The historical dramas are now concluded, of which the two parts of Henry IV. and Henry V. are among the happiest of our author's compositions; and King John, Richard III. and Henry VIII. deservedly stand in the second class. Those whose curiosity would refer the historical scenes to their original, may consult Holinshed, and sometimes Hall: from Holinshed, Shakespeare has often inserted whole speeches, with no more alteration than was necessary to the numbers of his verse. To transcribe them into the margin was unnecessary, because the original is easily examined, and they are seldom less perspicuous in the poet than in the historian.
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 Cæsar 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.