nuff the Moon;" but as this is only related upon
common report, we desire no more credit may be given to it, than its
own nature demands. We do not pretend notwithstanding our high opinion
of Lee, to defend all his rants and extravagancies; some of them are
ridiculous, some bombast, and others unintelligible; but this
observation by no means holds true in general; for tho' some passages
are too extravagant, yet others are nobly sublime, we had almost said,
unequalled by any other poet.

As there are not many particulars preserved of Lee's life, we think
ourselves warranted to enlarge a little upon his works; and therefore
we beg leave to introduce to our reader's acquaintance a tragedy which
perhaps he has not for some time heard of, written by this great man,
viz. Lucius Junius Brutus, the Father of his country.

We mention this tragedy because it is certainly the finest of Lee's,
and perhaps one of the most moving plays in our language. Junius
Brutus engages in the just defence of the injured rights of his
country, against Tarquin the Proud; he succeeds in driving him out of
Rome. His son Titus falls in love, and interchanges vows with the
tyrant's daughter; his father commands him not to touch her, nor to
correspond with her; he faithfully promises; but his resolutions are
baffled by the insinuating and irresistible charms of Teraminta; he is
won by her beauties; he joins in the attempt to restore Tarquin; the
enterprize miscarries, and his own father sits in judgment upon him,
and condemns him to suffer.

The interview between the father and son is inexpressibly moving, and
is only exceeded by that between the son and his Teraminta. Titus is a
young hero, struggling between love and duty. Teraminta an amiable
Roman lady, fond of her husband, and dutiful to her father.

There are throughout this play, we dare be bold to affirm, as
affecting scenes as ever melted the hearts of an audience. Why it is
not revived, may be difficult to account for. Shall we charge it to
want of taste in the town, or want of discernment in the managers? or
are our present actors conscious that they may be unequal to some of
the parts in it? yet were Mr. Quin engaged, at either theatre, to do
the author justice in the character of Brutus, we are not wanting in a
Garrick or a Barry, to perform the part of Titus; nor is either stage
destitute of a Teraminta. This is one of those plays that Mr. Booth
proposed to revive (with some few alter