we say tedious, because it interrupts the business of the scene, and loses its beauty and effect by having no intelligible connection with the previous character of the mild, well-meaning monarch. The passages which the unfortunate Henry has to recite are beautiful and pathetic in themselves, but they have nothing to do with the world that Richard has to "bustle in." In the same spirit of vulgar caricature is the scene between Richard and Lady Anne (when his wife) interpolated without any authority, merely to gratify this favourite propensity to disgust and loathing. With the same perverse consistency, Richard, after his last fatal struggle, is raised up by some Galvanic process, to utter the imprecation, without any motive but pure malignity, which Shakespear has so properly put into the mouth of Northumberland on hearing of Percy's death. To make room for these worse than needless additions, many of the most striking passages in the real play have been omitted by the foppery and ignorance of the prompt-book critics. We do not mean to insist merely on passages which are fine as poetry and to the reader, such as Clarence's dream, &c. but on those which are important to the understanding of the character, and peculiarly adapted for stage-effect. We will give the following as instances among several others.
