INTRODUCTORY REMARKS. THE earliest edition, of which any copy is at present | with discredit in the Induction to Ben Jonson's Barknown, of Titus Andronicus,' appeared in quarto, in tholomew Fair, in 1614, as one that had been then ex1600, under the following title: The most lament-hibited five-and-twenty or thirty years; which, if we able Romaine Tragedie of Titus Andronicus. As it take the lowest number, throws it back to the year 1589, hath sundry times been playde by the Right Honour- at which time Shakespeare was but 25: an earlier date able the Earle of Pembroke, the Earle of Darbie, the than can be found for any other of his pieces." It is Earle of Sussex, and the Lord Chamberlaine they re scarcely necessary to point out, that with the views we Servants. At London, printed by J. R. for Edward have uniformly entertained as to the commencement of White, 1600.' Shakspere's career as a dramatic author, the proof against his authorship of Titus Andronicus' thus brought forward by Percy is to us amongst the most convincing reasons for not hastily adopting the opinion that he was not its author. The external evidence of the authorship, and the external evidence of the date of the In the folio collection of 1623 it appears under the title of The lamentable Tragedy of Titus Andronicus.' It follows 'Coriolanus,' and precedes 'Romeo and Juliet.' The external evidence that bears upon the authorship of Titus Andronicus is of two kinds : 1. The testimony which assigns the play to Shak-authorship, entirely coincide: each supports the other. spere, wholly or in part. The continuation of the argument derived from the 2. The testimony which fixes the period of its original early date of the play naturally runs into the internal production. evidence of its authenticity. The fact of its early date is indisputable. Accepting that fact, we are reconciled to the inferiority of this play, compared with Shakspere's undoubted performances. Its revolting story, in the same way, appears such as a very young poet would not have rejected. It is easy to understand how Shak The direct testimony of the first kind is unimpeachable: Francis Meres, a contemporary, and probably a friend of Shakspere-a man intimately acquainted with the literary history of his day-not writing even in the later period of Shakspere's life, but as early as 1598,-compares, for tragedy, the excellence of Shak-spere, at the period when he first entered upon those spere among the English, with Seneca among the Latins, and says, witness, "for tragedy, his 'Richard II.,' 'Richard III.,' 'Henry IV.,'' King John,' Titus Andronicus,' and his Romeo and Juliet.'" The indirect testimony is nearly as important. The play is printed in the first folio edition of the poet's collected works-an edition published within seven years after his death by his intimate friends and "fellows;" and that edition contains an entire scene not found in either of the previous quarto editions which have come down to us. That edition does not contain a single other play upon which a doubt of the authorship has been raised; for even those who deny the entire authorship of Henry VI.' to Shakspere, have no doubt as to the partial authorship. We now come to the second point-the testimony which fixes the date of the original production of Titus Andronicus.' labours which were to build up a glorious fabric out of materials that had been previously used for the basest purposes,-without models,-at first, perhaps, not voluntarily choosing his task, but taking the business that lay before him so as to command popular success,-ignorant, to a great degree, of the height and depth of his own intellectual resources,—not seeing, or dimly seeing, how poetry and philosophy were to elevate and purify the common staple of the course drama about him,-it is easy to conceive how a story of fearful bloodshed should force itself upon him as a thing that he could work into something better than the dumb show and fiery words of his predecessors and contemporaries. It was in after-years that he had to create the tragedy of passion. Lamb has beautifully described Webster, as almost alone having the power "to move a horror skilfully, to touch a soul