ADVERTISEMENT.

the age

The present Volume, entitled Studies of Shakspere, forming the Second Volume of

Studies and Illustrations,' consists of a republication, with additions and corrections, of the critical Notices that are scattered through my editions of Shakspere, known as the Pictorial' and 'the Library.'

There are very few readers who have not access to some edition of the works of " the greatest in our literature—the greatest in all literature.” But there are a vast number who have no aids in the proper appreciation of Shakspere’s excellence, dependent as such a judgment is upon an adequate comprehension of his principles of art. In developing those principles I have felt it necessary, on the one hand, to combat some opinions of former editors which were addressed to an age nearly without poetry ; which looked upon

of Shakspere as equally remarkable for the rudeness as for the vigour of its literature; and which considered Shakspere himself under the vulgar aspect of the miraculous,—a genius perfectly untaught and unregulated. On the other hand, I have as sedulously brought forward and enforced the doctrines of that more recent school of æsthetics which holds that “ the Englishman who, without reverence, a proud and affectionate reverence, can utter the name of William Shakspere, stands disqualified for the office of critic.” These Essays, therefore, are not to be received as the opinions of an individual, but as an embodiment of the genial spirit of the new school of Shaksperean criticism, as far as a humble disciple may interpret that spirit.

But even to those who are familiar with critical editions of Shakspere, and with the great mass of critical writings upon Shakspere, the present volume will have the value of a comprehensive arrangement. It will exhibit the rude beginnings of the Drama previous to Shakspere's appearance; it will trace the growth of his powers, as far as can be gathered from positive and circumstantial evidence, in his earliest works; it will carry forward the same analysis through the second period of his meridian splendour; it will show, in like manner, the glory of his mature day, and the sober lustre of his evening. In each of these periods the characters and productions of his dramatic contemporaries will be examined. The reader will proceed step by step in a systematic knowledge of the Shaksperean Art, and view it in connection with the circumstances which attended it in each successive stage of its advancement.

CHARLES KNIGHT.

1. Milton-Edward Phillips

II. Cibber-Dryden-Rymer-Gildon-Dennis-Addison ,

III. Rowe-Pope—Theobald-Hanmer--Warburton.

IV. Johnson— Voltaire-Mrs. Montagu-Martin Sherlock-Hume

V. Capell — Farmer – Steevens — Malone — Garrick — Richardson - Morgann

Whately-Percy-Warton--Lamb— Hazlitt-Coleridge

505

513

528

535

545

STUDIES OF SHAKSPERE.

BOOK I.

CHAPTER I.

PAGEANTS AND MYSTERIES.

The city of Coventry, within a moderate | In the play of “The Fall,' Eve sangdistance of Stratford upon Avon, was

“In this garden I will go see amongst the last places which retained the

All the flowers of fair beauty, ancient pageants. Before the Reformation,

And tasten the fruits of great plenty these pageants, “acted with mighty state That be in Paradise ;" and reverence by the friars of this house [the Grey Friars), had theatres for the several In the same play we have a hymn of Abel, scenes, very large and high, placed upon very sweet in its music :wheels, and drawn to all the eminent parts

Almighty God, and full of might, of the city, for the better advantage of spec

By whom all thing is made of nought, tators; and contained the story of the New

To thee my heart is ready dight, Testament composed into old English rhyme, For upon thee is all my thought.” as appeareth by an ancient manuscript, entitled Ludus Corporis Christi, or Ludus Co- In the play of Noah, when the dove reventric.”*

Henry V. and his nobles took turned to the ark with the olive-branch, great delight in seeing the pageants ; Queen there was a joyful chorus :Margaret, in the days of her prosperity,

“ Mare vidit et fugit, came from Kenilworth to Coventry privily

Jordanis conversus est retrorsum, to see the play, and saw all the pageants

Non nobis, Domine, non nobis, played save one, which could not be played

Sed nomini tuo da gloriam.” because night drew on; the triumphant Richard III. came to see the Corpus Christi These ancient Coventry plays were fortyplays; and Henry VII. much commended three in number I. The general spread of themt. In these Corpus Christi plays there knowledge might have brought other teachwere passages which had a vigorous sim- ing, but they familiarized the people with plicity, fit for the teaching of an unin- the great scriptural truths; they gave them structed people. In the play of 'The Crea- amusements of a higher nature than milition,' the pride of Lucifer disdained the wor

tary games, and contentions of mere brute ship of the angels, and he was cast down- force. In the boyhood of Shakspere the “With mirth and joy never more to mell.”

same class of subjects was handled by rude