And I am the turn'd-forth, be it known to you, The issue of an irreligious Moor, Now you have heard the truth, what say you, Romans ? Have we done aught amiss? Show us wherein, Will, hand in hand, all headlong cast us down, Emil. Come, come, thou reverend man of Rome, Rom. [Several speak.] Lucius, all hail; Rome's royal emperor ! LUCIUS, &c. descend. Mar. Go, go into old Titus' sorrowful house; [To an Attendant. And hither hale that misbelieving Moor, To be adjudg'd some direful slaughtering death, Rom. [Several speak.] Lucius, all hail; Rome's gracious governor! Luc. Thanks, gentle Romans; May I govern so, [Kisses TITUS. These sorrowful drops upon thy blood-stain'd face, The last true duties of thy noble son! Mar. Tear for tear, and loving kiss for kiss, Countless and infinite, yet would I pay them! Luc. Come hither, boy; come, come, and learn of us To melt in showers: Thy grandsire lov'd thee well: Many a time he danc'd thee on his knee, Sung thee asleep, his loving breast thy pillow; Meet, and agreeing with thine infancy; Shed yet some small drops from thy tender spring, Friends should associate friends in grief and woe: Boy. O grandsire, grandsire! even with all my heart Would I were dead, so you did live again! O lord, I cannot speak to him for weeping; Enter Attendants, with AARON. I Rom. You sad Andronici, have done with woes; Give sentence on this execrable wretch, That hath been breeder of these dire events. Luc. Set him breast-deep in earth, and famish him; For the offence he dies. This is our doom. Aar. O, why should wrath be mute, and fury dumb? I am no baby, I, that, with base prayers, I should repent the evils I have done; I do repent it from my very soul. Luc. Some loving friends convey the emperor hence, And give him burial in his father's grave: My father, and Lavinia, shall forthwith No funeral rite, nor man in mournful weeds, But throw her forth to beasts, and birds of prey: [Exeunt.3 to see him fasten'd in the earth.] That justice and cookery may go hand in hand to the conclusion of this play, in Ravenscroft's alteration of it, Aaron is at once racked and roasted on the stage. All the editors and criticks agree with Mr. Theobald in sup posing this play spurious I see no reason for differing from them; for the colour of the style is wholly different from that of the other plays, and there is an attempt at regular versification, and artificial closes, not always inelegant, yet seldom pleasing. The barbarity of the spectacles, and the general massacre, which are here exhibited, can scarcely be conceived tolerable to any audience; yet we are told by Jonson, that they were not only borne but praised. That Shakspeare wrote any part, though Theobald declares it incontestible, I see no reason for believing. The testimony produced at the beginning of this play, by which it is ascribed to Shakspeare, is by no means equal to the argument against its authenticity, arising from the total difference of conduct, language, and sentiments by which it stands apart from all the rest. Meres had probably no other evidence than that of a titlepage, which, though in our time it be sufficient, was then of no great authority; for all the plays which were rejected by the first collectors of Shakspeare's works, and admitted in later editions, and again rejected by the critical editors, had Shakspeare's name on the title, as we must suppose, by the fraudulence of the printers, who, while there were yet no gazettes, nor advertisements, nor any means of circulating literary intelligence, could usurp at pleasure any celebrated name. Nor had Shakspeare any interest in detecting the imposture, as none of his fame or profit was produced by the press. The chronology of this play does not prove it not to be Shakspeare's. If it had been written twenty-five years, in 1614, it might have been written when Shakspeare was twenty-five years old. When he left Warwickshire I know not, but at the age of twenty-five it was rather too late to fly for deer-stealing. Ravenscroft, who in the reign of James II. revised this play, and restored it to the stage, tells us, in his preface, from a theatrical tradition, I suppose, which in his time might be of sufficient authority, that this play was touched in different parts by Shakspeare, but written by some other poet. I do not find Shakspeare's touches very discernible. JOHNSON. |