It is observable, that this play is printed in the quarto of 1611, with exactness equal to that of the other books of those times. The first edition was probably corrected by the author, so that here is very little room for conjecture or emendation; and accordingly none of the editors have much molested this piece with officious criticism. JOHNSON. There is an authority for ascribing this play to Shakspeare, which I think a very strong one, though not made use of, as I remember, by any of his commentators. It is given to him among other plays, which are undoubtedly his, in a little book, called Palladis Tamia, or the Second Part of Wit's Commonwealth, written by Francis Meres, Maister of Arts, and printed at London in 1598. The other tragedies, enumerated as his in that book, are King John, Richard the Second, Henry the Fourth, Rchard the Third, and Romeo and Juliet. The comedies are, the Midsummer-Night's Dream, the Gentlemen of Verona, the Comedy of Errors, the Love's Labour's Lost, the Love's Labour Won, and the Merchant of Venice. I have given this list, as it serves so far to ascertain the date of these plays; and also, as it contains a notice of a comedy of Shakspeare, the Love's Labour Won, not included in any collection of his works; nor, as far as I know, attributed to him by any other authority. If there should be a play in being with that title, though without Shakspeare's name, I should be glad to see it; and I think the editor would be sure of the public thanks, even if it should prove no better than the Love's Labour's Lost. TYRWHITT. The work of criticism on the plays of our author, is, I believe, generally found to extend or contract itself in proportion to the value of the piece under consideration; and we shall always do little where we desire but little should be done. I know not that this piece stands in need of much emendation; though it might be treated as condemned criminals are in some countries,-any experiments might be justifiably made on it. The author, whoever he was, might have borrowed the story, the names, the characters, etc. from an old ballad, which is entered in the books of the Stationers's Company immediately after the play on the same subject. "John Danter," Feb. 6, 1593. A book entitled A Noble Roman Historie of Titus Andronicus. "Enter'd unto him also the ballad thereof." Entered again April 19, 1602, by Tho. Payver. The reader will find it in Dr Percy's Reliques of ancient English Poetry, Vol. I. Dr. Percy adds, that "there is reason to conclude that this play was rather improved by Shakspeare with a few fine touches of his pen, than originally writ by him; for not to mention that the style is less figurative than his others generally are, this tragedy is mentioned with discredit in the induction to Ben Jonson's Bartholomew Fair in 1614, as one that had then been exhibited five-and-twenty or thirty years: which, if we take the lowest number, throws it back to the year 1589, at which time Shakspeare was but 25: an earlier date than can be found for any other of his pieces, and if it does not clear him entirely of it, shews at least it was a first attempt." Though we are obliged to Dr. Percy for his attempt to clear our great dramatic writer from the imputation of having produced this sanguinary performance, yet I cannot admit that the circumstance of its being discreditably mentioned by Ben Jonson, ought to have any weight; for Ben has not very sparingly censured The Tempest, and other pieces which are undoubtedly among the most finished works of Shakspeare. The whole of Ben's Prologue to Every Man in his Humour, is a malicious sneer on him. Painter, in his Palace of Pleasure, Tom. II. speaks of the story of Titus as well known, and particularly mentions the cruelty of Tamora: and, in A Knack to know a Knave, 1591, is the following allusion to it: " as welcome shall you be To me, my daughters, and my son-in-law, When he had made a conquest on the Goths." Whatever were the motives of Heming and Condell for admitting this tragedy among those of Shakspeare, all it has gained by their favour is, to be delivered down to posterity with repeated remarks of contempt,-a Thersites babbling among heroes, and introduced only to be derided. STEEVENS. On what principle the editors of the first complete edition of our poet's plays admitted this into their volume, cannot now be ascertained. The most probable reason that can be assigned, is, that he wrote a few lines in it, or gave some assistance to the author, in revising it, or in some other way aided him in bringing it forward on the stage. The tradition mentioned by Ravenscroft in the time of King James II. warrants us in making one or other of these suppositions. "I have been told," (says he in his preface to an alteration of this play published in 1687) "by some anciently conversant with the stage, that it was not originally his, but brought by a private author to be acted, and he only gave some master-touches to one or two of the principal parts or characters." "A booke entitled A noble Roman Historie of Titus Andronicus" was entered at Stationer's Hall, Feb. 6, 1593-4. This was undoubtedly the play as it was printed in that year (according to Langbaine, who alone appears to have seen the first edition), and acted by the servants of the earls of Pembroke, Derby, and Sussex. It is observable that in the entry no author's name is mentioned, and that the play was originally performed by the same company of comedians who exhibited the old drama, entitled The Contention of the Houses of York and Lancaster, The old Taming of the Shrew, and Marlowe's King Edward II. by whom not one of Shakspeare's plays is said to have been performed. From Ben Jonson's Induction to Bartholomew Fair, 1614, we learn that Andronicus had been exhibited twenty-five or thirty years before; that is, according to the lowest computation, in 1589; or, taking a middle period, which is perhaps more just, in 1587. To enter into a long disquisition to prove this piece not to have been written by Shakspeare, would be an idle waste of time. To those who are not conversant with his writings, if particular passages were examined, more words would be necessary than the subject is worth: those who are well acquainted with his works, cannot entertain a doubt on the question.