to the quick, to lay upon fear as much as it can bear, to wean and weary a life till it is ready to drop, and then step in with mortal instruments to take its last forfeit." Lamb adds, "writers of inferior genius mistake quantity for quality." The remark is quite true; when examples of the higher tragedy are accessible, and when the people have learnt better than to require the grosser stimulant. Before Webster had written' The Duchess of Malfi' and 'Vittoria Corombona,' Shakspere had produced Lear' and 'Othello.' But there were writers, not of inferior genius, who had committed the same mistake as the author of Titus Andronicus-who use blood as they would the paint of the property-man in the theatre." Need we mention other names than Marlowe Ben Jonson, in the Induction to his 'Bartholomew Fair,' first acted in 1614, says " He that will swear Jeronimo, or Andronicus,' are the best plays yet, shall pass unexcepted at here, as a man whose judgment shows it is constant, and hath stood still these five-andtwenty or thirty years. Though it be an ignorance, it is a virtuous and staid ignorance; and, next to truth, a confirmed error does well." Percy offers the following comment upon this passage, in his Reliques of Ancient Poetry :-"There is reason to conclude that this play was rather improved by Shakespeare with a few fine touches of his pen, than originally written by him; for, not to mention that the style is less figurative than his others generally are, this tragedy is mentioned and Kyd? TITUS ANDRONICUS. PERSONS REPRESENTED. SATURNINUS, Son to the late Emperor of Rome. Appears, Act I. sc. 1; sc. 2. Act II. sc. 2; sc. 4. Act IV. sc. 4. Act V. sc. 3. BASSIANUS, brother to Saturninus. TITUS ANDRONICUS, a noble Roman. MARCUS ANDRONICUS, brother to Titus. Appears, Act I. sc. 1; sc. 2. Act II. sc. 2; sc. 5. Act III. sc. 1; sc. 2. Act IV. sc. 1; sc. 3. Act V. sc. 2; sc. 3. LUCIUS, son to Titus Andronicus. Appears, Act I. sc. 2. Act II. sc. 2; sc. 4. Act III. sc. 1. Act V. sc. 1; sc. 3. QUINTUS, Son to Titus Andronicus. Appears, Act I. sc. 2. Act II. sc. 2; sc. 4. Act III. sc. 1. Appears, Act I. sc. 2. Act II. sc. 2; sc. 4. Act III. sc. 1. Young LUCIUS, a boy, son to Lucius. Appears, Act III. sc. 2. Act IV. sc. 1; sc. 2; sc. 3. Act V. sc. 3. PUBLIUS, son to Marcus the tribune. EMILIUS, a noble Roman. Appears, Act IV. sc. 4. Act V. sc. 1; sc. 3. ALARBUS, son to Tamora. Appears, Act I. sc. 2. CHIRON, Son to Tamora. Appears, Act I. sc. 2. Act II. sc. 1; sc. 2; sc. 3; sc. 5. Act IV. sc. 2; sc. 4. Act V. sc. 2. SCENE, ROME, AND THE COUNTRY NEAR IT. SCENE I.-Rome. ACT I. Flourish. Enter the Tribunes and Senators, aloft; one door, and BASSIANUS and his Followers at the other, with drum and colours. and then enter SATURNINUS and his Followers at Sat. Noble patricians, patrons of my right, Bass. Romans, friends, followers, favourers of my right, If ever Bassianus, Cæsar's son, Were gracious in the eyes of royal Rome, And, Romans, fight for freedom in your choice. Enter MARCUS ANDRONICUS, aloft, with the crown. Marc. Princes, that strive by factions and by friends Ambitiously for rule and empery, Know that the people of Rome, for whom we stand Lives not this day within the city walls. And now at last, laden with honour's spoils, And in the Capitol and senate's right, Sat. How fair the tribune speaks to calm thoughts! Bass. Marcus Andronicus, so I do affy And her to whom my thoughts are humbled all, Luc. Give us the proudest prisoner of the Goths, my Nor we disturb'd with prodigies on earth. [Exeunt Followers of BASSIANUS. Sat. Friends, that have been thus forward in my right, you I thank you all, and here dismiss [Exeunt Followers of SATURNINUS. Bass. Tribunes, and me, a poor competitor. [Flourish. They go up into the Senate-house. SCENE II.