Abbildungen der Seite


The Costume of this Comedy is, of course, the and a white silk gipciere or purse hanging at same with that of the two parts of Henry IV.,' his girdle. and, therefore, for its general description we The Young 'Squire may furnish us with the must refer our readers to the notice affixed to dress of Master Fenton. He is described as Part I. of that play. Chaucer, however, who wearing a short gown, with sleeves long and wrote his 'Canterbury Tales' towards the close wide, and embroidered “as it were a mead, all of the previous reign, gives us a few hints for full of fresh flowers white and red.” Falstaff, the babit of some of the principal characters in when dressed as Herne the Hunter, should be the 'Merry Wives.' Dr. Caius, for instance, attired like his Yeoman, in a coat and hood of should be clothed, like the Doctor of Physic, green, with a born slung in a green baldrick. “ in sanguine and in perse,” (ie, in purple and The Wife of Bath is said to have worn, on & light blue) the gown being " lined with tafata Sunday, or holyday, kerchiefs, on her head of and sendal.” In 'the Testament of Cresseyde' the finest manufacture, but in such a quantity Chaucer speaks of a Physician in "& scarlet as to weigh nearly a pound.- When abroad, she gown," and "furred well, as such a one ought to wore " a hat, as broad as is a buckler or a targe.” be;" but scarlet and purple were terms used | Her stockings were of fine scarlet red, and her indifferently one for the other, and the phrase shoes "full moist and new." The high-crowned “ scarlet red” was generally used to designate hats and point lace aprons, in which the Merry that colour which we now call scarlet.

Wives of Windsor have been usually depicted, The Franklin or Country gentleman—the are of the seventeenth, instead of the fifteenth, Master Page, or Master Ford of this play—js century. merely said to have worn an anelace or knife,

[graphic][ocr errors][subsumed]
[graphic][ocr errors][subsumed][subsumed]

alsociates, by chance or circumstances, pecu- seek the tone of the poet's mind, and to that liarly teaches ;-these, as they sank down have our own minds attuned. Mr. Campbell, into the depths of his great mind, seem not speaking of the characters of this comedy, only to have inspired into it the conception says, “Our hearts are so střicken by these of 'Lear' and 'Timon, but that of one pri- benevolent beings that we easily forgive the mary character, the censurer of mankind. other more calpable but at last repentant This type is first seen in the philosophic characters." melancholy of Jaques, gazing with an un. “Ay, now am I in Arden 1" Touchstone diminished serenity, and with a gaiety of thought that when he was at home he was. fancy, though not of manners, on the follies in a better place. But here is the home of of the world. It assumes & graver cast in every true lover of poetry. What a world the exiled Duke of the same play." Mr. of exquisite images do Shakspere's pictures Hallam then notices the like type in 'Mea of this forest call up! He gives us no posi. sure for Measure' and the altered 'Hamlet,'tive set descriptions of trees, and flowers, as well as in 'Lear' and 'Timon;' and adds, and rivulets, and fountains, such as we may "In the later plays of Shakspere, especially cut out and paste into an album. But a touch in 'Macbeth' and 'The Tempest,' much of here and there carries us into the heart of moral speculation will be found, but he has his living scenery. And so, whenever it is never returned to this type of character in our happy lot to be wandering the personages." Without entering into a Under the shade of melancholy boughs," general examination of Mr. Hallam's theory, we think of the oak beneath which Jaques which evidently includes a very wide range lay along, of discussion, we must venture to think that

" whose antique root peeps out the type of character first seen in Jaques, and Upon the brook that brawls along this wood;" presenting a graver cast in the exiled Duke, and of the dingle where Touchstone was is 80 modified by the whole conduct of the with Audrey and her goats; and of the action of this comedy, by its opposite cha " Sheepcote fenced about with olive-trees," racterisation, and by its prevailing tone of where dwelt Rosalind and Celia; and of the reflection; that it offers not the slightest evi- hawthorns and brambles upon which Orlando dence of having been produced at a period of hung odes and elegies. In this delicious the poet's life “when his heart was ill at ease pastoral the real is blended with the poetical and ill content with the world or his own in such intimate union, that the highest conscience." The charm which this play poetry appears to be as essentially natural as appears to us to possess in a most remark. I the most familiar gossip; and the loftiest able degree, even when compared with other philosophy is interwoven with the occurrences works of Shakspere, is that, while we behold of every day life, so as to teach us that there " the philosophic eye, turned inward on the is a philosophical aspect of the commonest mysteries of human nature"-(we use Mr. I things. It is this spirit which informs Shak. Hallam's own forcible expression)-we also pere's forest of Arden with such life, and see the serene brow and the playful smile, truth, and beauty, as belongs to no other which tell us that “the philosophic eye” representation of pastoral scenes; which takes belongs to one who, however above us, is still us into the depths of solitude, and shows us akin to us who tolerates our follies, who how the feelings of social life alone can give compassionates even our faults, who mingles

