'Twill to a diamond congeal;
And yet, if I consider well,
These tears of Julia can forbode no ill—
The frost is breaking, when such drops distil."
But the booksellers who catered for the taste of the small reading public of that day did not remunerate our poet very liberally for these effusions; so he betook himself, at once, to the stage, then the best source of income to authors.
His first production was "Brutus of Alba, or the Enchanted Lovers," a tragedy. It was dedicated to the Earl of Dorset with the usual amount of flattery, and the poet tells his patron that to lay this tragedy at his feet transports him more than the greatest success on the stage could have done. The play was originally to have been called "Dido and Æneas," but Tate with much modesty feared to attempt "any character drawn by the incomparable Virgil." The plot is founded on an old story told by Geoffrey of Monmouth, who gives the descent of the Welsh Princes from Brutus the Trojan. This Brutus, according to him, came from Troy to Albion, killed a race of giants who occupied this country, and then built London. Tate applies the incidents of the fourth book of the Æneid to this fabulous hero; and as it is his first and most original drama, the reader may be amused by a short account of the plot, which is interesting from its daring absurdities. The scene is laid at Syracuse. Brutus, Prince of the Dardan forces, has been cast by a storm on the shore of Sicily. He is brought into the presence of the Queen of Syracuse, who at once falls hopelessly in love with him. With him is his son Locrinus, who signalizes himself by slaying in a quarrel a young Syracusan, the son of Soziman. Brutus, with much magnanimity, gives up his son to justice; but upon the youth
