It is impossible to bestow too much praise on the beautiful passages which occur so frequently in “All for Love.”  Having already given several examples of happy expression of melancholy and tender feelings, I content myself with extracting the sublime and terrific description of an omen presaging the downfall of Egypt.

Serap. Last night, between the hours of twelve and one, In a lone isle of the temple while I walked, A whirlwind rose, that, with a violent blast, Shook all the dome:  The doors around me clapt; The iron wicket, that defends the vault, Where the long race of Ptolemies is laid, Burst open, and disclosed the mighty dead.  From out each monument, in order placed, An armed ghost starts up:  The boy-king last Reared his inglorious head.  A peal of groans Then followed, and a lamentable voice Cried,—­“Egypt is no more!” My blood ran back, My shaking knees against each other knocked; On the cold pavement down I fell entranced, And so, unfinished, left the horrid scene.

Having quoted so many passages of exquisite poetry, and having set this play in no unequal opposition to that of Shakespeare, it is, perhaps, unnecessary to mention by what other poets the same subject has been treated.  Daniel, Mary countess of Pembroke, May, and Sir Charles Sedley, each produced a play on the fortunes of Anthony.  Of these pieces I have never read the three former, and will assuredly never read the last a second time[3].

“All for Love,” as the most laboured performance of our author, received the full tribute of applause and popularity which had often graced his less perfect and more hurried performances.  Davies gives us the following account of its first representation.

“In Dryden’s “All for Love,” Booth’s dignified action and forcible elocution, in the part of Antony, attracted the public to that heavy, though, in many parts, well written play, six night’s successively, without the assistance of pantomime, or farce, which, at that time, was esteemed something extraordinary.—­But, indeed, he was well supported by an Oldfield, in his Cleopatra, who, to a most harmonious and powerful voice, and fine person, added grace and elegance of gesture.  When Booth and Oldfield met in the second act, their dignity of deportment commanded the applause and approbation of the most judicious critics.  When Antony said to Cleopatra,

  You promised me your silence, and you break it
  Ere I have scarce begun,—­

this check was so well understood by Oldfield, and answered with such propriety of behaviour, that, in Shakespeare’s phrase; her “bendings were adornings.”

“The elder Mills acted Ventidius with the true spirit of a rough and generous old soldier.  To render the play as acceptable to the public as possible, Wilkes took the trifling part of Dolabella, nor did Colley Cibber disdain to appear in Alexas.  These parts would scarcely be accepted now by third-rate actors.  Still to add more weight to the performance, Octavia was a short character of a scene or two, in which Mrs Porter drew not only respect, but the more affecting approbation of tears from the audience.  Since that time, “All for Love” has gradually sunk into forgetfulness.”