forces indicated a far greater chance of success. The fatal battle of Actium follows. Antony sends Euphronius to the conqueror, Octavius, and requires either to remain in Egypt, or to live a private man in Athens. Both these requests are refused, but Cleopatra's desires are promised to be fulfilled, on condition of her either driving Antony out of Egypt, or taking his life. On hearing this, Antony, frantic with rage, challenges the conqueror to single combat: but, this being treated with contempt, he determines once more upon meeting Octavius both by sea and land. He is by land victorious, and drives the forces of Octavius to their tents: but by sea he is again defeated, being betrayed by the Egyptian queen. He then vents his unavailing fury upon the perfidy of Cleopatra; but she, in hopes of awakening his pity, sends word that she is dead. His love again returns, and, impelled by his increasing woes, he falls upon his own sword, and, finally, dies in Cleopatra's arms. The

queen takes the first opportunity to elude the vigilance of Octavius Caesar (who had taken and confined her); and, having decked herself in her most splendid garments, applies two asps, furnished by a slave, to her breast, and dies. Octavius enters soon after, laments her end, and commands her to be buried with Mark Antony.

MORAL

In the fate of the Triumvirs, Antony and Lepidus (the first of whom is justly punished for his perfidy to his two wives, Fulvia and Octavia), we are warned against the danger of sharing divided power, when no legal limit can be opposed to the ambition of a compeer, as was the case with Octavius. In the death of Cleopatra, we cannot but remember the words of Solomon, "The lips of a strange woman drop as an honeycomb, and her mouth is smoother than oil; but her end is bitter as wormwood, her feet go down to death."

Cymbeline.

"THIS play (says Dr. Johnson) has many just sentiments, some natural dialogues, and some pleasing scenes; but they are obtained at the expense of much incongruity. To remark the folly of the fiction, the absurdity of the conduct, the confusion of the names and manners of different times, and the impossibility of the events in any system of life, were to waste criticism upon unresisting imbecility, upon faults too evident for detection and too gross for aggravation." Malone imagined Cymbeline was written A. D. 1605.

THE PLOT.

yielded to his arts. On Iachimo's producing the bracelet, his last gift to Imogen, Posthumus believes in her perfidy, and is incited, by that conviction, to write to his former servant, Pisanio, who had remained in Britain to attend Imogen, to entice her to Milford Haven, under an idea of meeting himself, and there to murder her. Pisanio presents the message of her husband to Imogen, and she unsuspiciously hastens to meet him. Having arrived at a lonely spot, Pisanio communicates the command of Posthumus, which, convinced of her innocence, he refuses to obey, though urged by herself. Pisanio persuades her, in the disgnise of male apparel, to proceed to Milford Haven, join the suit of Lucius the ambassador, and depart for Rome. Pisanio returns to the court, where Imogen having been missed, Cloten threatens his life unless he discovers his mistress's retreat, which he pretends to do, showing him the feigned letter

The scene opens in Britain, with a narrative of Leonatus Posthumus, and the publicity of his secret marriage with Imogen, the king's only daughter by a former queen. Cymbeline banishes him, and confines the princess in the palace, under the care of the queen, who pretends to be her friend, and whose son, Cloten, by a former husband, is destined for her hus-in which Posthumus proposes to meet Imogen. hand. Posthumus sails for Rome, where he takes up his abode with Philario, an old friend of his father's. He here meets with an Italian named Iachimo, who, hearing Posthumus extol the constancy and beauty of Imogen, wagers ten thousand ducats against the ring given to Posthumus, on his departure, by Imogen, that he would prevail over her chastity. Iachimo arrives in Britain, and aided by a letter from Posthumus, is admitted to the presence of Imogen. He is chagrined to find all his flattery and persuasion unavailing she disdainfully repels his advances, and he then has recourse to artifice. He tells her, that he has a trunk containing valuables, purchased as a present to his emperor, in which Posthumus has a share, and finally prevails with her to admit the deposit of it in her bed-chamber, for its safe custody during the night. In this he conceals himself, and at midnight, whilst Imogen sleeps, he issues forth, takes the bracelet given by her husband from her arm, and notes down such particulars as might induce Posthumus to believe she had

Having disguised himself in a suit of Posthumus's clothes, furnished him by Pisanio, he sets off in pursuit of Imogen, determined to satiate his revenge with the murder of his rival, and the sacrifice of Imogen to his passion. Imogen, meanwhile, misses her way, faints with hunger, and seeks food and repose in a cave where Belarius (a lord whom Cyınbeline had banished twenty years before, for being supposed confederate with the Romans, and who, to avenge himself, stole the two infant sons of Cymbeline, Guiderius and Arviragus) resided under the assumed name of Morgan, with the young princes (who believe themselves his sons), as Polydore and Cadwal: they, returning from hunting, discover Imogen, whom they kindly entertain. Cloten, entering the same forest in pursuit of her, is met by Guiderius, whom he provokes with insulting words to slay him. The headless trunk of Cloten is laid by the body of Imogen, whom they suppose dead, but is, in reality, sleeping from the effect of a drug she has taken. She awakes, and, seeing the dead body, which she

