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Dol. Cesar, thy thoughts
Touch their effects in this: Thyself art coming
Within. A way there, way for Cesar!
Enter CESAR, and Attendants.
Dol. O Sir, you are too sure an augurer; That you did fear, is done.
Ces. Bravest at the last :
She levell'd at our purposes, and, being royal,
I do not see them bleed.
Dol. Who was last with them?
Ces. Most probable,
That so she died; for her physician tells me,
Of easy ways to die.-Take up her bed;
1 Guard. A simple countryman, that brought She shall be buried by her Antony :
her figs :
This was his basket.
Ces. Poison'd then.
1 Guard. O Cesar,
No grave upon the earth shall clip in it
This Charmian lived but now; she stood, and Brought them to be lamented. Our army shall,
LITERARY AND HISTORICAL NOTICE.
AS it is intended, in the present collection of Shakspeare's Dramatic Works, to present in regular succession all such as have the scenery, characters, or manners, drawn from the same country, the sanguinary and disgusting Tragedy of Titus Andronicus is placed in immediate sequence to those that are essentially of Roman origin. The events, however, are not of historical occurrence, but were probably borrowed from an old ballad entered on the books of the Stationers' Company in the year 1593, about which period it may also have been written. Its identity, however, as one of Shakspeare's productions, rests on a very doubtful foundation. Dr. Percy supposes it only to have been corrected and re-touched by aim; but, says Dr. Johnson, “I do not find his touches very discernible." It is devoid of any striking sentiment--- it has none of the philosophic stateliness which generally distinguishes his plays---the anachronisms are gross---the language throughout is as tumid and laboured as the plot is horrid and unnatural ;---and the only approach to energy discernible in the play, occurs in the scene between Aaron, the nurse, and Demetrius. Indeed, there is internal evidence enough (in the versification, the character of the composition, the total difference of conduct, language, and sentiment, and also in its resemblance to several dramas of much more ancient date) to prove, with irresistible force, that it has been erroneously ascribed to Shakspeare. Dr. Johnson says, "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 play, and there is an attempt at regular versification and artificial closes, not always inelegant, yet seldom pleasing. The barbarity of the spectacle, 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 applauded. That Shakspeare wrote any part, though Theobald declares it incontestible, I see no reason for believing."
SATURNINUS, Son to the late Emperor of Rome, | EMILIUS, a noble Roman.
and afterwards declared Emperor ALARBUS,
Sons to Tamora.
AARON, a Moor, beloved by Tumora.
TITUS ANDRONICUS, a noble Roman, General | A CAPTAIN,TRIBUNE, MESSENGER, and CLOWN; against the Goths.
MARCUS ANDRONICUS, Tribune of the People;
and Brother to Titus.
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 I-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,
Keep then this passage to the Capitol :
Mar. Princes, that strive by factions and by
Ambitiously for rule and empery,
Know, that the people of Rome, for whom we
A special party, have, by their common voice,
Chosen Andronicus, surnamed Pius
For many good and great deserts to Rome;
Bas. Romans, friends, followers, favourers of A nobler man, a braver warrior,
of my right,
If ever Bassianus, Cesar's son,
Were gracious in the eyes of royal Rome,
My title to the succession.
Lives not this day within the city walls:
That, with his sons, a terror to our foes,
And now, at last, laden with honour's spoils,
Bas. Marcus Andronicus, so I do affy •
And so I love and honour thee and thine,
To hover on the dreadful shore of Styx ?—
There greet in silence, as the dead are wont,
Sweet cell of virtue and nobility,
How many sons of mine hast thou in store,
Luc. Give us the proudest prisoner of the
That we may hew his limbs, and, on a pile
Tam. Stay, Roman brethren--Gracious con-
Victorious Titus, rue the tears I shed,
And her, to whom my thoughts are humbled all, Oh! think my son to be as dear to me.
Gracious Lavinia, Rome's rich ornament,
I thank you all, and here dismiss you all;
[Exeunt the Followers of SATURNINUS.
Bas. Tribunes! and me, a poor competitor.
SCENE II.-The same.
Enter a CAPTAIN, and others.
Patron of virtue, Rome's best champion,
Tit. Hail, Rome, victorious in thy mourning
Lo, as the bark that hath discharged her fraught, †
Sufficeth not, that we are brought to Rome
Tit. Patient yourself, madam, and pardon me. These are their brethren, whom you Goths beheld
Alive and dead; and, for their brethren slain,
To this your son is mark'd; and die he must,
And with your swords, upon a pile of wood,
Tam. O cruel, irreligious piety!
To quit the bloody wrongs upon her foes.
Our Roman rites: Alarbus' limbs are lopp'd
[Trumpets sounded, and the Coffins laid
In peace and honour rest you here, my sous.
Here Goths have given me leave to sheath my Secure from worldly chances and mishaps!
Here lurks no treason, here no envy swells,
• It was supposed that the ghosts of unburied people appeared to solicit the rights of funeral.