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Sir Robert Filmer did not perceive that by the laws of nature and of God every individual human being is born with rights which no other individual, or combination of individuals, can take away; that all exercise of human authority must be under the limitation of right and wrong; and that all despotic power over human beings is exercised in defiance of the laws of nature and of God all, Sir John Falstaff's law of nature between the young dace and the old pike.
As I mentioned before, the force that accompanied him was in forlorn case, reminding me strongly of Shakspere's description of Falstaff's ragged regiment.
The character of the troubles that existed between Henry IV. and his eldest son and successor, Shakspeare's Prince Hal, is involved in much obscurity. It used to be taken for granted that the poet's Prince was an historical character, but that is no longer the case, Falstaff's royal associate being now regarded in the same light in which Falstaff himself is regarded.
a touch that could only be due to the pencil which had drawn Falstaff's ragged regiment. In both cases, moreover, it was to be noted that the tattered rogues proved ultimately victorious. But he had they might hardly believe it, but so it was even yet stronger and more convincing evidence to offer.
This is the spirit that draws up its skirts and sneers to itself at poor 'old bodies' in omnibuses, because, forsooth, they are stout, and out of the fulness of the heart the mouth speaketh. One thinks of Falstaff's plaintive 'If to be fat is to be hated! At displays of natural feelings of any sort this comfortless evil spirit ever curls the lip.
But let us select them from the pages of the same writer, one who was ambidexter; let us take, for instance, Rumour's Prologue to the Second Part of Henry IV., a fine flourish of eloquence in Shakespeare's second manner, and set it side by side with Falstaff's praise of sherris, act iv. scene iii.; or let us compare the beautiful prose spoken throughout by Rosalind and Orlando; compare, for example, the first speech of all, Orlando's speech to Adam, with what passage it shall please you to select the Seven Ages from the same play, or even such a stave of nobility as Othello's farewell to war; and still you will be able to perceive, if you have an ear for that class of music, a certain superior degree of organisation in the prose; a compacter fitting of the parts; a balance in the swing and the return as of a throbbing pendulum.
"seems to have inspired the similar effect in Falstaff's discourse on honor in Verdi's opera. The pair quickly come to an understanding on the terms already set forth. Act II carries us first into the garden of Dame Martha, where we find Margherita strolling arm in arm with Faust, and Martha with Mefistofele.
Belmont bowed, and left the speaker to indulge his love of speech, which was again interrupted by a terrific thundering at the door, which opened, not to a deputation, but to a whole platform of rejected humanity, presenting the most grotesque appearance. Falstaff's invincibles would convey no comparison.
Yesterday, a small vessel called the William and Sarah, bound for Holland from Morlaix, put in here to avoid two Turks men-of-war, as he very much suspects them to be, because he saw them chase a small vessell, who likewise escaped them. The description is almost as formidable as Falstaff's with his men of buckram, and we should have liked a little confirmatory evidence beyond the narrator's.
He saw Falstaff's burly figure enter, habited as the conventional "black beetle" of the church, and in the sharpened state of his wits noticed that the unpractised curate had put on his clerical collar the wrong way round. He rejoiced in Carter's look of dismay on finding his fellow-Scorpion already on the battlefield. "Mr. Carter," said Mr. Kent, "this is Mr. Blair, of Trinity."
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