Act v. Scene of the sacrifice to Fortune.
This scene is unspeakably irrational. To believe, and yet to scoff at, a present miracle is little less than impossible. Sejanus should have been made to suspect priestcraft and a secret conspiracy against him.
“Volpone.”
This admirable, indeed, but yet more wonderful than admirable, play is, from the fertility and vigour of invention, character, language, and sentiment, the strongest proof how impossible it is to keep up any pleasurable interest in a tale, in which there is no goodness of heart in any of the prominent characters. After the third act, this play becomes not a dead, but a painful, weight on the feelings. Zeluco is an instance of the same truth. Bonario and Celia should have been made in some way or other principals in the plot; which they might have been, and the objects of interest, without having been made characters. In novels, the person in whose fate you are most interested, is often the least marked character of the whole. If it were possible to lessen the paramountcy of Volpone himself, a most delightful comedy might be produced, by making Celia the ward or niece of Corvino, instead of his wife, and Bonario her lover.
“Apicæne.”
This is to my feelings the most entertaining of old Ben's comedies, and, more than any other, would admit of being brought out anew, if under the management of a judicious and stage-understanding playwright; and an actor, who had studied Morose, might make his fortune.
Act i. sc. 1. Clerimont's speech:—
“He would have hang'd a pewterer's 'prentice once upon a Shrove