Shakspeare and His Times [Vol. 2 of 2] / Including the Biography of the Poet; criticisms on his genius and writings; a new chronology of his plays; a disquisition on the on the object of his sonnets; and a history of the manners, customs, and amusements, superstitions, poetry, and elegant literature of his age

by Nathan Drake

My life, my joy, my food, my all the world!

My widow-comfort, and my sorrow's cure!"[421:A] [Exit.

Independent of the scenes which unfold the striking characters of Constance and Faulconbridge, there are two others in this play which

may vie with any thing that Shakspeare has produced; namely, the scene between John and Hubert, and that between Hubert and Arthur. The former, where the usurper obscurely intimates to Hubert his bloody wishes, is conducted in so masterly a manner, that we behold the dark and turbulent soul of John lying naked before us in all its deformity, and shrinking with fear even from the enunciation of its own vile purpose; "it is one of the scenes," as Mr. Steevens has well observed, "to which may be promised a lasting commendation. Art could add little to its perfection; and time itself can take nothing from its beauties."[422:A]

The scene with Hubert and the executioners, where the hapless Arthur supplicates for mercy, almost lacerates the heart itself; and is only rendered supportable by the tender and alleviating impression which the sweet innocence and artless eloquence of the poor child fix with indelible influence on the mind. Well may it be said, in the language of our poet, that he who can behold this scene without the gushing tribute of a tear,

"Is fit for treasons, stratagems, and spoils;—

Let no such man be trusted."

As for the character of John, which, from its meanness and imbecillity, seems not well calculated for dramatic representation, Shakspeare has contrived, towards the close of the drama, to excite in his behalf some degree of interest and commiseration; especially in the dying scene, where the fallen monarch, in answer to the enquiry of his son as to the state of his feelings, mournfully exclaims,—

"Poison'd,—ill fare;—dead, forsook, cast off."

17. All's Well that Ends Well: 1598. There does not appear any sufficient reason for altering the date assigned to this play by Mr. Malone, whom we have, therefore, followed in preference to Mr. Chalmers, who has fixed on the succeeding year; a decision to