from other teftimony. They are afcribed to ShakeSpeare by the firft editors, whofe atteftation may be received in questions of fact, however unskilfully they fuperintended their edition. They feem to be declared genuine by the voice of Shakespeare himfelf, who refers to the fecond play in his epilogue to Henry V. and apparently connects the first act of Richard III. with the laft of the third part of Henry VI. If it be objected, that the plays were popular, and that therefore he alluded to them as well known; it may be answered, with equal probability, that the natural passions of a poet would have difpofed him to feparate his own works from thofe of an inferior hand. And, indeed, if an author's own teftimony is to be overthrown by fpeculative criticifm, no man can be any longer fecure of literary reputation.

Of these three plays I think the fecond the beft. The truth is, that they have not fufficient variety of action, for the incidents are too often of the fame kind; yet many of the characters are well difcriminated. King Henry, and his queen, king Edward, the duke of Gloucester, and the earl of Warwick, are very ftrongly and diftinctly painted.

The old copies of the two latter parts of Henry VI. and of Henry V. are fo apparently imperfect and mutilated, that there is no reafon for fuppofing them the firft draughts of Shakespeare. I am inclined to believe them copies taken by fome auditor who wrote down, during the reprefentation, what the time would permit, then perhaps filled up fome of his omiffions at a fecond or third hearing, and when

he

he had by this method formed fomething like a play, fent it to the printer.

KING RICHARD Iit.

This is one of the most celebrated of our author's performances; yet I know not whether it has not happened to him as to others, to be praised most, when praise is not most deserved. That this play has fcenes noble in themfelves, and very well contrived to strike in the exhibition, cannot be denied. But fome parts are trifling, others fhocking, and fome improbable.

I have nothing to add to the observations of the learned criticks, but that fome traces of this antiquated exhibition are still retained in the ruftick puppet-plays, in which I have feen the Devil very luftily belaboured by Punch, whom I hold to be the legitimate fucceffor of the old Vice.

KING HENRY VIII.

The play of Henry the Eighth is one of thofe which ftill keeps poffeffion of the ftage by the fplendor of its pageantry. The coronation about forty years. ago, drew the people together in multitudes for a great part of the winter. Yet pomp is not the only merit of this play. The meek forrows and virtuous diftrefs of Katharine have furnished fome fcenes, which may be justly numbered among the greatest efforts of tragedy. But the genius of Shakespeare comes in and goes out with Katharine. Every other part may be easily conceived, and easily written.

The hiftorical dramas are now concluded, of which the two parts of Henry the Fourth, and Henry the Fifth, are among the happieft of our author's compofitions; and King John, Richard the Third, and Henry the Eighth, defervedly ftand in the second clafs. Thofe whofe curiofity would refer the historical scenes to their original, may confult Holing fhed, and fometimes Hall: from Holing fhed, Shakespeare has often inferted whole speeches with no more alteration than was neceffary to the numbers of his verfe. To tranfcribe them into the margin was unneceffary, because the original is eafily examined, and they are feldom lefs perfpicuous in the poet than in the hiftorian.

To play hiftories, or to exhibit a fucceffion of events by action and dialogue, was a common entertainment among our rude ancestors upon great feftivities. The parish clerks once performed at Clerkenwell a play which lafted three days, containing The history of the World.

CORIOLANUS.

The tragedy of Coriolanus is one of the most amufing of our author's performances. The old man's merriment in Menenius; the lofty lady's dignity in Volumnia; the bridal modefty in Virgilia; the patrician and military haughtinefs in Coriolanus; the plebeian malignity, and tribunitian infolence in Brutus and Sicinius, make a very pleafing and interefting variety and the various revolutions of the hero's fortune fill the mind with anxious curiofity. There

is, perhaps, too much buftle in the firft act, and too little in the last,

JULIUS CESAR,

Of this tragedy many particular paffages deferve regard, and the contention and reconcilement of Brutus and Caffius is univerfally celebrated; but I have never been ftrongly agitated in perufing it, and think it fomewhat cold and unaffecting, compared with fome other of Shakespeare's plays; his adherence to the real ftory, and to Roman manners, feems to have impeded the natural vigour of his genius,

ANTONY AND CLEOPATRA.

This play keeps curiofity always busy, and the paffions always interested. The continual hurry of the action, the variety of incidents, and the quick fucceffion of one perfonage to another, call the mind forward without intermiffion from the first act to the laft. But the power of delighting is derived principally from the frequent changes of the scene; for except the feminine arts, fome of which are too low which distinguish Cleopatra, no character is very ftrongly difcriminated. Upton, who did not eafily mifs what he defired to find, has discovered that the language of Antony is, with great skill and learning, made pompous and fuperb, according to his real practice. But I think his diction not distinguishable from that of others: the moft timid fpeech in the play is that which Cafar makes to Octavia.

The events, of which the principal are defcribed according to history, are produced without any art of connexion or care of difpofition.

TIMON OF ATHENS.

The play of Timon is a domeftick tragedy, and therefore frongly faftens on the attention of the reader. In the plan there is not much art, but the incidents are natural, and the characters various and exact. The catastrophe affords a very powerful warning against that oftentatious liberality, which fcatters bounty, but confers no benefits, and buys flattery, but not friendship.

In this tragedy, are many paffages perplexed, obfeure, and probably corrupt, which I have endeavoured to rectify, or explain, with due diligence; but having only one copy, cannot promife myself that my endeavours fhall be much applauded.

TITUS ANDRONICUS.

All the editors and criticks agree with Mr. Theo. bald in fuppofing this play fpurious. I fee no reafon for differing from them; for the colour of the file is wholly different from that of the other plays, and there is an attempt at regular verfification, and artificial clofes, not always inelegant, yet feldom plealing. The barbarity of the fpectacles, and the general maffacre, which are here exhibited, can fcarcely be conceived tolerable to any audience; yet we are told by Jonfon, that they were not only borne, but praifed, That Shakespeare wrote any part, though