intention, which secured to him the admiration of his contemporaries, and to which posterity has done ample justice through the medium of Shakspeare, who has placed the virtues of Brutus, and the contest in his bosom between private regard and patriotic duty, in the noblest light; wringing even from the lips of his bitterest enemy, the fullest eulogium on the rectitude of his principles, and the goodness of his

heart:

"Ant. This was the noblest Roman of them all:

All the conspirators, save only he,

Did that they did in envy of great Cæsar;

He, only, in a general honest thought,

And common good to all, made one of them.
His life was gentle; and the elements

So mix'd in him, that Nature might stand up,
And say to all the world, This was a man!”

In the conduct and action of this drama, though closely pursuing the occurrences and characters as detailed by Plutarch in his life of Brutus, there is a great display of ingenuity, and much mechanism in the concentration of the events, producing that integrity and unity, which, without any modification of the truth of history, moulds a small portion of an immense chain of incidents into a perfect and satisfactory whole. The formation of the conspiracy, the death of the dictator, the harangue of Antony and its effects, the flight of Brutus and Cassius, their quarrel and reconcilement, and finally their noble stand for liberty against the sanguinary and atrocious triumvirate, are concatenated with the most happy art; and though, after the fall of Cæsar, nothing but the patriotic heroism of Brutus and Cassius is left to occupy the stage, the apprehensions and the interest which have been awakened for their fate, are sustained, and even augmented to the last scene of the tragedy.

30. ANTONY AND CLEOPATRA: 1608. Shakspeare has here spread a wider canvas; he has admitted a vast variety of groups, some of

Reed's Shakspeare, vol. xvi. p. 422.

which are crowded, and some too isolated, whilst in the back ground are dimly seen personages and events that, for the sake of perspicuity, ought to have been brought forward with some share of boldness and relief. The subject, in fact, is too complex and extended, to admit of a due degree of simplicity and wholeness, and the mind is consequently hurried by a multiplicity of incidents, for whose introduction and succession we are not sufficiently prepared.

Yet, notwithstanding these defects, this is a piece which gratifies us by its copiousness and animation; such, indeed, is the variety of its transactions, and the rapidity of its transitions, that the attention is never suffered, even for a moment, to grow languid; and, though occasionally surprised by abruptness, or want of connection, pursues the footsteps of the poet with eager and unabated delight.

Neither is the merit of this play exclusively founded on the vivacity and entertainment of its fable; it presents us with three characters which start from their respective groups with a prominency, with a depth of light and shade, that gives the freshness of existing energy to the records of far distant ages.

The martial but voluptuous Antony, whose bosom is the seat of great qualities and great vices; now magnanimous, enterprising, and heroic; now weak, irresolute, and slothful; alternately the slave of ambition and of effeminacy, yet generous, open-hearted, and unsuspicious, is strikingly opposed to the cold-blooded and selfish Octavius. The keeping of these characters is sustained to the last, whilst Cleopatra, the mistress of every seductive and meretricious art, a compound of vanity, sensuality, and pride, adored by the former, and despised by the latter, an instrument of ruin to the one, and of greatness to the other, is decorated, as to personal charms and exterior splendour, with all that the most lavish imagination can bestow.

31. CORIOLANUS: 1609. This play, which refers us to the third century of the Republic, is of a very peculiar character, involving in its course a large intermixture of humorous and political matter. It affords us a picture of what may be termed a Roman electioneering mob; and the insolence of newly-acquired authority on the part of

the tribunes, and the ungovernable licence and malignant ribaldry of the plebeians, are forcibly, but naturally expressed. The popular anarchy, indeed, is rendered highly diverting through the intervention of Menenius Agrippa, whose sarcastic wit, and shrewd good sense, have lent to these turbulent proceedings a very extraordinary degree of interest and effect. His "pretty tale," as he calls it, of the belly and the members, which he recites to the people, during their mutiny occasioned by the dearth of corn, is a delightful and improved expansion of the old apologue, originally attributed to Menenius by Dionysius of Halicarnassus, but taken immediately by Shakspeare from Plutarch's Life of Coriolanus, and from Camden's Remains.

