Mrs. Page. [Aside] _Although that I have miss'd in my intent, Yet I am glad my husband's match is cross'd. --Here Fenton. take her.--_ Eva. _Come, master Page, you must needs agree._ Ford. _I' faith, Sir, come, you see your wife is pleas'd._ Page. _I cannot tell, and yet my heart is eas'd; And yet it doth me good the Doctor miss'd. Come hither, Fenton, and come hither, daughter._ (1773) General Observation. 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 Falstaff, 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 hope 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 pronunciations, 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 judgment: its success must be derived almost wholly from the player, but its power in a skilful month, 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 places without inconvenience; but its general power, that power by which all works of genius shall finally be tried, is such, that perhaps it never yet had reader or spectator, who did not think it too soon at an end. Vol. II MEASURE FOR MEASURE Persons Represented: Varrius might be omitted, for he is only once spoken to, and says nothing. There it perhaps not one of Shakespeare's plays more darkened than this by the peculiarities of its authour, and the unskilfulness of its editors, by distortions of phrase, or negligence of transcription. I.i.6 (4,4) [lists] Bounds, limits.