, begins our lasting joy. [Exeunt. End of King Henry VI.—Part XXX. Introduction. THIS History was originally published in l597. It was reprinted four times in quarto previous to its appearance in the folio of lC23. To understand the character of the 'Richard III.' of Shakspere, we must have traced its development by the author of the previous plays. Those who study the subject carefully will find how entire the unity is preserved between the last of these four dramas, which everybody admits to be the work of the "greatest name in all literature," in an unbroken link with the previous drama, which some have been in the habit of assigning to some obscure and very inferior writer. We are taught to open the Life and Death of King Richard III.,' and to look upon the extraordinary being who utters the opening lines as some new creation, set before us in the perfect completeness of self-formed villainy. We have not learnt to trace the growth of the mind of this bold bad man; to see how his bravery became gradually darkened with ferocity; how his prodigious talents insensibly allied themselves with cunning and hypocrisy ; how, in struggling for his house, he ultimately proposed to struggle for himself; how, in fact, the bad ambition TOl. VI. U |