-I will however mention one mode by which it may be easily ascertained. Let the reader only peruse a few lines of Appius and Virginia, Tancred and Gismund, The Battle of Alcazar, Jerenimo, Selimus Emperor of the Turks, the Wounds of Civil War, the Wars of Cyrus, Lo crine, Arden of Feversham, King Edward I. The Spanish Tragedy, Solyman and Perseda, King Leir, the old King John, or any other of the pieces that were exhibited before the time of Shakspeare, and he will at once perceive that Titus Andronicus was coined in the same mint. His The testimony of Meres, mentioned in a preceding note, alone remains to be considered. enumerating this among Shakspeare's plays may be accounted for in the same way in which we may account for its being printed by his fellow comedians in the first folio edition of his works. Meres was, in 1598, when his book appeared, intimately connected with Drayton, and probably acquainted with some of the dramatic poets of the time, from some or other of whom he might have heard that Shakspeare interested himself about this tragedy, or had written a few lines for the author. The internal evidence furnished by the piece itself, as proving it not to have been the production of Shakspeare, greatly outweighs any single testimony on the other side. Meres might have been misinformed, or inconsiderately have given credit to the rumour of the day. For six of the plays which he has mentioned ( exclusive of the evidence which the representation of the pieces themselves might have furnished), he had perhaps no better authority than the whisper of the theatre: for they were not then printed. He could not have been deceived by a title-page, as Dr. Johnson supposes; for Shakspeare's name is not in the title-page of the edition printed in quarto in 1611, and therefore we may conclude, was not in the title-page of that in 1594, of which the other was undoubtedly a re-impression. Had this mean performance been the work of Shakspeare, can it be supposed that the bookseller would not have endeavoured to procure a sale for it by stamping his name upon it? In short, the high antiquity of the piece, its entry on the Stationer's books, and being afterwards printed without the name of our author, its being performed by the servants of Lord Pembroke, &c. the stately march of the versification, the whole colour of the composition, its resemblance to several of our most ancient dramas, the dissimilitude of the style from our author's undoubted compositions, and the tradition mentioned by Ravenscroft, when some of his contemporaries had not been long dead (for Lowin and Taylor, two of his fellow-comedians, were alive a few years before the Restoration, and Sir William D'Avenant, who had himself written for the stage in 1629, did not die till April, 1668); all these circumstances combined, prove with irresistible force that the play of Titus Andronicus has been erroneously ascribed to Shakspeare. MALONE. In the library of the duke of Bridgewater, at Ashridge, is a volume of old quarto plays, numbered R. I. 7, in which the first is Titus Andronicus. This Mr. Todd has collated with the edition of 1793, and most of his collations may be seen in the edition of Shakspeare in 21 volumes, 1803, or in that of 1811. They appear of very little value. Mr. Malone, in his edition, marks a few lines here and there, which he supposes may have been written by Shakspeare; but these are of still less value, and might, in truth, have been written! by many of Shakspeare's contemporaries. We have therefore passed them over without notice. All the editors and critics agree with Mr. Theobald in supposing this play spurious. I see no reason for differing from them: for the colour of the style is wholly different from that of the other plays; and there is an attempt at regular versification and artificial closes, not always inelegant, yet seldom pleasing The barbarity of the spectacles, and the general massacre, which are here exhibited, can scarcely be conceived tolerable to any audience; yet we are told by Jonson, that they were not only borne, but praised. That Shakspeare wrote any part, though Theobald declares it incontestable, I see no reason for believing. ACT I. PUBLIUS, Son to Marcus the Tribune. EMILIUS, a noble Roman. ALARBUS, CHIRON, Sons to Tumora. AARON, a Moor, beloved by Tamora. Johnson. A Captain, Tribune, Messenger, and Clown; Romans, Goths and Romans. TAMORA, Queen of the Goths. LAVINIA, Daughter to Titus Andronicus. A Nurse, and a black Child. Kinsmen of Titus, Senators, Tribunes, Officers, Soldiers, and Attendants. SCENE,-Rome; and the Country near it. SCENE 1-Rome. Before the Capitol. The tomb of the Andronici appearing; the Tribunes and Senators aloft, as in the Senate. Enter, below, SATURNINUS, and his Followers, on one side; and BASSIANUS and his Followers, on the other; with drum and colours. Sat. Noble