MIRROR OF THESPIS. A No. III. REMARKS ON SHAKSPEARE'S CYMBELINE. S the combination of colours in a landscape charms us infinitely more than the utmost that art can effect with one colour only, so are the various beauties which lay scattered in elegant disorder throughout the works of Shakspeare more gratifying than the most elevated work or conception proceeding only upon a few ideas, and those limited in their extent. When, therefore, we complain of his incongruity, we forget that in contending for nice rules of consistency, we are consenting to sacrifice the greatest treat his works present, for the sake of very inadequate advantages. As well might we censure the traveller for passing out of the high road to view the captivating scenery which surrounds him, as Shakspeare for suffering his fancy to meander, when her rovings are always gratifying to every man of taste and judgment. His works no more come within the rules prescribed by rigid criticism, than the majestic rock or craggy cliff, whose awful and stupendous majesty inspires alternate wonder and delight, are subjects for the architect or the disciple of rural œconomy. We offer these introductory observarions by way of general reply to the censure with which many of his commentators have attacked most of the plays of our immortal bard; and none with more asperity than Cymbeline. Though Mr. Steevens denies the authority of Pope as to the plot of this play being taken from a novel of Boccacio, yet we think the author of Shakspeare Illustrated' very clearly proves the story of Postbamus and Imogen to have been taken from the Italian novelist: but we totally dissent from the unqualified attack which the same writer has made upon this play in consequence of Shakspeare's manner of adopting the story; which, when we consider it as interwoven with the episode of the King's sons, and the variety of other incidents he has introduced, we cannot refrain from pronouncing to be highly judicious. Nor does Dr. Johnson's opinion, though less 1 harsh, approach much nearer to justice; which we think should be a caution to every admirer of our bard not to suffer his judgment to be warped by that of professed critics, who are too apt to dwell more upon the exposure of slight faults than the display of beauties; and whose opinions therefore lose much of their weight from an adherence to this professional propensity. Though it may appear presumptuous to oppose the judgments of such able predecessors, yet, as our love of justice ought not to yield to trivial forms, we feel no hesitation in asserting, that we consider Cymbeline, after all that has been urged against it, one of Shakspeare's finest productions. Scrutinized by the strict rules of dramatic structure, to the title of a regular whole it has no claim; but as a whole composed of parts which display the exquisite taste and judgment of the Poet, to what production can it yield? And to obviate doubt, let us put this question to the reader:→ What regular drama is there, the perusal of which affords him half the satisfaction derived from the irregular Cymbeline? We are content to leave the merits of Shakspeare at issue upon this plain enquiry, without offering another general remark. With exception of one or two connecting scenes, there is not one in which the child of Fancy does not seem to have been in the meridian of his glory. The speech of Iachimo in the chamber, for height of colouring and brilliancy of conception, is unequalled by Shakspeare himself: and to point out what may at one moment strike us as the most masterly part of Imogen's character, either in thought or execution, would be dividing beauties too equally excellent either to be seen or determined upon apart. Posthumus is a better character than Othello; though, like the Moor, he is too easily persuaded to doubt his wife's fidelity. The whole of the counterplot of the princely mountaineers is finely conceived, and admirably sustained. Their artless simplicity, their affection for their foster-parent and unknown sister, their courage and whole conduct (tarnished only by the death of Cloten, who is, by the bye, the most inconsistent and unnecessary character in the play) are too ably depicted, and their sentiments too glowingly natural, not to charm every reader. We remember no plot more difficult to wind up, or denouement more dexterously accomplished. This play, which in several respects resembles As You Like It, has the same error at the close as the latter; the introduction of the Soothsayer is as unnecessary here, as that of Hymen there yet this, with several other faults we by no means deny it possesses, serve but as foils to render more brilliant one of the grandest productions of a writer, whose greatest endowment, a most extensive knowledge of human nature, has raised the greatest number of objections to him, as it led him to neglect that restriction of the imagination contended for by some, and to display this variety of his powers in every situation. REMARKS ON THE CONSCIOUS LOVERS. ONE striking superiority which the comedies of the last age have over those of the present, is the accuracy with which they represent the manners of high life; the ability to do which directed writers in their choice of subjects. This evidently arose from the estimation in which the character of a dramatist was then held. It was the lot of Vanburgh, Congreve, Addison and Steele, to move themselves in the circles of elegance and fashion; the excellencies and depravities of which they were therefore fully acquainted with, and could communicate to their scenes. In our days, though the profession may be as creditable, the professors certainly do not rank so high in life. Opportunity