confesses that he is "lost in confusion." It is really a very bustling tragedy. There are in it only
1Natural death,
1Murder,
1Poisoning,
3Suicides,
And there is much thunder and lightning, rage, fury, and bombast throughout. There are horrors enough for a French novel, and it might be revived at a transpontine theatre with great effect. To speak of it in language applied to a different kind of composition: daggers, flames, and poison "dance through its pages in all the mazes of metaphorical confusion. These are the companions of a disturbed imagination—the melancholy madness of poetry without its inspiration."[1]
In 1680, he produced "The Loyal General," the prologue to which was written by Dryden. Like that great poet, he prefixes to his plays dissertations, which are rather essays on some questions of criticism than prefaces properly so called. The introduction to "The Loyal General" contains some remarks on Shakespeare, which, though they may seem to possess little novelty now that the subject is exhausted, yet show that it was out of no want of respect and admiration for Shakespeare that Tate ventured to alter some of his plays. On the question of the amount of Shakespeare's learning, he asserts that he possessed more than by common report is granted him. He adds: "I am sure he never touches on a Roman story, but the persons, the passages, the manners, the circumstances are all Roman. And what relishes yet of a more exact knowledge, you do not only see a Roman in his hero, but the particular genius of the man without the least mistake of his character, given him by the best historians. You find his Antony, in all the defects and
- ↑ Letter of Junius to Sir W. Draper.
