of the buck-basket, the disguise of the fat woman of Brentford, and the horns of Herne the hunter, which are discovered on Sir John’s head?  In reading the play, we indeed wish him well through all these discomfitures, but it would have been as well if he had not got into them.  Falstaff in the merry wives of Windsor is not the man he was in the two parts of Henry IV.  His wit and eloquence have left him.  Instead of making a butt of others, he is made a butt of by them.  Neither is there a single particle of love in him to excuse his follies:  he is merely a designing, bare-faced knave, and an unsuccessful one.

The scene with Ford as Master Brook, and that with Simple, Slender’s man, who comes to ask after the Wise Woman, are almost the only ones in which his old intellectual ascendancy appears.  He is like a person recalled to the stage to perform an unaccustomed and ungracious part; and in which we perceive only ’some faint sparks of those flashes of merriment, that were wont to set the hearers in a roar’.  But the single scene with Doll Tearsheet, or Mrs. Quickly’s account of his desiring ‘to eat some of housewife Keach’s prawns’, and telling her ‘to be no more so familiarity with such people’, is worth the whole of the merry wives of Windsor put together.  Ford’s jealousy, which is the mainspring of the comic incidents, is certainly very well managed.  Page, on the contrary, appears to be somewhat uxorious in his disposition; and we have pretty plain indications of the effect of the characters of the husbands on the different degrees of fidelity in their wives.  Mrs. Quickly makes a very lively go-between, both between Falstaff and his Dulcineas, and Anne Page and her lovers, and seems in the latter case so intent on her own interest as totally to overlook the intentions of her employers.  Her master, Doctor Caius, the Frenchman, and her fellow servant Jack Rugby, are very completely described.  This last-mentioned person is rather quaintly commended by Mrs. Quickly as ’an honest, willing, kind fellow, as ever servant shall come in house withal, and I warrant you, no tell-tale, nor no breed-bate; his worst fault is, that he is given to prayer; he is something peevish that way; but nobody but has his fault.’  The Welsh Parson, Sir Hugh Evans (a title which in those days was given to the clergy) is an excellent character in all respects.  He is as respectable as he is laughable.  He has ‘very good discretions, and very odd humours’.  The duel-scene with Caius gives him an opportunity to show his ’cholers and his tremblings of mind’, his valour and his melancholy, in an irresistible manner.  In the dialogue, which at his mother’s request he holds with his pupil, William Page, to show his progress in learning, it is hard to say whether the simplicity of the master or the scholar is the greatest.  Nym, Bardolph, and Pistol, are but the shadows of what they were; and Justice Shallow himself