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Rh one and the obesity of the other. He is, as it were, a combination and concentration of two of the most prominent and original delineations on the stage: as if

The force of nature could no farther go:

To make a third, she joined the other two."

The similarity between Richard and Falstaff, though not very obvious, has been fully established; and it consists in the intellectual superiority they both possess, and with the exercise of which the first gratifies his ambition, and the last his appetites. It is the possession of the same high talents (in the last instance applied very much to the attainment of the same ends,) which constitutes Punch's chief moral resemblance. The high authority to which we have just alluded lays it down, and, we may say, proves that "the pleasure we receive from the character of Richard is produced by those emotions which arise in the mind, on beholding great intellectual ability employed for inhuman and perfidious purposes." If we try the character of Punch by this test, shall we not arrive at the identical conclusion? Like the "crook-back prodigy," he is not "shaped for sportive tricks," and

"wants love's majesty,

To strut before a wanton, ambling nymph:"

but to compensate for these personal defects, Punch, like