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The multitudes of high employments could not
But set a peace to private griefs. These gentlemen,
Groneas and Hemophil, with worthy pensions,
Should wait upon your person, in your chamber;
I would bestow Christalla on Amelus,
She 'll prove a constant wise; and Philema
Should into Vesta's temple.

Bass. This is a testament !
It sounds not like conditions on a marriage.

Near. All this should be perform’d.

Cal. Lastly, for Prophilus;
He should be, cousin, solemnly invested
In all those honours, titles, and preserments
Which his dear friend, and my neglected husband,
Too short a time enjoyed.

Pro. I am unworthy
To live in your remembrance.

Euph. Excellent lady!
Near. Madam, what means that word, “neglected

husband ?"
Cal. Forgive me:-10w I turn to thee' thou shadow
Of my contracted lord! Bear witness all,
I put iny mother's wedding ring upon
His finger ; 'twas my father's last bequest.

[Places a ring on the finger of ITHOCLES. Thus I new-marry him, whose wise I am: Death shall not separate us. Oh, my lords, I but deceiv'd your eyes with antic gesture, When one news straight came huddling on another, Of death! and death! and death! still I danced for

ward! But it struck home, and here, and in an instant. Be such mere women, who, with shrieks and out

cries, Can vow a present end to all their sorrows, Yet live to (court) new pleasures, and outlive them : They are the silent griefs which cut the heart

strings; Let me die smiling.

Near. 'Tis a truth too ominous.
Cal. One kiss on these cold lips, my last !-(kisses

Ith.)-crack, crack-
Argos now's Sparta's king. Command the voices
Which wait at th' altar, now to sing the song
I fitted for my end.

Near. Sirs, the song!



Cho. Glories, pleasures, pomps, delights, and

Can but please
[The] outward senses, wnen the mind

Is [or) untroubled, or by peace refined.
First Voice. Crowns may fiourish and decay,

Beauties shine, but fade away. Second. Youth

inay revel, yet it must

Lie down in a bed of dust. Third. Earthly honours flow and waste,

Time alone doth change and last.
Cho. Sorrows mingied with contents, prepare

Rest for care,
Love only reigns in death; thougn art

Can find no comfort for a BROKEN HEART. Arm. Look to the queen!

Bass. Her“ heart is broke” indeed.
Oh, royal maid, would thou hadst miss'd this part'
Yet 't was a brave one. I must weep to see
Her smile in death.

Arm. Wise Tecnicus! thus said he.
When youth is ripe, and age from time dotn part,
The lifeless Trunk shall wed the Broken Heart
'Tis here fulfilled.

Near. I am your king.

All. Long live
Nearchus, king of Sparta!

Near. Her last will

Shall never be digress'd from; wait in order
Upon these faithful lovers, as becomes us.-
The counsels of the gods are never known,
Till men can call the effects of them their own.'

(Exeunt. 1 “I do not know," says Mr. Lamb, who brings to the perusal of our od dramatists a sensibility almost painfully exquisite," where to find, in any play, a catastrophe so grand, 50 solemn, and so surprising as this. This is indeed, according to Millon, to describe high passions and high actions. The fortitude of the Spartan Boy, who let a beast gnaw out his bowels till he died, without expressing a groan, is a faint bodily image of this dilaceration of the spirit, and exenteration of the inmost mind, which Calantha, with a holy violence against her nature, keeps closely covered till the last duties of a wife and a queen are fulfilled.-But Ford was of the first order of poets. He sought for sublimity, not by parcels in metaphors or visible images, but directly where she has full residence in the heart of man, in the actions and sufferings of the greatest minds."--LAMB's Specimens of Dramatic Poets.


WHERE noble judgments and clear eyes are fix'd
To grace endeavour, there sits truth, not mix'd
With ignorance; those censures may command
Belief, which talk not, till they understand.
Let some say, This was flat; some, Here the scene
Fell from its height ; another, That the mean
Was ill observed, in such a growing passion,
As it transcended either state or fashion.
Some few may cry,.'Twas pretty well, or 80,
Butand there shrug in silence : yet we know
Our writer's aim was, in the whole, address'd
Well to deserve of All, but please the best;
Which granted, by th' allowance of this strain,
The BROKEN HEART may be pieced up again.

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PERKIN WARBECK.] The youth of Margaret of Burgundy had been unfruitful; but her age-to borrow the quaint language which Ford has thought fit to adopt from Sir W. Warham-gave birth “to two tall striplings, able, soon after their coming into the world, to give battle to mighty kings.” It need hardly be observed, that of these monstrous births, the one was the notorious Lambert Simnel, and the other the hero of the following drama.

The reader of Perkin Warbeck must not expect much of that delight which is derived from the artful intricacies and skilful development of a well-conducted fable. The play itself is styled by its author a “Chronicle History ;" it follows accordingly the march of events, and stretches over a considerable period of time; and it must be confessed that the tone of the dialogue does not always afford a sufficient relief for the languor with which the plot “ drags its dull length along.” It is to the delineation of character, therefore, that the reader of Perkin Warbeck must look for his principal source of gratification; and that gratification, his feelings will soon tell him, is rather to be supplied from Scotland than England, in which two countries the scene is alternately laid. A stronger opposition might, perhaps,

I "Some have supposed,” says Mr. Malone, “that Shakspeare was the first dramatic poet who introduced dramas formed on the Chronicles; but this is an undoubted error. Every one of the subjects on which he constructed his historical plays appears to have been brought upon the scene before his time." It is clear, indeed, from the curious volume of Gosson, that the Chronicles had been ransacked for plays before 1580, while Shakspeare perhaps, as Aubrey says, was killing calves in fine style;" and, for very obvious reasons, this species of dramatic entertainment seems to have been held in no small request by our ancestors. “Plays,” says Heywood, in his Apology for Actors (printed in 1612), “have taught the unlearned the knowledge of many famous histories, instructed such as cannot read in the discovery of our English Chronicles; and what man have you now of that weake capacity that, being possest of their true use, cannot discourse of any notable thing recorded even from William the Conqueror until this day?" Hence, in the introduction to an old tragedy called "A Warning for Fair Women,” we find Tragedy, Comedy, and History personified, and each claiming superiority and possession of the stage. Tragedy threatens to scourge and kick her two competitors from off the stage, and, indeed, actually applies the whip to them; but History remains, nevertheless, undaunted :

“And, Tragedie, although to-day thou raigne,
To-morrow here I 'll domineere againe.*

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