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The Character Or Falstaff f t T H E C H A R A C T E R I SIR JOH N FALSTAFF, A S O R IGINAL L " EX H IB ITE D B " S H A K E S P EA R E IN TH E TWO PARTS O F KING HENR" IV. B " J AMES ORC HARD HALLIWELLfESQ, H ON. ETC . ETC . ETC . In spi te of facti on th i s w ou ld fav ou r get ‘ ” B u t F alstafi stan ds i n im i table y et . LONDON LLI M P N " L NE WI A IC KERI G, C HANC ER A . 1841 . " J O H N P A NE C O L L I E R , E S Q . , T H I S L I T T L E V O L " ME I S NS C R B E D I I , A S A S L I G H T T E S T I M O N " R E P E C T A ND E T E E M S S . ADVERTI EME T S N . THE object of the following pages is to en deavour to place in a clearer light a question which has been frequently discussed, but still o left in c nsiderable obscurity. In the earlier ages of Shakespearian criti ism c , it appears to have been taken for granted that the character of Falstaff was intended to represent a person equally historical with the o ther dr a ma ti s per sona? and the absurd no tion that its proto type was Sir Jo hn Fastolf appears to be hardly yet exploded . In the present tract I have endeavoured to establish what appears to me an important fact con t d nec e with this subject,and I have fortunately been enabled to illustrate it with several docu ments and passages from rare books, which have escaped the researches of former critics . I have taken the opportunity of publishing a few notes relating to Shakespeare, but not immediately connected with the subject of this essay . 35 f - Lo o , Al red place, nd n, Eve o l 1841 . f St. Mi chae , A N E S S A " ON THE L F C HARAC TER OF FA STA F. n TH E two parts of Henry IV . are uques ’ tio nably the most original of Shakespeare s m o historical dra as ; or, in o ther words, to av id ambiguity, he was not so deeply indebted in those two plays to the labours of previous z dramatists . We recogni e in them the forms o nly of the old compositions ; and they have undergone so complete a transformation, in passing through his hands, that little else than the title and general character can be traced . These still remain in an old play entitled “ The f ” Famous Victories o King Henry the Fifth, which has been satisfactorily proved to have been written before the year 1 5 88. The connexion which exists between a character in 8 T r HE CHARACTER o FALSTAFF . s ear s to p ei ever famous fat knight, is a subject whiCh I wish to draw the attentio n o f critical readers of our great dramatist, in the following pages . I propose to discuss, and I hope I shall be able satisfactorily to set at rest, a question which has arisen, gro unded hitherto o n a tradition of no earlier date than the com " m nt m e nce e of the eighteenth century, whe ther Shakespeare in the first instance b o rrowed the name as well as amplified the character of - the above mentio ned n obleman, who IS so highly distinguished in the history of the re formed religion . This question does no t in any way affect o o the fame f Shakespeare . It may be go d o o - o i o I allude, f c urse, to the well kn wn tradit n L f of handed down to us by Rowe, in his i e Shake speare It may n ot be improper to observe that this part of Falstaff is said to have been wr itten ori gin ally under the name of Oldcastle some of that f i e amily being then remain ng,the Queen was pleas d to command him to alter it upon which he made ” of F ff use alsta . THE C HARACTER o r FALSTAFF . 9 policy to premise this, for I observe with regret that there are many readers of our immortal ’ poet s works, who, witho ut a knowledge of the subject, despise the literature and criticism which have set the emanatio ns o f his genius in their true historical light, and who are als o greatly averse to the idea of accusing Shake speare of being indebted to previo us writers for any portion of the material on which he am n o w has founded his dramas . I alluding to w oM o c the , and not to those who , with a competent kn owledge o f contemporary litera ture,have made it a matter of study . Amo ng e the num rous readers of Shakespeare, with whom I have had the fortune to co nverse, I have never yet found one who did n ot consider i n o him, the words of an auth r who ought to “ have kno wn better, as the great poet whom n ature framed to disregard the wretched o m dels that were set before him, and to create a drama fro m his o wn native and o riginal ” stores . The real fact is, that n o dramatist ever made a freer use o f those wretched ” o m dels than Shakespeare . It may safely be 10 THE CHARACTER o r FALSTAFF . said that not a single plot of any of his dramas u is entirely his own . It is tr e that the sources o f some of his plays have not yet been dis “ covered, but they are those that we kn o w he would not have invented, leaving the capability an o f doing so out of the question . There c , at any rate, be no doubt that all the historical were on e was - ‘ u - ‘ e mpldyCd 1i tfiem fi remodel and repéfiijfiéfijm m ofi é fiih the m s f a the na eflg the M a fi most - p opular; incidm etwo parts of Henry so IV. , as I have observed above, he has com l l p ete y repaired the old model, that they may almost be considered in the light of o riginal dramas . I can scarcely imagi ne a more interesting subject for literary enquiry than the tracing out the originals of these plays, and the ex amination of the particular loci where the mas ter hand of Shakespeare has commenced his o wn labours ; yet it is a study so inadequately encouraged, and so little valued, that few have THE CHARACTER o r FALSTAFF . 1 1 the courage to enlist in its cause . The public appear to co nsider it an obstacle, rather than otherwise, to the free reading of his works, and w onder more especially what possible connexion there can be between literary history and roman tic dramas . It was but recently that one of our most learned and acute critics in this way was pro nounced a perfect barbarian a savage without a poetical soul, because he fixed by historic wand the scene of Prospero’ s enchant ments . The master stroke of the photogenic art was thought u nfavourable to the interests “ of true poetry, and a local habitation and a name incompatible with the nature of the “ theme . Surely,in common fairness,the still ’ v d ex Bermoothes ought to be expunged, and all the earthly concomitants deposited, like Lampedusa, in ethereal uncertainty . But do we,as Mr. Hunter asks,by researches such as these, lose any particle of the admira tion in which we hold Shakespeare ? 5 If the e positiv be maintained, there is at least a satis faction i n knowing what is the real fact ; and f there is a love o truth, as well as a love of 12 THE CHARACTER o r FALSTAFF . o Shakespeare, and a h mage due to b o th . A careful historian would pause, n o matter ho w strong the evidence was, before he would s o attribute to any geniu , h wever vast, the mighty revoluti o ns in p o etry o r science which ak are vulgarly ascribed to Sh espeare . The r m o labours of successive, o re rarely, co m in to b ed minds, al o ne are able accomplish Po such things . When pe said ’ Nature and Nature s laws lay hid in night ’ God L o all said , et Newt n be, and was light he expressed himself very el o quently ; and the opinion implied in the couplet has beco me a o o c p pular dogma . But Newt n owed as mu h to Kepler as Shakespeare did to Marlowe ; and Coleridge could not have been far wrong when he extended the weight of those obligatio ns even beyond the boundary usually adopted by professed critics . In plain words, Shakespeare — did not invent he perfected a drama already ennobled by the labours of others ; and the history o f that drama forms a very curio us and important epoch in our vernacular literature .
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