Mr. Philips’s next dramatic performance was The Briton, a Tragedy; acted 1721.  This is built on a very interesting and affecting story, whether founded on real events I cannot determine, but they are admirably fitted to raise the passion peculiar to tragedy.  Vanoc Prince of the Cornavians married for his second wife Cartismand, Queen of the Brigantians, a woman of an imperious spirit, who proved a severe step-mother to the King’s daughter Gwendolen, betrothed to Yvor, the Prince of the Silurians.  The mutual disagreement between Vanoc and his Queen, at last produced her revolt from him.  She intrigues with Vellocad, who had been formerly the King’s servant, and enters into a league with the Roman tribune, in order to be revenged on her husband.  Vanoc fights some successful battles, but his affairs are thrown into the greatest confusion, upon receiving the news that a party of the enemy has carried off the Princess his daughter.  She is conducted to the tent of Valens the Roman tribune, who was himself in love with her, but who offered her no violation.  He went to Vanoc in the name of Didius the Roman general, to offer terms of peace, but he was rejected with indignation.  The scene between Vanoc and Valens is one of the most masterly to be met with in tragedy.  Valens returns to his fair charge, while her father prepares for battle, and to rescue his daughter by the force of arms.  But Cartismand, who knew that no mercy would be shewn her at the hands of her stern husband, flies to the Princess’s tent, and in the violence of her rage stabs her.  The King and Yvor enter that instant, but too late to save the beauteous Gwendolen from the blow, who expires in the arms of her betrothed husband, a scene wrought up with the greatest tenderness.  When the King reproaches Cartismand for this deed of horror, she answers,

  Hadst thou been more forgiving, I had been less cruel.

  VANOC

  Wickedness! barbarian! monster—­
  What had she done, alas!—­Sweet innocence! 
  She would have interceded for thy crimes.

  CARTISMAND

  Too well I knew the purpose of thy soul.—­
  Didst thou believe I would submit?—­resign my crown?—­
  Or that thou only hadst the power to punish?

  VANOC

  Yet I will punish;—­meditate strange torments!—­
  Then give thee to the justice of the Gods.

  CARTISMAND

  Thus Vanoc, do I mock thy treasur’d rage.—­
  My heart springs forward to the dagger’s point.

  Vanoc

  Quick, wrest it from her!—­drag her hence to chains.

  CARTISMAND

  There needs no second stroke—­
  Adieu, rash man!—­my woes are at an end:—­
  Thine’s but begun;—­and lasting as thy life.

Mr. Philips in this play has shewn how well he was acquainted with the stage; he keeps the scene perpetually busy; great designs are carrying on, the incidents rise naturally from one another, and the catastrophe is moving.  He has not observed the rules which some critics have established, of distributing poetical justice; for Gwendolen, the most amiable character in the play is the chief sufferer, arising from the indulgence of no irregular passion, nor any guilt of hers.