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Beats not against thy casement: the hoarse wolf

Scents not thy carrion. Pity winds thy corse,
Whilst horror waits on princes.

Vit. Cor. I am lost for ever.

Brach. How miserable a thing it is to die

'Mongst women howling! What are those?

Flam. Franciscans.

They have brought the extreme unction.

Brach. On pain of death, let no man name death to me: It is a word most infinitely terrible.

Withdraw into our cabinet."

The deception practised upon him by Lodovico and Gasparo, who offer him the sacrament in the disguise of Monks, and then discover themselves to damn him, is truly diabolical and ghastly. But the genius that suggested it was as profound as it was lofty. When they are at first introduced, Flamineo says,

"See, see how firmly he doth fix his eye

Upon the Crucifix."

To which Vittoria answers,

"Oh, hold it constant:

It settles his wild spirits; and so his eyes
Melt into tears."

The Dutchess of Malfy is not, in my judgment, quite so spirited or effectual a performance as the White Devil. But it is distinguished by the same kind of beauties, clad in the same terrors. I do not know but the occasional strokes of passion are even profounder and more Shakspearian; but the story is more laboured, and the horror is accumulated to an overpowering and insupportable height. However appalling to the imagination and finely done, the scenes of the madhouse to which the Duchess is condemned with a view to unsettle her reason, and the interview between her and her brother, where he gives her the supposed dead hand of her husband, exceed, to my thinking, the just bounds of poetry and of tragedy. At least, the merit is of a kind which, however great, we wish to be rare. A series of such exhibitions obtruded upon the senses or the imagination must tend to stupefy and harden, rather than to exalt the fancy

or meliorate the heart. I speak this under correction; but I hope the objection is a venial common-place. In a different style altogether are the directions she gives about her children in her last struggles:

"I pr'ythee, look thou giv'st my little boy

Some syrop for his cold, and let the girl

Say her pray'rs ere she sleep. Now what death you please—”

and her last word, "Mercy," which she recovers just strength enough to pronounce; her proud answer to her tormentors, who taunt her with her degradation and misery-" But I am Duchess of Malfy still*_ -as if the heart rose up, like a serpent coiled, to resent the indignities put upon it, and being struck at, struck again; and the staggering reflection her brother makes on her death, "Cover her face: my eyes dazzle: she died young!" Bosola replies:

"I think not so; her infelicity

Seem'd to have years too many.

Ferdinand. She and I were twins.

And should I die this instant, I had liv'd
Her time to a minute."

This is not the bandying of idle words and rhetorical commonplaces, but the writhing and conflict, and the sublime colloquy of man's nature with itself!

The 'Revenger's Tragedy,' by Cyril Tourneur, is the only other drama equal to these and to Shakspeare, in "the dazzling fence of impassioned argument," in pregnant illustration, and in those profound reaches of thought which lay open the soul of feeling. The play, on the whole, does not answer to the expectations it excites; but the appeals of Castiza to her mother, who endeavours to corrupt her virtuous resolutions, "Mother, come

* "Am I not the Duchess?

Bosola. Thou art some great woman, sure; for riot begins to sit on thy forehead (clad in grey hairs) twenty years sooner than on a merry milkmaid's. Thou sleep'st worse than if a mouse should be forced to take up his lodging in a cat's ear: a little infant that breeds its teeth, should it lie with thee, would ery out, as if thou wert the more unquiet bed-fellow.

Duch. I am Duchess of Malfy still."

from that poisonous woman there," with others of the like kind, are of as high and abstracted an essence of poetry, as any of those above mentioned.

