"TITUS ANDRONICUS."

ACT I. sc. 1. Theobald's note:

"I never heard it so much as intimated, that he (Shakespeare) had turned his genius to stage-writing, before he associated with the players, and became one of their body."

THAT

HAT Shakespeare never "turned his genius to stage-writing," as Theobald most Theobaldice phrases it, before he became an actor, is an assertion of about as much authority as the precious story that he left Stratford for deer-stealing, and that he lived by holding gentlemen's horses at the doors of the theatre, and other trash of that archgossip, old Aubrey. The metre is an argument against Titus Andronicus being Shakespeare's, worth a score such chronological surmises. Yet I incline to think that both in this play and in Jeronymo, Shakespeare wrote some passages, and that they are the earliest of his compositions.

Act v. sc. 2. I think it not improbable that the lines from

am not mad; I know thee well enough;

So thou destroy Rapine, and Murder there ”—

were written by Shakespeare in his earliest period. But instead of the text

"Revenge, which makes the foul offenders quake.
Tit. Art thou Revenge? and art thou sent to me?”—

the words in italics ought to be omitted.

"TROILUS AND CRESSIDA."

"Mr. Pope (after Dryden) informs us that the story of Troilus and Cressida was originally the work of one Lollius, a Lombard: but Dryden goes yet further; he declares it to have been written in Latin verse, and that Chaucer translated it. Lollius was a historiographer of Úrbino in Italy:"—Note in Stockdale's edition, 1807.

tr

"L

OLLIUS was a historiographer of Urbino in Italy." So affirms the notary to whom the Sieur Stockdale committed the disfaciménto of Ayscough's excellent edition of Shakespeare. Pity that the researchful notary has not either told us in what century, and of what history, he was a writer, or been simply content to depose, that Lollius, if a writer of that name existed at all, was a somewhat somewhere. The notary

speaks of the Troy Boke of Lydgate, printed in 1513. I have never seen it; but I deeply regret that Chalmers did not substitute the whole of Lydgate's works from the MSS. extant, for the almost worthless Gower.

The Troilus and Cressida of Shakespeare can scarcely be classed with his dramas of Greek and Roman history; but it forms an intermediate link between the fictitious Greek and Roman histories, which we may call legendary dramas, and the proper ancient histories, that is, between the Pericles or Titus Andronicus, and the Coriolanus or Julius Cæsar. Cymbeline is a congener with Pericles, and distinguished from Lear by not having any declared prominent object. But where

shall we class the Timon of Athens? Perhaps immediately below Lear. It is a Lear of the satirical drama; a Lear of domestic or ordinary life;-a local eddy of passion on the high road of society, while all around is the week-day goings on of wind and weather; a Lear, therefore, without its soul-searching flashes, its ear-cleaving thunder-claps, its meteoric splendours,—without the contagion and the fearful sympathies of nature, the fates, the furies, the frenzied elements, dancing in and out, now breaking through and scattering,-now hand in hand with,-the fierce or fantastic group of human passions, crimes, and anguishes, reeling on the unsteady ground, in a wild harmony to the shock and the swell of an earthquake. But my present subject was Troilus and Cressida; and I suppose that, scarcely knowing what to say of it, I by a cunning of instinct ran off to subjects on which I should find it difficult not to say too much, though certain after all that I should still leave the better part unsaid, and the gleaning for others richer than my own harvest.

Indeed, there is no one of Shakespeare's plays harder to characterise. The name and the remembrances connected with it, prepare us for the representation of attachment no less faithful than fervent on the side of the youth, and of sudden and shameless inconstancy on the part of the lady. And this is, indeed, as the gold thread on which the scenes are strung, though often kept out of sight and out of mind by gems of greater value than itself. But as Shakespeare calls forth nothing from the mausoleum of history, or the catacombs of tradition, without giving, or eliciting, some

permanent and general interest, and brings forward no subject which he does not moralise or intellectualise, so here he has drawn in Cressida the portrait of a vehement passion, that, having its true origin and proper cause in warmth of temperament, fastens on, rather than fixes to, some one object by liking and temporary preference.

"There's language in her eye, her cheek, her lip,

Nay, her foot speaks; her wanton spirit looks out
At every joint and motive of her body."

This Shakespeare has contrasted with the profound affection represented in Troilus, and alone worthy the name of love;-affection, passionate indeed,-swoln with the confluence of youthful instincts and youthful fancy, and growing in the radiance of hope newly risen, in short, enlarged by the collective sympathies of nature;-but still having a depth of calmer element in a will stronger than desire, more entire than choice, and which gives permanence to its own act by converting it into faith and duty. Hence, with excellent judgment, and with an excellence higher than mere judgment can give, at the close of the play, when Cressida has sunk into infamy below retrieval and beneath hope, the same will, which had been the substance and the basis of his love, while the restless pleasures and passionate longings, like seawaves, had tossed but on its surface, this same moral energy is represented as snatching him aloof from all neighbourhood with her dishonour, from all lingering fondness and languishing regrets, whilst it rushes with him into other and nobler duties, and deepens the channel, which his heroic brother's death had left empty for its collected