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 text to be afterwards indefinitely modified and incalculably improved. Not quite so much can be said of the comedy, which certainly stood in less need of revision, and probably would not have borne it so well; nevertheless every little passing touch of the reviser's hand is here also a noticeable mark of invigoration and improvement. But King Henry V., we may fairly say, is hardly less than transformed. Not that it has been recast after the fashion of Hamlet, or even rewritten after the fashion of Romeo and Juliet; but the corruptions and imperfections of the pirated text are here more flagrant than in any other instance; while the general revision of style by which it is at once purified and fortified extends to every nook and corner of the restored and renovated building. Even had we, however, a perfect and trustworthy transcript of Shakespeare's original sketch for this play, there can be little doubt that the rough draught would still prove almost as different from the final masterpiece as is the soiled and ragged canvas now before us, on which we trace the outline of figures so strangely disfigured, made subject to such rude extremities of defacement and defeature. There is indeed less difference between the two editions in the comic than in the historic