You can find many other figures that will make you laugh, but you can find no other figure that makes you laugh with such good reason. It seems incredible that Shakespeare, with his all-embracing mind and his perfect instinct of art, should deliberately have chosen to lessen his own masterpiece of humour. For Shakespeare rejoiced in Falstaff, even while he respected and recorded the inexorable justice of the moral law that decrees and eventually accomplishes his destruction. There is no one of his characters whose history he has traced with such minute elaboration. The conception is singularly ample. You may see Falstaff, as Shallow saw him, when he was a boy and page to Thomas Mowbray, Duke of Norfolk; you may see him all along the current of his mature years; his highway robberies on Gadshill; his bragging narrative to Prince Henry; his frolicsome, paternal, self-defensive lecture to the prince; his serio-comic association with the ragamuffin recruits at Coventry; his adroit escape from the sword of Hotspur; his mendacious self-glorification over the body of Harry Percy; his mishaps as a suitor to Mrs. Ford and Mrs. Page; his wonderfully humorous interviews with the Chief-Justice and with Prince John of Lancaster; his junketings with Justice Shallow in Gloucestershire, and his rebuff and consternation at his first and last meeting with King Henry V.; and finally you may see him, as Mrs. Quickly saw him, on his death-bed, when "'a cried out God! God! God! three or four times," and when "his nose was as sharp as a pen, and 'a babbled o' green fields."
A good and faithful study of _King Henry IV._, and especially of the second part of that play, is essential for a right appreciation of Falstaff. Those scenes with the Chief-Justice are unmatched in literature. The knight stands royally forth in them, clothed with his entire panoply of agile intellect, robust humour, and boundless comic effrontery. But the arrogant and expeditious Falstaff of _The Merry Wives_--so richly freighted with rubicund sensuality, so abundant in comic loquacity, and so ludicrous in his sorry plights--is a much less complex person, and therefore he stands more level than the real Falstaff does with the average comprehension of mankind. The American stage, accordingly, by which more than by the printed book he has become known to our people, has usually given its preference to the Falstaff of the comedy. _The Merry Wives_ was first acted in New York on October 5, 1788 at the John Street theatre, with Harper as Falstaff. On April 1, 1807 it was produced at the old Park, and the Falstaff then was John E. Harwood. The same stage offered it again on January 16, 1829, with Hilson as Falstaff. A little later, about 1832, James H. Hackett took up the character of Falstaff, and from that time onward performances of _The Merry Wives_ occurred more frequently in different cities of America. Nor was the historical play neglected. On August 7, 1848 a remarkably fine production of the comedy was accomplished at the Astor Place Operahouse, New York, with Hackett as Falstaff, who never in his time was equalled in that character, and has not been equalled since. Another Falstaff, however, and a remarkably good one, appeared at Burton's theatre on August 24, 1850, in the person of Charles Bass. On March 14, 1853 _The Merry Wives_ was again given at Burton's theatre, and Burton himself played Falstaff, with characteristic humour; but Burton never acted the part as it stands in _Henry IV._ Hackett, who used both the history (Part I.) and the comedy, continued to act Falstaff almost to the end of his life and Hackett did not die till 1871. A distinguished representative of Falstaff in the early days of the American theatre--the days of the renowned Chestnut in Philadelphia--was William Warren (1767-1832), who came from England in 1796. In recent years the part has been acted by Benedict De Bar and by John Jack. The latest Falstaff in America was that embodied by Charles Fisher, who first assumed the character on November 19, 1872, at Daly's theatre, and whose performance was picturesque and humorous.