is wanting:-and being unused to the company of the great and well-bred, their scenes are drawn from humbler spheres: nor is this all, for we have too often the mortification of hearing the elevated ranks of society sneered at, ridiculed, and libelled; which we were formerly wont to admire as the criterion of taste, wit, elegance, and honour. The writings of Sir Richard Steele are more peculiar for the pleasingness of mediocrity than the grandeur of eminence. He interests the heart, while he convinces the understanding, by situations and sentiments more just than astonishing; and which have therefore the advantage of being familiar to every capacity. His comedy of the Conscious Lovers may in a double sense be pronounced one of the chastest on the Stage; first, as regards the simplicity of its materials; and secondly, the inoffensive use of them. Here we find no wit where the smile must be accompanied with a blush; no scene where we need lament the depravity of our fellow creatures; but the whole is an instance of a simple story, rendered interesting, instructive, and entertaining. Young Bevil is one of the most engaging characters on the Stage. His every action bespeaks him a man of cultivated sense, polished manners, true honour, and strict virtue: and so amiable does he appear whenever engaged, that we are at a loss whether most to admire his submission to his father, the generosity of his passion for Indiana, or the nobleness of his friendship for Myrtle. The scene in which he avoids the due! presents a grand picture of honest pride, conscious innocence and friendship, struggling under most unjust reproaches. The fortitude with which he smothers the resentment of personal insult can only be surpassed by the transition when Myrtle arraigns his passion for Indiana; shewing that self-love is not the most active principle in a generous mind. Upon the whole, this scene strikes us to convey the most effectual satire that ever was produced against this species of false yet fashionable heroism. The underplot and characteristic humour of Tom and Phillis form a happy foil to the sentimental cast of the main story: and the scene in which Tom and Myrtle counterfeit the two lawyers is as irresistibly comic as any we ever met with. Were there any necessity for pointing out defects, we should be inclined perhaps to question whether the coarseness of Cymberton is not carried too far; and whether Sealand's manner of discovering Indiana (by the stale artifice of a bracelet) is not inferior to the rest of the story. But we think with HORACE, Ubi plura nitent in carmine, non ego paucis and that where we find a story so natural, interesting, and useful, Aut humana parum cavit natura.' REMARKS ON MORRIS'S COMEDY OF THE SECRET. THE very title of this comedy led us to expect an instance of one great excellence in dramatic writing; that of an interest heightened by degrees, and not divulged till the conclusion. But in this we are disappointed, for after a very few scenes (at all events, before the conclusion of the second act) there remains no secret but which a very ordinary reader may give a pretty accurate guess at. In another point too it is materially defective, in as much as very little foundation is shewn for the circumstance upon which the whole plot is founded ;—Rosa's being entitled to a large fortune. She is the natural child of a clergyman's daughter; and her mother, in consequence of the infidelity of her seducer, flies with her to India. Here she, very luckily, finds a large fortune ready acquired; but out of which she is immediately defrauded by Torid and Lizard, in a manner as unaccountable as their subsequent conduct is inconsistent. We mention this not for the sake of carping at a venial fault, but as an instance of this general error which most modern authors are subject to, that they leave the most important connections of a story to be filled up by the imagination and credulity of an audience; building their plot upon original circumstances which do not warrant the deduction. • Sincerum est nisi vas, quodcunque infundis, acessit.' Unless consequences are derived from probable causes, they will not bear the scrutiny of reflection; and an author should reccollect that though neglects of this sort may, and for the most part must, pass unnoticed in a theatre, yet that they cannot escape detection in the closet, where lays the most impartial appeal to fame. There are only four characters in this play that possess any material interest, the Torrids, Lizard and Rosa: not that the others are deficient either in the satire or moral they are intended to convey; but it is extremely desirable to see these objects blended with the main story; which in this instance they certainly are not. Mr. Dorville's benevolence is much overcharged; and borders too closely on imprudence, to induce imitation. -The human soul Must love from individual to the whole :' and the man, therefore, who endangers the happiness and safety of his own family through an accumulated bounty to others, though he may be stiled by some a citizen of the world, in our opinion, sacrifices the most important duties of that character. Yet we would not be thought insensible to the pleasing and useful inference here drawn from it, the attachment of a grateful tenantry. Novelty of character, it must be confessed, becomes every day a task more arduous; and the author of this comedy, therefore, derives considerable credit from the originality discoverable in Jack Lizard: yet we hope, for the sake of mankind, the character is at least uncommon; and we think the satire would have been more comprehensive, had he not been described as a man of liberal education; since it |