patricians, patrons of my right, Defend the justice of my cause with arms; And, countrymen, my loving followers, Plead my successive title with your swords : I am his first-born son, that was the last That wore the imperial diadem of Rome; Then let my father's honours live in me, Nor wrong mine age with this indignity. Bas. Romans,-friends, followers, favourers of If ever Bassianus, Cæsar's son, [my right, Were gracious in the eyes of royal Rome, Keep then this passage to the Capitol, And suffer not dishonour to approach The imperial seat, to virtue consecrate, To justice, continence, and nobility: But let desert in pure election shine; And, Romans, fight for freedom in your choice. Enter MARCUS ANDRONICUS, aloft, with the crown. Mar. Princes, that strive by factions, and by friends, Ambitiously for rule and empery, Whom you pretend to honour and adore,- Bas. Marcus Andronicus, so I do affy [Exeunt the Followers of Bassianus [right [Exeunt the Followers of Saturninus Rome, be as just and gracious unto me, As I am confident and kind to thee.Open the gates and let me in. Bas. Tribunes! and me, a poor competitor. (Sat. and Bas. go into the Capitol, and exeunt with Senators, Marcus &c.) SCENE II.-The same. Enter a Captain, and others. Cap. Romans, make way: The good Andronicus Know, that the people of Rome, for whom we stand Patron of virtue, Rome's best champion. A special party, have, by common voice, For many good and great deserts to Rome; And now, at last, laden with honour's spoils, Successful in the battles that he fights, Tit. Hail, Rome, victorious in thy mourning weeds! Lo, as the bark, that hath discharg'd her fraught, Thou great defender of this Capitol, my sword. (The tomb is opened.) How many sons of mine hast thou in store, Luc. Give us the proudest prisoner of the Goths, Tit. I give him you; the noblest that survives, The eldest son of this distressed queen. Tam. Stay, Roman brethren; - Gracious con queror, Victorious Titus, rue the tears I shed, Tit. Patient yourself, madam, and pardon me. These are their brethren, whom you Goths beheld Alive, and dead; and for their brethren slain, Religiously they ask a sacrifice: To this your son is mark'd; and die he must, Tam. O cruel, irreligious piety; To tremble under Titus' threatening look. Re-enter LUCIUS, QUINTUS, MARTIUS, and MUTIUS, with their swords bloody. Luc. See, lord and father, how we have perform'd Our Roman rites: Alarbus' limbs are lopp'd, And entrails feed the sacrificing fire, Whose smoke, like incense, doth perfume the sky. Remaineth nought, but to inter our brethren, And with loud 'larums welcome them to Rome. Tit. Let it be so, and let Andronicus Make this his latest farewell to their souls. (Trumpets sounded, and the coffins laid In peace and hor our rest you here, my sons; Enter LAVINIA. In peace and honour rest you here, my sons! I render, for my brethren's obsequies; Tit. Kind Rome, that hast thus lovingly reserv'd Mar. Long live lord Titus, my beloved brother; Gracious triumpher in the eyes of Rome! Tit. Thanks, gentle tribune, noble brother Mar[wars. cus. Mar. And welcome, nephews, from successful Tit. A better head her glorious body fits, Mar. Titus, thou shalt obtain and ask the empery. tell? Tit. Patience, prince Saturnine. Sat. Romans, do me right;Patricians, draw your swords, and sheath them not Till Saturninus be Rome's emperor :Andronicus, 'would thou were shipp'd to hell, Rather than rob me of the people's hearts. Luc. Proud Saturnine, interrupter of the good That noble-minded Titus means to thee! Tit. Content thee, prince; I will restore to thee The people's hearts, and wean them from themselves. Bas. Andronicus, I do not flatter thee, But honour thee, and will do, till I die; My faction, if thou strengthen with thy friends, I will most thankful be; and thanks, to men Of noble minds, is honourable meed. Tit. People of Rome, and people's tribunes here ask your voices, and your suffrages; Will you bestow them friendly on Andronicus? Tit. Tribunes, I thank you: and this suit I make, Lord Saturninus, Rome's great emperor; I give thee thanks in part of thy deserts, Tell me, Audronicus, doth this motion please thee? Sat. Thanks, noble Titus, father of my life! Tit. Now, madam, are you prisoner to an emperor: Sat. A goodly lady, trust me; of the hue Thou com'st not to be made a scorn in Rome: Lav. Not I, my lord; sith true nobility Sat. Thanks, sweet Lavinia.-Romans, let us go; Ransomless here, we set our prisoners free: Proclaim our honours, lords, with trump and drum. Bas. Lord Titus, by your leave, this maid is mine. (Seizing Lavinia.) Tit. How, sir? Are you in earnest then, my lord? Bas. Ay, noble Titus; and resolv'd withal, To do myself this reason and this right, (The Emperor courts Tamora in dumb shew.) Mar. Suum cuique our Roman justice: This prince in justice seizeth but his own. Luc. And that he will, and shall, if Lucius live. Treason, my lord; Lavinia is surpris'd. [Exeunt Lucius, Quintus, and Martius. Tit. Follow, my lord, and I'll soon bring her back. Luc. My lord, you are unjust; and, more than so, Was there none else in Rome to make a stale of, Sat. But go thy ways; go, give that changing piece Tit. These words are razors to my wounded heart. That, like the stately Phoebe 'mongst her nymphs, I will not re-salute the streets of Rome, Your noble emperor, and his lovely bride, [Exeunt Saturninus, and his Followers; Ta- Tit. No, foolish tribune, no; no son of mine,- Luc. But let us give him burial, as becomes; Tit. Traitors, away! he rests not in this tomb. Mar. My lord, this is impiety in you: |