The serious and elevated persons of the drama are delineated in colours of equal, if not superior strength. The unrivalled military prowess of Coriolanus, in whose nervous arm, Death, that dark spirit," dwelt; the severe sublimity of his character, his stern and unbending hauteur, and his undisguised contempt of all that is vulgar, pusillanimous, and base, are brought before us with a raciness and power of impression, and, notwithstanding a very liberal use both of the sentiments and language of his Plutarch, with a freedom of outline which, even in Shakspeare, may be allowed to excite our astonishment. *

Among the female characters, a very important part is necessarily attached to the person of Volumnia; the fate of Rome itself depending upon her parental influence and authority. The poet has accordingly done full justice to the great qualities which the Cheronean sage has ascribed to this energetic woman; the daring loftiness of her spirit, her bold and masculine eloquence, and, above all, her patriotic

* The representation of the character of Coriolanus by Mr. Kemble, which realises the very conception of the poet, and which in spirit, manner, and costume, can scarcely be deemed susceptible of improvement, has rendered this drama very popular in our own day.

devotion, being marked by the most spirited and vigorous touches of his pencil.

The numerous vicissitudes in the story; its rapidity of action; its contrast of character; the splendid vigour of its serious, and the satirical sharpness and relish of its more familiar scenes, together with the animation which prevails throughout all its parts, have conferred on this play, both in the closet, and on the stage, a remarkable degree of attraction.

32. THE WINTER'S TALE: 1610. That this play was written after the accession of King James, appears probable from the following lines:

"If I could find example

Of thousands, that had struck anointed kings
And flourished after, I'd not do't; but since

Nor brass, nor stone, nor parchment, bears not one,
Let villany itself forswear it." *

"If, as Mr. Blackstone supposes," observes Mr. Douce, “this be an allusion to the death of the Queen of Scots, it exhibits Shakspeare in the character of a cringing flatterer, accommodating himself to existing circumstances, and is moreover an extremely severe one. But the perpetrator of that atrocious murder did flourish many years afterwards. May it not rather be designed as a compliment to King James, on his escape from the Gowrie conspiracy, an event often brought to the people's recollection during his reign, from the day on which it happened being made a day of thanksgiving ?" +

Thus Osborne tells us, that " amongst a number of other Novelties, he (King James) brought a new Holyday into the Church of England, wherein God had publick thanks given him for his Majesties deliverance out of the hands of E. Goury. And this fell out upon Aug. 5;" and from Wilson we learn, the title which this day bore in the almanacks of the time: -"The fifth of August this year (1603)

* Winter's Tale, act i. sc. 2.

+ Osborne's Works, 9th edit. 8vo. 1689, p. 477.

+ Illustrations, vol. i. p. 347.

had a new title given to it. The Kings Deliveries in the North must resound here.” *

From an allusion to this play and to The Tempest, in Ben Jonson's Induction to Bartholomew Fair, 1614, there is some reason to conclude, that these dramas were written within a short period of each other, and that The Winter's Tale was the elder of the two. "He is loth," he says, “to make nature afraid in his plays, like those that beget Tales, Tempests, and such like drolleries." + Now, it will be found in the next article, that we have no trifling data for attributing the composition of The Tempest to the year 1611; and, could it be rendered highly probable, that the production of The Winter's Tale did not occur before 1610, an almost incontrovertible support would be given to our chronology of both plays. It happens, therefore, very fortunately, that in a note by Mr. Malone, annexed to his chronological notice of The Winter's Tale, in the edition of our author's plays of 1803, a piece of information occurs, that seems absolutely to prove the fact of which we are in search. It appears, says this critic, from the entry which has been quoted in a preceding page, that The Winter's Tale" had been originally licensed by Sir George Buck;" and he concludes by remarking, that "though Sir George Buck obtained a reversionary grant of the office of Master of the Revels, in 1603, which title Camden has given him in the edition of his Britannia printed in 1607, it appears from various documents in the Pells-office, that he did not get complete possession of his place till August, 1610." In fact, Edmond Tilney, the predecessor of Sir George Buck, died at the very commencement of October, 1610, and was buried at Leatherhead, in Surrey, on the sixth of the same month; and it is very likely that, during his illness, probably

very

‡

* History of Great Britain, folio, 1653, p. 12.

+ "I am inclined to think," says Mr. Malone, " that he (Jonson) joined these plays in the same censure, in consequence of their having been produced at no great distance of time from each other."-Reed's Shakspeare, vol. ii. p. 326. note. That this passage was intended, however, as a censure on Shakspeare remains doubtful.

Reed's Shakspeare, vol. ii. p. 326.