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This scene is to us the most convincing proof of Falstaff's power of gaining over the goodwill of those he was familiar with, except indeed Bardolph's somewhat profane exclamation on hearing the account of his death, 'Would I were with him, wheresoe'er he is, whether in heaven or hell.'

One of the topics of exulting superiority over others most common in Sir John's mouth is his corpulence and the exterior marks of good living which he carries about him, thus 'turning his vices into commodity'. He accounts for the friendship between the Prince and Poins, from 'their legs being both of a bigness'; and compares Justice Shallow to 'a man made after supper of a cheese-paring'. There cannot be a more striking gradation of character than that between Falstaff and Shallow, and Shallow and Silence. It seems difficult at first to fall lower than the squire; but this fool, great as he is, finds an admirer and humble foil in his cousin Silence. Vain of his acquaintance with Sir John, who makes a butt of him, he exclaims, 'Would, cousin Silence, that thou had'st seen that which this knight and I have seen!'—'Aye, Master Shallow, we have heard the chimes at midnight,' says Sir John. To Falstaff's observation, 'I did not think Master Silence had been a man of this mettle', Silence answers, 'Who, I? I have been merry twice and once ere now.' What an idea is here conveyed of a prodigality of living? What good husbandry and economical self-denial in his pleasures? What a stock of lively recollections? It is curious that Shakespeare has ridiculed in Justice Shallow, who was 'in some authority under the king', that disposition to unmeaning tautology which is the regal infirmity of later times, and which, it may be supposed, he acquired from talking to his cousin Silence, and receiving no answers.

Falstaff. You have here a goodly dwelling, and a rich.

Shallow. Barren, barren, barren; beggars all, beggars all, Sir John: marry, good air. Spread Davy, spread Davy. Well said, Davy.

Falstaff. This Davy serves you for good uses.

Shallow. A good varlet, a good varlet, a very good varlet. By the mass, I have drank too much sack at supper. A good varlet. Now sit down, now sit down. Come, cousin.

The true spirit of humanity, the thorough knowledge of the stuff we are made of, the practical wisdom with the seeming fooleries in the whole of the garden-scene at Shallow's country-seat, and just before in the exquisite dialogue between him and Silence on the death of old Double, have no parallel anywhere else. In one point of view, they are laughable in the extreme; in another they are equally affecting, if it is affecting to show what a little thing is human life, what a poor forked creature man is!

The heroic and serious part of these two plays founded on the story of Henry IV is not inferior to the comic and farcical. The characters of Hotspur and Prince Henry are two of the most beautiful and dramatic, both in themselves and from contrast, that ever were drawn. They are the essence of chivalry. We like Hotspur the best upon the whole, perhaps because he was unfortunate.—The characters of their fathers, Henry IV and old Northumberland, are kept up equally well. Henry naturally succeeds by his prudence and caution in keeping what he has got; Northumberland fails in his enterprise from an excess of the same quality, and is caught in the web of his own cold, dilatory policy. Owen Glendower is a masterly character. It is as bold and original as it is intelligible and thoroughly natural. The disputes between him and Hotspur are managed with infinite address and insight into nature. We cannot help pointing out here some very beautiful lines, where Hotspur describes the fight between Glendower and Mortimer.

—When on the gentle Severn's sedgy bank,

In single opposition hand to hand,

He did confound the best part of an hour

In changing hardiment with great Glendower:

Three times they breath'd, and three times did they drink,

Upon agreement, of swift Severn's flood;

Who then affrighted