mistakes for that of Posthumus from the dress, she falls into violent grief, is discovered by Lucius, the Roman general, and becomes his page. Posthumus arrives in Britain with the Roman army, led on by Lucius to war upon the Britons for the king's refusing to pay tribute to Cæsar. A battle ensues and Cymbeline is on the point of being taken, when he is rescued by Belarius and the young princes, aided by Posthumus; the Romans are routed, and Lucius with others made prisoners. The subdued Lucius, with Imogen as his page, Iachimo, and Posthumus (who was sent to prison and about to be executed on confessing himself a Roman) are summoned before Cymbeline-Belarius relates the death of Cloten, discovers himself and the real birth of the young princes-the death of the queen is announced, with her acknowledgment of her guilt-Cymbeline forgives Belarius and embraces his sons, pardons Imogen and Posthumus (who thought each other dead), releases the Roman prisoners and

pays the tribute demanded, and gives peace and tranquillity to his subjects.

MORAL.

Shakspeare has in this play strongly depicted the frailties of our nature, and the effect of vicious passions on the human mind. In the fate of the queen, we behold the worst of perfidy justly sacrificed by the arts she had, with unnatural ambition, prepared for others; and in reviewing her death and that of Cloten, we may easily call to mind the words of Scripture, "Revenge is mine, saith the Lord, and I will repay it." We must blame the villany of Iachimo, but we can scarcely pity the sufferings of Posthumus, arising, as they did, from his foolish contract with the former; yet all must admire the constancy of Imogen. And we may learn something from the too easy credulity of Cymbeline, to whom we must give credit for his generosity at the close.

Citas Audronicus.

"ALL the editors and critics," says Dr. John- rable to any audience; yet we are told by Jonson, agree with Theobald in supposing this son, that they were not only borne, but praised. play spurious. I see no reason in differing That Shakspeare wrote any part, though Theofrom them; for the colour of the style is bald declares it incontestable, I see no reason for wholly different from that of the other plays, believing. The testimony by which it is asand there is an attempt at regular versifica-cribed to Shakspeare is by no means equal to tion, and artificial closes, not always inelegant, but seldom pleasing. The barbarity of the spectacles, and the general massacre, which are exhibited, can scarcely be conceived tole

the argument against its authenticity, arising from the total difference of conduct, language, and sentiments, by which it stands apart from all the rest."

Pericles, Prince of Cyre.

"THERE is, I believe," says Malone," no play of our author's-perhaps I might say in the English language-so incorrect as this. The most corrupt of Shakspeare's other dramas, compared with Pericles, is purity itself. The metre is seldom attended to; verse is frequently printed as prose; and the grossest errors abound in almost every page. I mention these circumstances only as an apology to the reader for having taken somewhat more licence with this drama than would have been justifiable, if the copies of it now extant had been less disfigured by the negligence and ignorance of the printer or transcriber. The numerous corruptions that are found in the original edition in 1609, which have been carefully preserved and augmented in all subsequent impressions, probably arose from its having been frequently exhibited on the stage. In the four quarto editions it is called the much-admired play of PERICLES, PRINCE OF TYRE; and it is mentioned by many ancient writers as a very popular performance."

THE PLOT.

The scene opens in Antioch: Gower (as Chorus) enters, and narrates how King Antiochus, his wife being dead, committed incest with his daughter, whose beauty alluring many

princes to Antioch, the king, to prevent her marriage, made a law, that whoever sought her for his wife, and could not resolve a riddle that he proposed, should lose his life. Many had thus forfeited their existence, when Pericles, Prince of Tyre, became a suitor; but having given some intimation that he had discovered the riddle, and thereby the abominable lust of Antiochus, he is obliged to fly to his own country, to avoid the danger of the king. From thence he hastens to Tharsus, leaving the care of his state in the hands of a trusty minister, Helicanns. Cleon, King of Tharsus, kindly receives him; but word being sent by Helicanus, that Antiochus was in search of him, and that he was not safe in Tharsus, Pericles sails from thence-is shipwrecked-his men and ships lost; and he himself is cast upon the shore of a territory ruled by Simonides, called Pentapolis. There he gains the victory in a tournament given on account of the birth-day of the king's daughter, Thaisa, whom he marries: here letters are brought to him, which narrate the death of Antiochus and his daughter by lightning, and that the men of Tyre, impatient of the absence of Pericles, wish to crown Helicanus; but he refuses, and appeases them by promising that, if Pericles did not return in twelve

