with a very abrupt pull-up from other causes; it has been my fatality more than once or twice, as you will ere long see, to drop upon other people's topics for who can find any thing new under the sun?—and I had already been mentally delivered of divers fag-ends of speeches, stinging dialogues, and choice tit-bits of scenes, (all of which I will mercifully spare you,) when a chance peep into Johnson 'Lives of the Poets' showed me mine own fine subject as the work of some long-forgotten bard! This moral earthquake demolished in a moment my goodly aërial fabric; the fair plot burst like a meteor; and an afterrecollection of a certain French tragedy-queen, Agrippina, showed me that the ground was still further preoccupied. But it is high time to tell the destined name of my abortive play; in four letters, then,

NERO:

A CLASSICAL TRAGEDY:

IN SEVEN SCENES.

AND now, in pity to an afflicted parent, hear for a while his offspring's Roscian capabilities. First of all, however, (and you know how I rejoice in all things preliminary,) let me clear my road by explanations: we must pioneer away a titular objection, “in seven scenes," and an assumed merit, in the term "classical." I abhor scene-shifters; at least, their province lies more among pantomimes, farces, and comedies, than in the region of the solemn tragic muse; her incidents should rather partake of the sculpture-like dignity of tableaux. My unfashionable taste approves not of a serious story being cut up into a vast number of separate and shuffled sections; and the whistle and sliding panels detract still more from the completeness of illusion: I incline as much as is possible to the classic unities of time, place, and circumstances, wishing, moreover, every act to be a scene, and every scene an act; with a comfortable green curtain, that cool resting-place for the haggard eye, to be the grass-like drop, mildly alternating with splendid crime and miserable innocence: away with those gaudy intermediates, and, still worse, some intruded ballet; bring back Garrick's baize, and crush the dynasty of head-aches.

But onward: let me further extenuate the term, seven scenes; the utterance seven "acts" would sound horrific, full of extremities of weariness; but my meaning actually is none other than seven acts of

one scene each: for the number seven, there always have been decent reasons, and ours may best appear as we proceed, less than a brief seven seeming insufficient, and more, superfluous; again, so mystical a number has a staid propriety, and a due double climax of rise and fall. Now, as to our adjective "classical:" Why not, in heroic drama, have something a-kin to the old Greek chorus, with its running comment upon motives and moralities, somewhat as the mighty-master has set forth in his truly patriotic Henry the Fifth ?'-However, taking other grounds. the epithet is justified, both by the subject and the proposed unmodern method of its treatment: but of all this enough, for, on second thoughts, perhaps we may do without the chorus.

6

It is obvious that no historical play can strictly preserve the true unity of time; cause and effect move slower in the actual machinery of life, than the space of some three hours can allow for: we must unavoidably clump them closer; and so long as a circumstance might as well have happened at one time as at another, I consider that the poet is justified in crowding prior events as near as he may please towards the goal of their catastrophe. If then any slight inaccuracy as to dates arrests your critical ken, believe that it is not ignorantly careless, but learnedly needful. One other objection, and I have done. No man is an utter inexcusable, irremediable villain; there is a spot of light, however hidden, somewhere; and, notwithstanding the historian's picture, it may charitably be doubted whether we have made due allowance for his most reasonable prejudice even in Nero's case. Human nature has produced many monsters; but, amongst a thousand crimes, there has proverbially lingered in each some one seedling of a virtue; and when we consider the corruption of manners in old Rome, the idolatrous flatteries hemming in the prince, the universal lie that hid all things from his better perceptions, we can fancy some slight extenuation for his mad career. Not that it ever was my aim, in modern fashion, to excuse villany, or to gild the brass brow of vice; and verily, I have not spared my odious hero; nevertheless, in selecting so unamiable a subject, (or rather emperor,) I wished not to conceal that even in the worst of men there is a soil for hope and charity; and that if despotism has high prerogatives, its wealth and state are desperate temptations, whose dangers mightily predominate, and whose necessary influences, if quite unbiased, tend to utter misery. Now to introduce our dramatis persona, with their "cast,"-for better effect rather unreasonably presumed. Nero-(Macready, who would. impersonate him grandly, and who, moreover, whether complimented or

not by the likeness, wears a head the very counterpart of Nero's, as every Numismatist will vouch,)-a naturally noble spirit, warped by sensuality and pride into a very tyrant; liberal in gifts, yet selfish in passion; not incapable of a higher sort of love, yet liable to sudden changes, and at times tempestuously cruel. Nattalis-(say Vandenhoff,)—his favourite and evil genius, originally a Persian slave, and still wearing the Eastern costume: a sort of Iago, spiriting up the willing Nero to all varieties of wickedness, getting him deified, and otherwise mystifying the poor besotted prince with all kinds of pleasure and glory, o subserve certain selfish ends of rapine, power, and licentiousness, and to avenge, perhaps, the misfortunes of his own country on the chief of her destroyers. Marcus Manlius—(who better than Charles Kean?supposing these artistic combinations not to be quite impossible,)—a fine young soldier, of course loving the heroine, captain of Nero's bodyguard, chivalrous, honourable, noble, and faithful to his bad master. amid conflicting trials. Publius Dentatus—(any bould speaker; besides, it would be rather too much to engage all the actors yet awhile;)—a worthy old Roman, father of the heroine. Galba, the chief mover in the catastrophe, as also the opener of its causes, an intriguing and fierce, but well-intentioned patriot, who ultimately becomes the next emperor. With Curtius a tribune, senators, conspirators, soldiers, priests, flamens, &c. And so, after the ungallant fashion of theatrical play-wrights, as to a class inferior to the very &c. of masculines-(of less intention withal than one of those &cs. of crabbed Littleton, like an old shoe fricasséed into savourings of all things by its inimitable Coke,)—come we to the women-kind. Agrippina, (one of the school of Siddons,) empressmother, a strong-minded, Lady-Macbeth sort of woman, and the only person in the world who can awe her amiable son. Lucia, (you cannot be spared here, clever Helen Faucit)—the heroine, secretly a Christian affianced to Manlius; a character of martyr's daring and woman's love. Rufa, a haggard old sibyl, with both private and public reasons for detesting Nero and Nattalis: and all the fitting female attendants to conclude the list.