Us in our gaiety, who rejoices in our happiness; "tongues lo trees, books in the running brooks, who leads us to scenes of surpassing loveli Sermons in stones, and good in everything!" ness, where we may forget the painful lessons which builds a throne for intellect "under of the world, and introduces us to characters the greenwood tree," and there, by character whose generosity, and faithfulness, and istic satire, gently indicates to us the vanity affection, and simplicity, may obliterate the of the things which bind us to the world; SOTTOW8.of our "experience of man's worser whilst he teaches us that life has its bappinature." It is not in Jaques alone, but in ness in the cultivation of the affections,-in. the entire dramatic group, that we must content and independence of spirit.


DUKE, living in exile.
Appears, Act II. sc. 1; $c. 7. Act V. sc. 4.
FREDERICK, brother to the Duke, and usurper

of his dominions.
Appear, Act I. sc. 2; sc. 3. Acé II. sc. 2.

Act III. sc. I.
AMIENS, a lord attending upon the Duke in

his banishment.. Appeare, Act II. s. 1; 65; k. 7. Act V. sc. L. JAQUBS, a lord attending upon the Duke in

his banishment
Appears, Act II. ke. 3; sc. 7. Act III. sc. 2; s. 2

Act IV. sc. 1; s. 2. Act V. sc. 4.
LE BEAU, a courtier attending upon Fre


Appears, Act I. sc. ..
CHARLES, wrestler to Frederick.

Appears, Act I. sc. 1 ; 8c. 2.
OLIVER, son of Sir Rowland de Bois
Appeari, Act I. sc. 1. Act III. sc. I. Act IV. ke. 3.

Act V. sc. 2; sc. 4
JAQUES, son of Sir Rowland de Bois.

Appeara, Act V. sc. 4.
ORLANDO, son of Sir Rowland de Bois.
Appeart, Act I s. 1; sc. 2. Act II. sc. 3; sc. 6; sc. 7.
Act III. sc. % Aet IV. sc. 1. Act V. sc. 2; sc. . .

Adam, servant to Oliver.
Appears, Act Lsc. 1. Act II. sc. 3; sc. 6; se. 7.

DENNIS, servant to Oliver.

Appears, Act I. sc. l.

TOUCHSTONE, a clown.
Appeart, Act I. sc. 2. Act II. sc. 4 Act III. sc. €; sc.

Act V. sc. I; se. 3; sc.

Appeara, Act IIL K. &

CORIN, a shepherd.
Appears, Act II. sc. 4 Act III. sc. 8; sc. 4; sc. So

Act V. s. l.

SILVIUS, a shepherd.
Appears, Act II. sc. 4. Act III. sc. 5. Act IV. sc. 2

Act V. sc. 2; sc.
WILLIAM, a country felloro, in love with


Appears, Act V. sc. I.
A person representing Hymen.

Appeari, Act V. sc.
ROSALIND, daughter to the banished Duke.
· Appears, Act I. sc. 2; s. & Act II. sc. 4
Act III. sc. 2; sc. 4; sc. & Act IV. sc. 1; sc. .

Act V. sc. 2; se. 4.
CELIA, daughter to Frederick.
Appears, Act I. sc. 2; sc. 3 Act II. sc. 4.
Act III. SC. 2; sc. 4; sc. & Act IV. sc. l; sed

Act V. sc. 4.
PREBE, a shepherdess.
Appears, Act III. sc. 5. Act V. sc. 8: sc. 4.

AUDREY, a country wench.
Appears, Act III. sc. 3 Act V. sc. l; sc. 3; sc. 4.



« ZurückWeiter »