John Kemble occasionally took some unwarrantable liberties with Shakespeare. When he produced the “Merry Wives of Windsor” at Covent Garden, in April, 1804 (in which he played Ford to Cooke’s Falstaff), he deprived Sir Hugh Evans of his knightly title, out of sheer ignorance, or culpable carelessness. Blanchard was announced for “Hugh Evans,” without the _Sir_. Hawkins, quoting Fuller, says that “anciently in England, there were more Sirs than Knights;” and as I have noticed in another page, the monosyllabic Sir was common to both clergymen and knights. To the first, however, only by courtesy, when they had attained their degree of B. A. In a “New Trick to cheat the Devil,” Anne says to her sire, “Nay, sir;” to which the father replies-- “Sir me no sirs! I am no knight nor churchman.” But John Kemble was complimentary to Shakespeare, compared with poor Frederick Reynolds, who turned the “Merry Wives of Windsor” into an opera, in 1824; and although Dowton did not sing Falstaff, as Lablache subsequently did, the two wives, represented by Miss Stephens and Miss Cubitt, warbled, instead of being merry in prose, and gave popularity to “I know a bank.” At the best, Fenton is but an indifferent part, but Braham was made to render it one marked especially by nonsense. Greenwood had painted a scene representing Windsor under _a glowing summer sky_, under which _Fenton_ (Braham) entered, and remarked, very like Shakespeare: “How I love this spot where dear Anne Page has often met me and confessed her love! Ha! I think the _sky is overcast_--the wind, too, blows like an approaching storm. Well, let it blow on! I am prepared to brave its fury.” Whereupon the orchestra commenced the symphony, and Mr. Braham took a turn up the stage, according to the then approved plan, before he commenced his famous air of “Blow, blow, thou _winter_ wind!” And the fun-anent Falstaff and the Fords was kept waiting for nonsense like this!