Part 9 (1/2)

You broke says ay”

Every one will admit that the poet hiive my jewels” to the words ”Would not this ill do well?” But the melancholy mood, the pathetic acceptance of the inevitable, the tender poetic e who is fashi+oned in the poet's likeness

The next ainst his fate:

”Base court, where kings grow base, To corace”

And when Bolingbroke kneels to him he plays upon words, as Gaunt did a little earlier in the playsport to mock itself He says:

”Up, cousin, up; your heart is up, I know, Thus high at least, although your knee be low”--

and then he abandons himself to do ”what force will have us do”

The Queen's wretchedness is next used to heighten our sympathy with Richard, and iardener and his servant which is ardener and such a servant never yet existed The scene [Footnote: Coleridge gives this scene as an instance of Shakespeare's ”wonderful judgeardener, he says, ”realizes the thing,” and, indeed, the introduction of a gardener would have this tendency, but not the introduction of this poed out in old Adaardener criticises the King:

”All superfluous branches We lop away, that bearing boughs may live; Had he done so, himself had borne the crown, Which waste of idle hours hath quite thron”]

shows the extravagance of Shakespeare's love of hierarchy, and shows also that his power of realizing character is as yet but slight The abdication follohen Richard in exquisite speech after speech unpacks his heavy heart To the very last his irresolution cobroke is sharply practical: ”Are you contented to resign the crown?”

Richard answers:

”Ay, no; no, ay;--for I n to thee”

When he is asked to confess his sins in public, he moves us all to pity:

”Must I do so? and must I ravel out My weaved up follies? Gentle Northumberland, If thy offences were upon record, Would it not shame thee, in so fair a troop, To read a lecture of them?”

His eyes are too full of tears to read his own faults, and sylass wherein to see his sins, and we are reminded of Hamlet, who advises the players to hold the rief, too, in quick-witted retort, as Haain

The shadow of rief lies all within; And these external rief, That swells with silence in the tortur'd soul”

Hamlet touches the self-saood mother, Nor customary suits of solemn black, - - - - - - - - - - But I have that within which passeth show; These but the trappings and the suits of woe”

In the fifth act, the scene between the Queen and Richard is used simply to move our pity She says he is ”most beauteous,” but all too mild, and he answers her:

”I ariue till death”

He bids her take,