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tholomew Fair,' in 1614, as one that had been then exhibited · five-and-twenty or thirty years ;' which, if we take the lowest number, throws it back to the year 1589, at which time Shakespeare was but 25 : an earlier date than can be found for any other of his pieces.” It is scarcely necessary to point out, that with the views we have uniformly entertained as to the commencement of Shakspere's career as a dramatic author, the proof against his authorship of ‘Titus Andronicus' thus brought forward by Percy is to us amongst the most convincing reasons for not hastily adopting the opinion that he was not its author. The external evidence of the authorship, and the external evidence of the date of the authorship, entirely coincide: each supports the other. The continuation of the argument derived from the early date of the play naturally runs into the internal evidence of its authenticity. The fact of its early date is indisputable. Accepting that fact, we are reconciled to the inferiority of this play, compared with Shakspere's undoubted performances. Its revolting story, in the same way, appears such as a very young poet would not have rejected. It is easy to understand how Shakspere, at the period when he first entered upon those labours which were to build up a glorious fabric out of materials that had been previously used for the basest purposes,—without models,—at first, perhaps, not voluntarily choosing his task, but taking the business that lay before him so as to command popular success,-ignorant, to a great degree, of the height and depth of his own intellectual resources,-not seeing, or dimly seeing, how poetry and philosophy were to elevate and purify the common staple of the coarse drama about him,-it is easy to conceive how a story of fearful bloodshed should force itself upon him as a thing that he coald work into something better than the dumb show and fiery words of his predecessors and contemporaries. It was in after-years that he had to create the tragedy of passion. Lamb has beautifully described Webster, as almost alone having the power “ to move a horror skilfully, to touch a soul to the quick, to lay upon fear as much as it can bear, to wean and weary a life till it is ready to drop, and then step in with mortal instruments to take its last forfeit." Lamb adds, “writers of inferior genius mistake quantity for quality.” The remark is quite true; when examples of the higher tragedy are accessible, and when the people have learnt better than to require the grosser stimulant. Before Webster had written · The Duchess of Malfi' and Vittoria Corombona,' Shakspere had produced Lear’and. Othello.' But there were writers, not of inferior genius, who had committed the same mistake as the author of Titus Andronicus'—who use blood as they would “the paint of the property-man in the theatre.” Need we mention other names than Marlowe and Kyd ?

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PERSONS REPRESENTED).

SATURNINUS, son to the late Emperor of Rome. Appears, Act I. sc. 1; sc. 2. Act II. sc. 2, sc. 4. Act IV. sc. 4.

Act V. sc. 3.
BASSIANUS, brother to Saturninus.
Appears, Act I. sc. 1; sc. 2. Act II. sc. 2; sc. 3.

Tirus ANDRONICUS, a noble Roman.
Appears, Act I. sc. 2. Act II. sc. 2; sc. 4. Act III. sc. I; sc. 2.

Act IV. sc. I; sč. 3. Act V. sc. 2; sc. 3.

Marcus ANDRONICUS, brother to Titus. Appears, Act I. sc. l; sc. 2. Act II. sc. 2; sc. 5. Act III. sc. l;

SC. 2. Act IV. sc. I; sc. 3. Act V. sc. 2; sc. 3.

LUCIUS, son to Titus Andronicus.
Appears, Act I. sc. 2. Act II. sc. 2; sc. 4. Act III. sc. 1.

Act V. sc. 1; ss. 3. QUINTUS, son to Titus Andronicus. appears, Act I. sc. 2. Act II. sc. 2; sc. 4. Act III. sc. 1.

Martius, son to Titus Andronicus.
Appears, Act I. sc. 2. Act II. sc. 2; sc. 4. Act III. sc. l.
MUTIUS, son to Titus Andronicus.

Appears, Act I. sc. 2.
Young Lucius, a boy, son to Lucius.
Appears, Act III. sc. 2. Act IV. sc.; sc. 2; sc. 3.

Act V. sc. 3.
PUBLIUS, son to Marcus the tribune.

Appeurs, Act V. sc. 2.
Æmilius, a noble Roman.
Appears, Act IV. sc. 4. Act V. sc. 1; sc. 3.

ALARBUS, son to Tamora.

Appears, Act I. sc. 2.

CHIRON, son to Tamora.
Appears, Act I. sc. 2. Act II. sc. 1; sc. 2; sc. 3; sc. 5,

Act IV. sc. 2; sc. 4. Act V. sc. 2.

DEMETRIUS, son to Tamora.
Appears, Act I. sc. 2. Act II. sc. 1, sc. 2; sc. 3; sc. 3.

Act IV. sc. 2; sc. 4. Act V. sc. 2.

AARON, a Moor. Appears, Act I. sc. 2. Act II. sc. 1 ; sc. 3; sc. 4. Act III. sc. I.

Act IV. sc. 2. Act V. sc. l; sc. 3.

A Captain.
Appears, Act I. sc. 2.

A Tribune.
Appears, Act V. sc. 3.

A Messenger.
Appcars, Act III. sc. 1,

A Clown.
Appears, Act IV. sc. 3; sc. 4.

Goths.
Appear, Act V. sc. 1; sc. 3.

Romans.
Appeur, Act I. sc. 1 ; sc. 2.

TAMORA, Queen of the Goths.
Appears, Act I. sc. 2. Act II. sc. 2; sc. 3; sc. 4. Act IV. sc. 4.

Act V. sc. 2; sc. 3.
LAVINIA, daughter to Titus Andronicus.
Appears, Act I. sc. 2. Act II. sc. 2; sc. 3 ; sc. 5. Act III. se. 1;
sc. 2, Act IV. sc. 1. Act V. sc. 2; sc. 3.

A Nurse.
Appears, Act IV. sc. 2.

Appears, Act Black Child.

Appears, Act IV. sc. 2. Act V. sc. 1. Kinsmen of Titus, Senators, Tribunes, Officers,

Soldiers, and Attendants. SCENE, ROME, AND THE COUNTRY NEAR IT.

TITUS ANDRONICUS.

ACT І.

SCENE I.—Rome. Flourish. Enter the Tribunes and Senators, aloft;

and then enter SATURNINUS and his Followers at one door, and BASSIANUS and his Followers at the other, with drum and colours.

Sat. Noble patricians, patrons of my right,
Defend the justice of my cause with arms;
And, countrymen, my loving followers,
Plead my successive title with your swords :
I am his first-born son, that was the last
That wore the imperial diadem of Rome :
Then let my father's honours live in me,
Nor wrong mine age with this indignity,

Bass. Romans, friends, followers, favourers of my

right,

If ever Bassianus, Cæsar's son,
Were gracious in the eyes of royal Rome,
Keep then this passage to the Capitol ;
And suffer not dishonour to approach
Th' imperial seat; to virtue consecrate,
To justice, continence, and nobility :
But let desert in pure election shine;
And, Romans, fight for freedom in your choice.
Enter Marcus ANDRONICUS, aloft, with the crown.
Marc. Princes, that strive by factions and by friends

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