however, having a clue to the difficulty, can tell which is which, merely from the practical contradictions which arise, as soon as the different parties begin to speak; and we are indemnified for the perplexity and blunders into which we are thrown by seeing others thrown into greater and almost inextricable ones.— This play (among other considerations) leads us not to feel much regret that Shakspeare was not what is called a classical scholar. We do not think his forte would ever have lain in imitating or improving on what others invented, so much as in inventing for himself, and perfecting what he invented,-not perhaps by the omission of faults, but by the addition of the highest excellencies. His own genius was strong enough to bear him up, and he soared longest and best on unborrowed plumes. The only passage of a very Shakspearian cast in this comedy is the one in which the Abbess, with admirable characteristic artifice, makes Adriana confess her own misconduct in driving her husband mad.

"ABBESS. How long hath this possession held the man? ADRIANA. This week he hath been heavy, sour, sad, And much, much different from the man he was;

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. Ay, 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 glanc'd 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 sauc'd 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.

LUCIANA. 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
traits to be met with in Hogarth.

por

DOUBTFUL PLAYS

OF

SHAKSPEARE.

E

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 Shakspeare, 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 Shakspeare 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. in the first folio edition of Shakspeare's works, which it is 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 Shakspeare? 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 show themselves so very desirous of scraping everything together which went by the name of Shakspeare, 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 Shakspeare, 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.

Titus Andronicus is to be found

"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