of course, no other than [the great] Bacon; and it is a new feature in his biography, though not perhaps very prominent nor important, that he was so nearly concerned in the preparation of a play at court. In February 1587-8, he had just commenced his twenty-eighth year. Christopher Yelverton, as early as 1566, had written the epilogue to Gascoigne’s “Jocasta,” and on the present occasion was probably resorted to for his experience in such undertakings. Regarding Flower, Lancaster, and Penruddock we have nothing to communicate.

“The Misfortunes of Arthur” is a dramatic composition only known to exist in the Garrick Collection.[250] Judging from internal evidence, it seems to have been printed with unusual care under the superintendence of the principal author. In the course of it, some lines and words were cancelled, and those which were substituted were pasted over the objectionable passages. In the notes we have given both versions, and the whole is reprinted as nearly as possible in its original shape. The mere rarity of this unique drama would not have recommended it to our notice; but it is not likely that such a man as Bacon would have lent his aid to the production of a piece which was not intrinsically good, and unless we much mistake, there is a richer and a nobler vein of poetry running through it than is to be found in any previous work of the kind. The blank verse is generally free and flowing, although now and then deformed by alliteration, and

rendered somewhat monotonous by the want of that variety of rhythm, which Marlowe may be said to have introduced, and which Shakespeare scarcely exceeded.

Most of the characters, and particularly those of Arthur and Mordred, are drawn with distinctness and vigour: the fiery and reckless ambition of the son is excellently contrasted with the cool determination and natural affection of the father. As an illustration of the former we may refer to many passages, but especially to several in the third scene of the second act; while the character and disposition of the latter are depicted in a masterly manner both before and after the final battle. This catastrophe, as far as relates to the death of Mordred, is mentioned by Dante in canto xxxii. of his “Inferno”—

“Non quelli a cui fu rotto il petto e l’ombra.

Con esso un colpo per la man d’Artu.”

The substance of the story is to be found in the “Morte Arthur.” The action is one, but the unities of time and place are disregarded; and although the tragedy in many respects is conducted upon the plan of the ancients, there are in it evident approaches to the irregularity of our romantic drama. It forms a sort of connecting link between such pieces of unimpassioned formality as “Ferrex and Porrex,” and rule-rejecting historical plays, as Shakespeare found them and left them.

THE NAMES OF THE SPEAKERS.

THE INTRODUCTION.