To play histories, or to exhibit a succession of events by action and dialogue, was a common entertainment among our rude ancestors upon great festivities.  The parish clerks once performed at Clerkenwell a play, which lasted three days, containing the History of the World.

CORIOLANUS.

The tragedy of Coriolanus is one of the most amusing of our author’s performances.  The old man’s merriment in Menenius; the lofty lady’s dignity in Volumnia; the bridal modesty in Virgilia; the patrician and military haughtiness in Coriolanus; the plebeian malignity, and tribunitian insolence in Brutus and Sicinius, make a very pleasing and interesting variety:  and the various revolutions of the hero’s fortune fill the mind with anxious curiosity.  There is, perhaps, too much bustle in the first act, and too little in the last.

JULIUS CAESAR.

Of this tragedy many particular passages deserve regard, and the contention and reconcilement of Brutus and Cassius is universally celebrated; but I have never been strongly agitated in perusing it, and think it somewhat cold and unaffecting, compared with some other of Shakespeare’s plays; his adherence to the real story, and to Roman manners, seems to have impeded the natural vigour of his genius.

ANTONY AND CLEOPATRA.

This play keeps curiosity always busy, and the passions always interested.  The continual hurry of the action, the variety of incidents, and the quick succession of one personage to another, call the mind forward, without intermission, from the first act to the last.  But the power of delighting is derived principally from the frequent changes of the scene; for, except the feminine arts, some of which are too low, which distinguish Cleopatra, no character is very strongly discriminated.  Upton, who did not easily miss what he desired to find, has discovered that the language of Antony is, with great skill and learning, made pompous and superb, according to his real practice.  But I think his diction not distinguishable from that of others:  the most tumid speech in the play is that which Caesar makes to Octavia.

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

TIMON OF ATHENS.

The play of Timon is a domestick tragedy, and, therefore, strongly fastens 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 ostentatious liberality, which scatters bounty, but confers no benefits, and buys flattery, but not friendship.

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