In short, the great characteristic of the elder dramatic writers is, that there is nothing theatrical about them. In reading them you only think how the persons, into whose mouths certain sentiments are put, would have spoken or looked: in reading Dryden and others of that school, you only think, as the authors themselves seem to have done, how they would be ranted on the stage by some buskined hero or tragedy-queen. In this respect, indeed, some of his more obscure contemporaries have the advantage over Shakspeare himself, inasmuch as we have never seen their works represented on the stage; and there is no stagetrick to remind us of it. The characters of their heroes have not been cut down to fit into the prompt-book, nor have we ever seen their names flaring in the play-bills in small or large capitals. I do not mean to speak disrespectfully of the stage; but I think higher still of nature, and next to that of books. They are the nearest to our thoughts: they wind into the heart; the poet's verse slides into the current of our blood. We read them when young, we remember them when old. We read there of what has happened to others; we feel that it has happened to ourselves. They are to be had everywhere cheap and good. We breathe but the air of books: we owe everything to their authors, on this side barbarism; and we pay them easily with contempt, while living, and with an epitaph, when dead! Michael Angelo is beyond the Alps; Mrs. Siddons has left the stage and us to mourn her loss. Were it not so, there are neither picture-galleries nor theatres-royal on Salisbury-plain where I write this; but here, even here, with a few old authors, I can manage to get through the summer or the winter months, without ever knowing what it is to feel ennui. They sit with me at breakfast; they walk out with me before dinner. After a long walk through unfrequented tracts, after starting the hare from the fern, or hearing the wing of the raven rustling above my head, or being greeted by the woodman's "stern good-night." as he strikes into his narrow homeward path, I can "take mine ease at mine inn," beside the blazing hearth, and shake hands

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with Signor Orlando Friscobaldo, as the oldest acquaintance I have. Ben Jonson, learned Chapman, Master Webster, and Master Heywood, are there; and seated round, discourse the silent hours away. Shakspeare is there himself, not in Cibber's manager's coat. Spenser is hardly yet returned from a ramble through the woods, or is concealed behind a group of nymphs, fawns, and satyrs. Milton lies on the table, as on an altar, never taken up or laid down without reverence. Lyly's Endymion sleeps with the Moon, that shines in at the window; and a breath of wind stirring at a distance seems a sigh from the tree under which he grew old. Faustus disputes in one corner of the room with fiendish faces, and reasons of divine astrology. Bella front soothes Matheo, Vittoria triumphs over her judges, and old Chapman repeats one of the hymns of Homer, in his own fine translation! I should have no objection to pass my life in this manner out of the world, not thinking of it, nor it of me; neither abused by my enemies, nor defended by my friends; careless of the future, but sometimes dreaming of the past, which might as well be forgotten! Mr. Wordsworth has expressed this sentiment well (perhaps I have borrowed it from him)

"Books, dreams, are both a world; and books, we know,

Are a substantial world, both pure and good,

Round which, with tendrils strong as flesh and blood,

Our pastime and our happiness may grow.

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Blessings be with them and eternal praise,
The poets, who on earth have made us heirs
Of truth and pure delight in deathless lays.
Oh, might my name be number'd among theirs,
Then gladly would I end my mortal days!"

I have no sort of pretension to join in the concluding wish of the last stanza; but I trust the writer feels that this aspiration of his early and highest ambition is already not unfulfilled!

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LECTURE IV.

On Beaumont and Fletcher, Ben Jonson, Ford, and Massinger. BEAUMONT and FLETCHER, with all their prodigious merits, appear to me the first writers who in some measure departed from the genuine tragic style of the age of Shakspeare. They thought less of their subject, and more of themselves, than some others. i They had a great and unquestioned command over the stores both of fancy and passion; but they availed themselves too often of common-place extravagances and theatrical trick. Men at first produce effect by studying nature, and afterwards they look at nature only to produce effect. It is the same in the history of other arts, and of other periods of literature. With respect to most of the writers of this age, their subject was their master. Shakspeare was alone, as I have said before, master of his subject; but Beaumont and Fletcher were the first who made a play-thing of it, or a convenient vehicle for the display, of their own powers. The example of preceding or contemporary writers had given them facility; the frequency of dramatic exhibition had advanced the popular taste; and this facility of production, and the necessity for appealing to popular applause, tended to vitiate their own taste, and to make them willing to pamper that of the public for novelty and extraordinary effect. There wants something of the sincerity and modesty of the older writers. They do not wait nature's time, or work out her materials patiently and faithfully, but try to anticipate her, and so far defeat themselves. They would have a catastrophe in every scene; so that you have none at last: they would raise admiration to its height in every line; so that the impression of the whole is comparatively loose and desultory. They pitch the characters at first in too high a key, and exhaust themselves by the eagerness and impatience of their efforts. We find all the prodigality of youth, the confidence inspired by success, an enthusiasm bordering on extravagance, richness running riot

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