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But, till this afternoon, his passion
Ne'er brake into extremity of rage.

Abbess. Hath he not lost much wealth by wreck at sea?
Bury'd some dear friend? Hath not else his eye
Stray'd his affection in unlawful love?
A sin prevailing much in youthful men,
Who give their eyes the liberty of gazing.
Which of these sorrows is he subject to?

Adriana. To none of these, except it be the last: Namely, some love, that drew him oft from home.

Abbess. You should for that have reprehended him.

Adriana. Why, so I did.

Abbess. But not rough enough.

Adriana. As roughly as my modesty would let me.

Abbess. Haply, in private.

Adriana. And in assemblies too.

Abbess. Aye, but not enough.

Adriana. It was the copy of our conference:
In bed, he slept not for my urging it;
At board, he fed not for my urging it;
Alone it was the subject of my theme?
In company, I often glanced at it;
Still did I tell him it was vile and bad.

Abbess. And therefore came it that the man was mad:
The venom'd clamours of a jealous woman
Poison more deadly than a mad dog's tooth.
It seems, his sleeps were hinder'd by thy railing:
And therefore comes it that his head is light.
Thou say'st his meat was sauced with thy upbraidings:
Unquiet meals make ill digestions,
Therefore the raging fire of fever bred:
And what's a fever but a fit of madness?
Thou say'st his sports were hinder'd by thy brawls:
Sweet recreation barr'd, what doth ensue,
But moody and dull melancholy,

Kinsman to grim and comfortless despair;
And, at her heels, a huge infectious troop
Of pale distemperatures, and foes to life?
In food, in sport, and life-preserving rest
To be disturb'd, would mad or man or beast:
The consequence is then, thy jealous fits
Have scar'd thy husband from the use of wits.

Luciano. She never reprehended him but mildly, When he demeaned himself rough, rude, and wildly.— Why bear you these rebukes, and answer not?

Adriana. She did betray me to my own reproof."

Pinch the conjuror is also an excrescence not to be found in Plautus. He is indeed a very formidable anachronism.

"They brought one Pinch, a hungry lean-fac'd villain, A meer anatomy, a mountebank, A thread-bare juggler and a fortune-teller, A needy, hollow-ey'd, sharp-looking wretch, A living dead man."

This is exactly like some of the Puritanical portraits to be met with in Hogarth.




We shall give for the satisfaction of the reader what the celebrated German critic, Schlegel, says on this subject, and then add a very few remarks of our own.

"All the editors, with the exception of Capell, are unanimous in rejecting Titus Andronicus as unworthy of Shakespear, though they always allow it to be printed with the other pieces, as the scape-goat, as it were, of their abusive criticism. The correct method in such an investigation is first to examine into the external grounds, evidences, &c. and to weigh their worth; and then to adduce the internal reasons derived from the quality of the work. The critics of Shakespear follow a course directly the reverse of this; they set out with a preconceived opinion against a piece, and seek, in justification of this opinion, to render the historical grounds suspicious, and to set them aside. Titus Andronicus is to be found in the first folio edition of Shakespear's works, which it was known was conducted by Heminge and Condell, for many years his friends and fellow-managers of the same theatre. Is it possible to persuade ourselves that they would not have known if a piece in their repertory did or did not actually belong to Shakespear? And are we to lay to the charge of these honourable men a designed fraud in this single case, when we know that they did not shew themselves so very desirous of scraping every thing together which went by the name of Shakespear, but, as it appears, merely gave those plays of which they had manuscripts in hand? Yet the following circumstance is still stronger: George Meres, a contemporary and admirer of Shakespear, mentions Titus Andronicus in an enumeration of his works, in the year 1598. Meres was personally acquainted with the poet, and so very intimately, that the latter read over to him his Sonnets before they were printed. I cannot conceive that all the critical scepticism in the world would be sufficient to get over such a testimony.

"This tragedy, it is true, is framed according to a false idea of the tragic, which by an accumulation of cruelties and enormities degenerates into the horrible, and yet leaves no deep impression behind: the story of Tereus and Philomela is heightened and overcharged under other names, and mixed up with the repast of Atreus and Thyestes, and many other incidents. In detail there is no want of beautiful lines, bold images, nay, even features which betray the peculiar conception of Shakespear. Among these we may reckon the joy of the treacherous Moor at the blackness and ugliness of his child begot in adultery; and in the compassion of Titus Andronicus, grown childish through grief, for a • fly which had been struck dead, and his rage afterwards when he imagines he discovers in it his black enemy, we recognize the future poet of Lear. Are the critics afraid that Shakespear's fame would be injured, were it established that in his early youth he ushered into the world a feeble and immature work? Was Rome the less the conqueror of the world because Remus could leap over its first walls? Let any one place himself in Shakespear's situation at the commencement of his career. He found only a few indifferent models, and yet these met with the most favourable reception, because men are never difficult to please in the novelty of an art before their taste has become fastidious from choice and abundance. Must not this situation have had its influence on him before he learned to make higher demands on himself, and by digging deeper in his own mind, discovered the richest veins of a noble metal? It is even highly

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