months, he would accept the crown. Pericles | sus to claim his daughter, sees her monument immediately sails for Tyre; but a storm raised by the queen; thinking her dead, he arising, his queen, after bringing forth a departs, overwhelmed with grief, and is borne daughter, is supposed dead, and cast into the by a tempest to Mitylene. There he is sea by the sailors, after Pericles had made awakened from his sorrow by his daughter, known in writing her rank and name. Her who has escaped unblemished from her miserbody is cast upon the shore at Ephesus, where, able confinement; and, to add to his unexafter having been restored to life by the King pected joy, Diana appears in a vision to him, Cerimon, she, in despair of ever beholding her and commands him to offer sacrifices to her at husband again, becomes votaress to Diana. Ephesus. Pericles obeys; and here Thaisa, Meanwhile, Pericles, after having landed at who was high priestess, again embraces her Tharsus, where he leaves his infant daughter lost husband. Marina is wedded to Lysimato the care of the king and queen, proceeds to chus, governor of Mitylene, to whom Pericles Tyre. Marina (the daughter of Pericles) is resigns Tyre, on learning the death of Simobrought up with the greatest attention by nides; and the treacherous Cleon and his Cleon, insomuch that, by her accomplishments queen are burned in their palace by the citiand beauty, she incurs the jealousy of the zens of Tharsus, on learning their base conQueen, Dionyza, for attracting the notice of all duct. to herself, so that her own daughter is quite MORAL. neglected. Diony za, in consequence, having first got rid of the nurse, Lychorida, hires a murderer to kill Marina: this man takes her to the sea-shore, in order to execute his purpose; but she is taken from him by pirates, who hurry her to Mitylene, where she is sold into a brothel. Pericles, on arriving at Thar

In this play the victory is judiciously given to the virtuous, and every reader must rejoice at the escape of Marina; and the end of Antiochus and his daughter by lightning is very properly selected by the author, which reminds us of the destruction of Sodom and Gomorrah by fire, for similar offences,

King Lear.

opportunity he gives the poet of combining perfidy with perfidy. I am not able (he continues) to apologise with equal plausibility for the extrusion of Gloster's eyes, which seems an act too horrid to be endured in dramatic exhibition, and such as must always compel the mind to relieve its distresses by incredulity. Yet, let it be remembered, our author well knew what would please the audience for which he wrote." Shakspeare has also been blamed for suffering Cordelia to perish in a just cause; but he is justified by the Spectator, who blames Tate for giving her success and happiness, and declares that "in his opinion the tragedy has lost half its beauty." But it would be difficult to prove the fact. "The original (says Steevens) was supported by Addison" yet Dr. Johnson says, "I was many years ago so shocked by Cordelia's death that I know not whether I should ever have endured to read again the last scenes of the play till I undertook to revise them as an editor." The critics have doubted whether the prominent image in Lear's disordered mind be the loss of his kingdom or the cruelty of his daughters. Murphy has judiciously observed, that the latter "is the primary source of his distress, and the loss of royalty affects him only as a secondary and subordinate evil. That Lear would move our compassion but little, did we not rather consider the injured father than the degraded king." In speaking of the Third Scene, Act V., Tyrwhitt says, "If Shakspeare had studied Aristotle all his life, he would not perhaps have been able to mark with more precision the distinct operations of terror and pity."

"THE tragedy of King Lear (says Dr. Johnson) is deservedly celebrated among the dramas of Shakspeare. There is perhaps no play which keeps the attention so strongly fixed; which so much agitates our passions, and interests our curiosity. The artful involutions of distinct interests, the striking oppositions of contrary characters, the sudden changes of fortune, and the quick succession of events, fill the mind with a perpetual tumult of indignation, pity, and hope. There is no scene which does not contribute to the aggravation of the distress or conduct of the action, and scarce a line which does not conduce to the progress of the scene. So powerful is the current of the poet's imagination, that the mind which once ventures within it, is hurried irresistibly along. On the seeming improbability of Lear's conduct, it may be observed, that he is represented according to histories at that time vulgarly received as true. And, perhaps, if we turn our thoughts upon the barbarity and ignorance of the age to which this story is referred, it will appear not so unlikely as while we estimate Lear's manners by our own. Such preference of one daughter to another, or resignation of dominion on such conditions, would yet be credible, if told of a petty prince of Guinea or Madagascar. Shakspeare indeed, by the mention of his earls and dukes, has given us the idea of times more civilized, and of life regulated by softer manners; and the truth is, that though he so nicely discriminates, and so minutely describes, the character of men, he commonly neglects and confounds the characters of ages, by mingling customs ancient and modern, English and foreign." Dr. Warton thought, that the inter-"The story of this tragedy (says Steevens) had vention of Edmund destroyed the simplicity of the story, but this "is abundantly recompensed (Dr. Johnson observes) by the addition of variety, by the art with which he is made to co-operate with the chief design, and the

found its way into many ballads and other metrical pieces; yet Shakspeare seems to have been more indebted to The True Chronicle History of King Lear and his Three Daughters, Gonorill, Ragan, and Cordella, 1605, than to all

other, especially in the the former's poisoning | being, fed them, nurtured them to man's estate), the latter, and laying violent hands on herself, will not scruple to commit more barbarous we are taught, that those who want gratitude crimes, and easily to forget, that by destroying towards their parents (who gave them their their body, they destroy their soul also.

Romeo and Juliet.

The scene opens in Verona, with a quarrel between the partisans of the houses of Mon-reconciliation,

Bamlet, Prince of Denmark.

"IF the dramas of Shakspeare," says Dr. John- | son, "were to be characterized, each by the particular excellence which distinguishes it from