dronicus being Shakspeare's, worth a score such chronological surmises. Yet I incline to think that both in this play and in Jeronymo, Shakspeare 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

I am not mad; I know thee well enough ;

So thou destroy Rapine, and Murder there.

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

Revenge, which makes the foul offender 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 Urbino in Italy. Note in Stockdale's edition, 1807.

'Lollius was a historiographer of Urbino in Italy.' So affirms the notary, to whom the Sieur Stockdale committed the disfacimento of Ayscough's excellent edition of Shakspeare. 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 Shakspeare 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 thunderclaps, its meteoric splendors,-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 Shakspeare's plays harder to characterize. 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 Shakspeare calls forth nothing from the mausoleum of history, or the catacombs of tradition, without giving, or eliciting, some permanent and general interest, and brings farward no subject which he does not moralize or intellectualize,-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 spirits look out
At every joint and motive of her body.

This Shakspeare 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 sea-waves, 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 flood. Yet another secondary and subordinate purpose Shak

speare has inwoven with his delineation of these two characters,-that of opposing the inferior

civilization, but purer morals, of the Trojans to the refinements, deep policy, but duplicity and sensual corruptions, of the Greeks.

To all this, however, so little comparative projection is given,-nay, the masterly group of Agamemnon, Nestor, and Ulysses, and, still more in advance, that of Achilles, Ajax, and Thersites, so manifestly occupy the foreground, that the subservience and vassalage of strength and animal courage to intellect and policy seems to be the lesson most often in our poet's view, and which he has taken little pains to connect with the former more interesting moral impersonated in the titular hero and heroine of the drama. But I am half inclined to believe, that Shakspeare's main object, or shall I rather say, his ruling impulse, was to translate the poetic heroes of paganism into the not less rude, but more intellectually vigorous, and more featurely, warriors of Christian chivalry, and to substantiate the distinct and graceful profiles or outlines of the Homeric epic into the flesh and blood of the romantic drama,—in short, to give a grand history-piece in the robust style of Albert Durer.

The character of Thersites, in particular, well deserves a more careful examination, as the Caliban of demagogic life ;—the admirable portrait of intellectual power deserted by all grace, all moral principle, all not momentary impulse--just wise enough to detect the weak head, and fool enough to provoke the armed