Aumerle. For ever may my knees grow to the earth, [Kneels. My tongue cleave to my roof within my mouth,

Unless a pardon, ere I rise, or speak.

Bolingbroke. Intended, or committed, was this fault?

If but the first, how heinous ere it be,

To win thy after-love, I pardon thee.

Act 5. Sc. 3.

KING HENRY THE FOURTH-THE FIRST PART:

AN HISTORICAL PLAY, BY WILLIAM SHAKSPEARE.

FROM the connection between the commencement of this fine drama, and the last act of Richard the Second, wherein Henry Bolingbroke declares his purpose of visiting the Holy Land, and the wildness of his son is mentioned, — Dr. Johnson observed, that Shakspeare apparently designed a regular succession of these histories, the reader being thus prepared for the character and frolics which the present play exhibits. The latter feature, however, is historically inaccurate, since the Prince was only twelve years old in 1399, when the conspiracy of Edward Plantagenet, Duke of Aumerle, was discovered; and, therefore, as yet too young to be a daily frequenter of the taverns of London. It is also extremely likely that the dissolute life attributed to him by the Chroniclers who wrote in English in the sixteenth century is fictitious.

The production of the First Part of Henry IV. is assigned to 1596 or 1597. It appears entered at Stationers' Hall, February 25th, in the latter year, and five editions of it in quarto, were published in the author's life; namely, in 1598, 1599, 1604, 1608, and 1613.

The scene is laid in various parts of England, and the action embraces the events of about ten months: commencing with the arrival of the tidings of Hotspur's defeat of the Scots at Holmedon, or Halidown-Hill, on Holy-Rood day, September 14th, 1402; and ending with Percy's defeat at Shrewsbury, on the Eve of St. Mary Magdalene, July 21st, 1403.

King Henry IV., with the Humours of Sir John Falstaff, as altered by Betterton, was acted at Lincoln's Inn Fields Theatre in 1700; and the original Play adapted by J. P. Kemble, was produced at Covent-Garden in 1803. It was also again revived at that house May 6th, 1824, with the same laudable attention to the historical costume, as that bestowed upon King John, under the superintendance of Mr. J. R. Planché.

Rowe has stated from tradition, that Falstaff in this piece was originally called Oldcastle; and it is affirmed that in the older English plays produced by Papists, Sir John Oldcastle, who suffered as a Lollard in 1418, was frequently represented with the person and follies of Falstaff. From these Shakspeare adopted the name and character, but from the advance of Protestantism, or Elizabeth's command that the former should be altered out of regard to some of the martyr's descendants, the present appellation was given; which has, however, been confounded with that of Sir John Fastolfe, a valiant and pious knight under Henry V.

V

[As they are sharing, the Prince and Poins set upon them.
Falstaff, after a blow or two, and the rest, run away,
leaving their booty behind them.

Prince Henry. Got, with much ease. Now, merrily to horse;
The thieves are scatter'd, and possess'd with fear

So strongly, that they dare not meet each other;
Each takes his fellow for an officer.
Away, good Ned. Falstaff sweats to death,
And lards the lean earth as he walks along:
Wer't not for laughing, I should pity him.

Act 2. Sc. 2.

He that rewards

me, God reward him! If I do grow great, I'll grow less; for I'll
purge, and leave sack, and live cleanly, as a nobleman should do.
[Exit, bearing off the body.

Act 5. Sc. 4.

3333333

THOUGH the fine chorus by Rumour, with which this piece commences, be said by Dr. Johnson to give no information which the first scene does not clearly and naturally discover,"—it is nevertheless important in connecting the past action with that which now opens; by preparing the reader or auditor, who has already seen the real issue of the battle of Shrewsbury, for those perfectly contrary reports of it which were spread “through the peasant towns," between the place of conflict and Warkworth Castle, in Northumberland. The second part of this Sovereign's reign thus commences within a very few days of the close of the former, July 21st, 1403; and the subsequent action embraces a period of almost nine years, since it terminates with the death of Henry IV. in the Jerusalem Chamber at Westminster, March 20th, 1412-13, and the Coronation of Henry V. at the Abbey there, on Passion-Sunday, April 9th, 1413. The scene of this play is laid in different parts of England, London, Westminster, &c.

Malone refers it's production to the year 1598, and Chalmers to 1597. That it was certainly written after 1596, is argued from a speech of Henry V. in Act v. Scene 2nd; which is supposed to allude to the barbarity of the Turkish Emperor Mohammed, who, after the death of his father Amurath III. in February, 1596, invited his unsuspecting brothers to à feast at Constantinople, and caused them all to be strangled. The play of Henry IV. is also mentioned in the list of Shakspeare's works in Meres' Wits' Treasury, in 1598; and, by the Epilogue to the drama, it appears to have been written before that of Henry V., which is fixed with some accuracy to 1599. It was entered at Stationers' Hall, August 23rd, 1600, and the first two editions of it in quarto were published in the same year.

The materials of both parts of this piece were derived chiefly from Holinshed's Chronicle of England, and an old play anterior to Shakspeare, published by Nichols, which also includes the reign of Henry V. The Second Part of Henry IV. was adapted to the modern stage by J. P. Kemble, and produced at Covent Garden, January 17th, 1804; and on June 25th, 1821, it was again revived at the same Theatre, for the purpose of introducing three additional scenes, exhibiting the Procession, Ceremonies, Banquet, and Challenge of the King's Champion, at a Royal Coronation. Dr. Johnson observes, that none of Shakspeare's plays are read more than these two parts of Henry IV.; and that perhaps no author has ever in two pieces afforded so much delight.

Falstaff. Give me my rapier, boy.

Doll. I pray thee, Jack, I pray thee, do not draw.

Falstaff. Get you down stairs. [Drawing, and driving Pistol out. Hostess. Here's a goodly tumult! I'll forswear keeping house, afore I'll be in these tirrits and frights. So; murder, I warrant now!Alas! alas! put up your naked weapons, put up your naked weapons. Act 2. Sc. 4.