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 from that of others: the most
tumid speech in the play is that which Caesar makes to Octavia.
The events, of which the principal are described according to history,
are produced without any art of connexion or care of disposition.
Pages:
209
210
211
212
213
214
215
216
217
218
219
220
221
222
223
224
225
226
227
228
229
230
231
232
233