Yet, in a previous scene with Hubert, by suffering his auditors to get before him, as it were, he fails of perfection in the part. An attentive audience is never dull of comprehension; and, however swiftly an actor proceeds, will follow close: but if permitted to gain ground of him, and penetrate the secret he should disclose, he gives up his prerogative by dallying with the impatient, who dive into impending events, with fatal consequence to all scenic deception.

Though Hubert sinks in importance by not being of the blood royal in this play, his character is illustrious from his virtue. Cooke, in the habit of performing characters far superior, elevates Hubert so much above the level where performers in general place him, that he displays, in this single instance, abating every other, abilities of the very first class.

Constance is the favourite part both of the poet and the audience; and she has been highly fortunate under the protection of the actress. It was the part in which that idol of the public, Mrs. Cibber, was most of all adored; and the following lines, uttered by Mrs. Siddons in Constance,

Here I and sorrow sit:
*« This is my throne, bid kings come bow to it,"

seem like a triumphant reference to her own potent skill in the delineation of woe, as well as to the agonizing sufferings of the mother of young Arthur.

Faulconbridge, one of the brightest testimonies of Shakspeare's comic power, is excellent relief to that part of the tragedy which may be styled more dull than pathetic. Mr. C. Kemble personates this child of love, as Shakspeare himself could wish.--If those who remember Garrick in the part complain of C. Kemble's inferior gaiety and spirit, the inferiority is granted. Still, he would be something nearer an equality with this great archetype of actors, could but those critics recall their gaiety and spirit, which, in their juvenile days, inspired them with the ardour to admire.

Prince Arthur is of more importance than either manager or actors generally conceive. They seldom care whether a princely or plebeian child is to perform the part; whether from feature, or from voice, Arthur shall belie his royal birth, and take away all sympathy in his own and his mother's sufferings.

Though Shakspeare's King John is inferior to many of his plays, yet it contains some poetic passages, and some whole scenes, written with his hand, beyond all power of forgery.

Theobald says, in his commentaries on this drama, “ The action of the play begins at the thirty-fourth year of the King's life, and takes in only some transactions of his reign to the time of his demise, being an interval of about seventeen years.”

DRAMATIS PERSONÆ.

John, King or ENGLAND Mr. Kemble.
PRINCE HENRY

Mr. Menage.
EARL OF PEMBROKE

Mr. Creswell. EARL of Essex

Mr. Chapman. EARL OF SALISBURY

Mr. H. Siddons. HUBERT

Mr. Cooke. FAULCON BRIDGE

Mr. C. Kemble. Robert FAULCON BRIDGE Mr. Abbot. ENGLISH HERALD

Mr. Klanert. JAMES GURNEY

Mr. Curties. FIRST EXECUTIONER

Mr. Atkins. SECOND EXECUTIONER

Mr. Truman. ENGLISH KNIGHTS-Messrs. L. Bologna, Harley,

King, and Lee.

Philip, KING OF FRANCE

Mr. Murray. LEWIS, THE DAUPHIN

Mr. Brunton. Prince ARTHUR

Mrs. Creswell. ARCHDUKE OF AUSTRIA

Mr. Cory. CARDINAL PANDULPH

Mr. Hull. CHATILLON

Mr. Claremont. FRENCH HERALD

Mr. Field. CITIZENS OF ANGIERS-Messrs. Davenport, Lewiss,

and Platt. FRENCII KNIGHTS-Messrs. Dick, Powers, Reeves,

and Sarjant.

QUEEN ELINOR
LADY ConstANCE
BLANCH OF CASTILE
LADY FAULCON BRIDGE

Mrs. St. Leger.
Mrs. Siddons.
Miss Waddy.
Mrs. Humphries.

SCENE-Sometimes in England, sometimes in France. KING JOHN.

ACT THE FIRST.

SCENE I.

England.--The Palace.

Flourish of Drums and Trumpets.

KING John upon the Throne, Queen Elinor, Es

SEX, SALISBURY, PEMBROKE, HUBERT, Cha-
TILLON,-English and French GENTLEMEN,-and
English GUARDS, discovered.
K. John. Now, say, Chatillon, what would France

with us? Cha. Thus, after greeting, speaks the King of

France,
In my behaviour to the majesty,
The borrow'd majesty of England here-

Eli. A strange beginning ;-borrow'd majesty!
K. John. Silence, good mother;-hear the em-

bassy.
Cha. Philip of France, in right and true behalf
Of thy deceased brother, Geffrey's son,
Arthur Plantagenet, lays most lawful claim
To this fair island and the territories;

To Ireland, Poictiers, Anjou, Touraine, Maine :
Desiring thee to lay aside the sword,
Which sways usurpingly these several titles,
And put the same into young Arthur's hand,
Thy nephew, and right royal sovereign.

K. John. What follows, if we disallow of this?

Cha. The proud control of fierce and bloody war, To enforce these rights so forcibly withheld. K. John. Here have we war for war, and blood for

blood, Controlment for controlment; so answer France. Cha. Then take my King's defiance from my

mouth, The furthest limit of my embassy. K. John. Bear mine to him; and so depart in

peace:
Be thou as lightning in the eyes of France;
For, ere thou canst report I will be there,
The thunder of my cannon shall be heard :
So, hence! Be thou the trumpet of our wrath,
And sullen presage of your own decay.-
An honourable conduct let him have;
Hubert, look to't:— Farewell, Chatillon.

[Exeunt Chatillon, Hubert, and the

FRENCH GENTLEMEN.
Eli. What now, my son ? have I not ever said,
How that ambitious Constance would not cease,
Till she had kindled France, and all the world,
Upon the right and party of her son ?
This might have been prevented and made whole,
With very easy arguments of love;
Which now the manage of two kingdoms must
With fearful bloody issue arbitrate.

Enter ENGLISH HERALD, who whispers Essex.
K. John. Our strong possession, and our right,