OBSERVATIONS.

OF this play there is a tradition, preserved by Mr. Rowe, that it was written at the command of Queen Elizabeth, who was so delighted with the character of Faistaff, that she wished it to be diffused through more plays; but suspecting that it might pall by continued uniformity, directed the poet to diversify his manner, by shewing him in love. No task is harder than that of writing to the ideas of another. Shakespeare knew what the queen, if the story be true, seems not to have known, that by any real passion of tenderness, the selfish craft, the careless jollity, and the lazy luxury of Falstaff must have suffered so much abatement, that little of his former cast would have remained. Falstaff could not love, but by ceasing to be Falstaff. He could only counterfeit love, and his professions could be prompted, not by the love of pleasure, but of money. Thus the poet approached, as near as he could, to the work enjoined him; yet having perhaps in the former plays completed his own idea, seems not to have been able to give Falstaff all his former power of entertainment.

This comedy is remarkable for the variety and number of the personages, who exhibit more characters appropriated and discriminated, than perhaps can be found in any other play.

Whether Shakespeare was the first that produced upon the English stage the effect of language distorted and depraved by provincial or foreign pronunciation, I cannot certainly decide. This mode of forming ridiculous characters can confer praise only on him, who originally discovered it, for it requires not much of either wit or judg ment: its success must be derived almost wholly from the player, but its power in a skilful mouth, even he that despises it, is unable to resist.

The conduct of this drama is deficient; the action begins and ends often before the conclusion, and the different parts might change place without inconvenience; but its general power, that power by which all works of ge

nius shall finally be tried, is such, that perhaps it never yet had reader or spectator, who did not think it too soon at the end. JOHNSON.

A few of the incidents in this comedy might have been taken from an old translation of Il Pecorone by Giovanni Fiorentino. I have lately met with the same story in a very contemptible performance, intitled, The fortunate, the deceived, and the unfortunate Lovers. Of this book, as I am told, there are several impressions; but that in which I read it was published in 1632, quarto. A somewhat similar story occurs in Piacevoli Notti di Straparola, Nott. 4a. Fav. 4a. STEEVENS.

PERSONS REPRESENTED.

Sir JOHN FALSTAFF

ΓΕΝΤΟΝ.

SHALLOW, a country justice

SLENDER, Cousin to Shallow

Mr. FORD,

Mr. PAGE, S

two gentlemen dwelling at Windsor.

WILLIAM PAGE, a boy, son to Mr. Page.
Sir HUGH EVANS, a Welch parson.
Dr. CAIUS, a French physician.

Host of the Garter Inn.

BARDOLPH,

Mrs. ANNE PAGE, her daughter, in love with Fenton. Mrs. QUICKLY, servant to Dr. Caius.

Servants to Page, Ford, &c. ·

SCENE, Windsor; and the parts adjacent.