Each scene, in which each act will be included, should be pictorially, so to speak, a tableau in the commencement, and a tableau of situation in the end. Let us draw up upon scene the first. Back-ground, Rome burning; in front, ruins of fine Tuscan villa, still smoking; and a terminal altar in the garden. Plebs. running to and fro, full of conventional little speeches, with goods, parents, penates, and other lumber, rescued

from the flames; till a tribune, (hight Curtius,) in a somewhat incendiary oration concerning poor men's calamities, and against the powers that be, sends them to the capitol with a procession of flamines Diales and vestals, dirging solemnly a Roman hymn [some "Ad Capitolium, Ad Jovis solium,” and so forth] to good music. At the end of the train come in Publius and Lucia, to whom from opposite hurriedly walks Galba, full of talk of omens, direful doings, patriotism, and old Rome's ruin. To these let there be added-to speak mathematically-open-hearted Manlius; and let there follow certain disceptatious converse about Nero, Manlius excusing him, extenuating his vices by his temptations, giving military anecdotes of his earlier virtues, and in fact striving to make the most of him, a very gentle monster: Galba throwing in, sarcastically, blacker shadows. After disputation, the father and lovers walk off, leaving Galba alone for a moment's soliloquy; and, from behind the terminal altar, unseen Sibyl hails him Cæsar; he, astonished at the airy voice so coincident with his own feelings, thinks it ideal, chides his babbling thoughts, and so forth: then enter to him suddenly chance-met noble citizens, burnt out of house and home, who declaim furiously against Nero. Sibyl, still unseen from behind the altar, again hails Galba as future Cæsar; who, no longer doubting his ears, and all present taking the omen, they conspire at the altar with drawn swords, and as the Sibyl suddenly presides-tableau-and down drops the soft green baize. This first act, you perceive, is stirring, introductory of many characters; and the picture of the seven-hilled-city, seen in a transparent blaze, might give the followers of Stanfield a triumph.

Second: The senate scene, producing another monstrous crime of Nero's, also inaccurately dated. In the full august assembly, Nero discovered enthroned, not unmajestic in deportment, yet effeminately chapleted, and holding a lyre: suppose him just returned from Elis, a pancratist, the world's acknowledged champion. Nattalis, ever foremost in flatteries, after praising the prince's exploits in Greece, avows that, like Paris in Troy, and Alexander at Persepolis, Nero had gloriously fired Rome; he found it wood, and wished to leave it marble; (so, the catafalque at the Invalides of the twice-buried Corsican;) in destroying, as well as blessing, he had asserted his divinity; and after due allusions to Phoenixes, and fire-kingships, and coups-de-soliel falling from the same Apollo so great upon the guitar, Nattalis moves that Nero shoul‍d be worshipped, and calls on the priest of Jupiter to set a good example. None dare refuse, and the senate bend before him; whereupon enter, in

clerical procession, augurs, and diviners, men at arms with pole-axes, and coronaled white bulls, paraded before sacrifice: all this pandering to present love of splendour and picturesque effect. In the midst of these classical preparations, enters, with a bevy of attendants, the haughty queen-like Agrippina, whom Nero, having sent for to complete his triumph, commands to bend too; but she stoutly refusing, and taking him fiercely to task, objurgating likewise Rome's degenerate gray-beards-——— great bustle-senate broken up hurriedly-and she, with a "feri ventrem," dragged off to be killed by her son's order. Nero alone with Nattalis by imperial command; his momentary compunction nullified by the wily Iago, who turns off the subject smoothly to a new object of desire: Publius was the only senator not in his place, and Publius has a daughter, the fairest in Rome, Lucia-had not the emperor noticed her among Agrippina's women? Nero, charmed with any scheme of novelty that may change remorseful thoughts, is induced, nothing loth, to attempt the subtle abduction of the heroine; a body-guard, headed as always by Manlius, ready in the vestibule to escort him, and exit. Nattalis, alone for a minute, betrays his own selfish schemes concerning Lucia, who had refused him before, and alludes to his secret reasons for urging on the maddened Nero to the worst excesses.

Third scene (or part, or act, if it must be so), expounds, in fitting contrast to the foregoing, the tender loves of Lucia and Manlius; a gentle home-scene, a villa and its terraced gardens: also, as Lucia is a Christian, we have, poetically, and not puritanically, an insight into her scruples of conscience as to the heathenism of her lover: and also into his consistent nobility of character, not willing to surrender the religion of his fathers unconvinced. To them rushes in Publius, who has been warned by friend Galba of the near approach of Nattalis and a guard, to seize Lucia for disreputable Nero: no possible escape, and all urge Lucia to imitate Virginia, Lucretia, and others of like Dian fame, by cowardly self-murder; she is high-principled, and won't: then they-the father and lover-request leave to kill her; conflicting passions and considerable stage effect; Lucia, who with calm courage derides the dastard sacrifice, standing unharmed between those loving thirsty swords: in a grand speech, she makes her quiet departure a test of Manlius' love, and her ultimate deliverance to be a proof to him that her God is the true God, the God who guards the innocent. Manlius, struck with her martyr-like constancy, professes that if indeed she is saved out of this great trouble, he will embrace her faith, renounce his own, and so break down the