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 f