Of the picturesque force of an epithet, there is not in the records of poetry a more remarkable instance than what is here produced by the adoption of the term withered, through which the scene starts into existence with a boldness of relief that vies with the noblest creations of the pencil.
The address to Westmoreland, on his wishing for more men from England, is a fine specimen of military eloquence, possessing that high tone of enthusiasm and exhilaration, so well calculated to inflame the daring spirit of the soldier. It is in perfect keeping with the historical character of Henry, nor can we agree with Dr. Johnson in thinking that its reduction "to about half the number of lines," would have added, either to its force or weight of sentiment[428:A]; so far, indeed, are we from coalescing with this decision, that we feel convinced not a clause could be withdrawn without material injury to the animation and effect of the whole.
Instances of the same impressive and energising powers of elocution, will be found in the King's exhortation to his soldiers before the gates of Harfleur[428:B]; in his description of the horrors attendant on a city taken by storm[428:C]; and in his replies to the Herald Montjoy[428:D]; all of which spring naturally from, and are respectively adapted to the circumstances of the scene.
Nor, amid all the dangers and unparalleled achievements of the Fifth Henry, do we altogether lose sight of the frank and easy gaiety which distinguished the Prince of Wales. His winning condescension in sympathising with the cares and pleasures of his soldiers, display the same kindness and affability of temper, the same love of raillery and humour, reminiscences, as it were, of his youthful days, and which, in his intercourse with Williams and Fluellin, produce the most pleasing and grateful relief.
These touches of a frolic pencil are managed with such art and address, that they derogate nothing from the dignity of the monarch and the conqueror; what may be termed the truly comic portion of the play, being carried on apart from any immediate connection with the person of the sovereign.
As the events of warfare and the victories of Henry form the sole subjects of the serious parts of this piece, it was necessary for the sake of variety and dramatic effect, and in order to satisfy the audience of this age, that comic characters and incidents should be interspersed; and, though we are disappointed in not seeing Falstaff, according to the poet's promise, again on the scene, we once more behold his associates, Bardolph, Pistol, and Hostess Quickly, pursuing their pleasant career with unfailing eccentricity and humour. The description of the death of Falstaff by the last of this fantastic trio, is executed with peculiar felicity, for while it excites a smile verging on risibility, it calls forth, at the same time, a sigh of pity and regret.
Of the general conduct of this play, it may be remarked, that the interest turns altogether upon the circumstances which accompany a single battle; consequently the poet has put forth all his strength in colouring and contrasting the situation of the two armies; and so admirably has he succeeded in this attempt, by opposing the full assurance of victory, on the part of the French, their boastful clamour, and impatient levity, to the conscious danger, calm valour, and self-devotedness of the English, that we wait the issue of the combat with an almost breathless anxiety.
And, in order that the heroism of Henry might not want any decoration which poetry could afford, the epic and lyric departments have been laid under contribution, for the purpose of supplying what the very confined limits of the stage, then in the infancy of its mechanism, had no means of unfolding. A preliminary chorus, therefore, is attached to each act, impressing vividly on the imagination what could not be addressed to the senses, and adding to a
subject, in itself more epic than dramatic, all the requisite grandeur and sublimity of description.
19. Much Ado about Nothing: 1599. The allusion, in the opening scene of this comedy, to a circumstance attending the campaign of the Earl of Essex in Ireland, during the summer of 1599, which was first noticed by Mr. Chalmers, and which seems corroborated by the testimony of Camden and Moryson[430:A], has induced us to adopt the chronology dependent on this apparent reference, the only note of time, indeed, which has hitherto been discovered in the play.