-The same. Enter a Captain, and others. Cap. Romans, make way: the good Andronicus, Patron of virtue, Rome's best champion, Successful in the battles that he fights, With honour and with fortune is return'd, From where he circumscribed with his sword, And brought to yoke, the enemies of Rome. [Sound drums and trumpets, and then enter two of TITUS' Sons. After them two Men bearing a coffin covered with black: then two other Sons. After them TITUS ANDRONICUS; and then TAMORA, the Queen of Goths, and her two Sons, CHIRON and Tit. Hail, Rome, victorious in thy mourning weeds! my sword. [They open the tomb. There greet in silence, as the dead are wont, And sleep in peace, slain in your country's wars: O sacred receptacle of my joys, Sweet cell of virtue and nobility, How many sons of mine hast thou in store, That thou wilt never render to me more! Tam. Stay, Roman brethren, gracious conquero”. Victorious Titus, rue the tears I shed, A mother's tears in passion for her son : And if thy sons were ever dear to thee, O think my son to be as dear to me. Sufficeth not, that we are brought to Rome To beautify thy triumphs, and return Captive to thee, and to thy Roman yoke; But must my sons be slaughter'd in the streets. For valiant doings in their country's cause? O, if to fight for king and commonweal Were piety in thine, it is in these. Andronicus, stain not thy tomb with blood. Wilt thou draw near the nature of the gods? Draw near them then in being merciful: Sweet mercy is nobility's true badge. Thrice-noble Titus, spare my first-born son. Tit. Patient yourself, madam, and pardon me. To this your son is mark'd, and die he must, Luc. Away with him, and make a fire straight; Enter the Sons of ANDRONICUS again. 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. [Flourish. Sound trumpets, and they lay th In peace and honour rest you here, my sons; In peace and honour rest you here, my sons. Enter LAVINIA. Lav. In peace and honour live lord Titus long; My noble lord and father, live in fame! Lo, at this tomb my tributary tears I render for my brethren's obsequies: And at thy feet I kneel, with tears of joy a Patient-as a verb. Shed on the earth for thy return to Rome. Tit. Kind Rome, thou hast thus lovingly reserv'd Enter MARCUS ANDRONICUS, SATURNINUS, Marc. Long live lord Titus, my beloved brother, Tit. Thanks, gentle tribune, noble brother Marcus. That in your country's service drew your swords. a Tit. A better head her glorious body fits, Marc. Titus, thou shalt obtain and ask the em- Sat. Proud and ambitious tribune, canst thou tell? Tit. Patience, prince Saturninus. Sat. Romans, do me right. Patricians, draw your swords, and sheath them not Till Saturninus be Rome's emperor: Andronicus, would thou wert 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. Bass. Andronicus, I do not flatter thee, But honour thee, and will do till I die: I will most thankful be, and thanks to men Of noble minds is honourable meed. Tit. People of Rome, and people's tribunes here, I ask your voices and your suffrages; Tit. Tribunes, I thank you: and this suit I make, Marc. With voices and applause of every sort, Patricians, and plebeians, we create Lord Saturninus Rome's great emperor; And say, 66 Long live our emperor, Saturnine!" I give thee thanks in part of thy deserts, Rome's royal mistress, mistress of my heart, Tit. Now, madam, are you prisoner to an emperor; Sat. A goodly lady, trust me, of the hue That I would choose, were I to choose anew: Clear up, fair queen, that cloudy countenance: Though chance of war hath wrought this change of cheer, 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. Bass. Lord Titus, by your leave, this maid is mine, [Seizing LAVINIA. Tit. How, sir? are you in earnest then, my lord? Bass. Ay, noble Titus, and resolv'd withal To do myself this reason and this right. Marc. Suum cuique is our Roman justice : This prince in justice seizeth but his own. Luc. And that he will and shall, if Lucius live. Tit. Traitors, avaunt! where is the emperor's guard Treason, my lord! Lavinia is surpris'd. Sat. Surpris'd! by whom? Bass. By him that justly may Bear his betroth'd from all the world away. [Exeunt MARCUS and BASSIANUS with LAVINIA Mut. Brothers, help to convey her hence away, And with my sword I'll keep this door safe. [Exeunt LUCIUS, QUINTUS, and MARTIUS. Tit. Follow, my lord, and I'll soon bring her back. Mut. My lord, you pass not here. Tit. What! villain boy, barr'st me my way in Rome! Mut. Help, Lucius, help! [TITUS kills him. Re-enter LUCIUS. Luc. My lord, you are unjust, and more than so; In wrongful quarrel you have slain your sou. |