En Five Acts. BY NICHOLAS ROWE. PRINTED FROM THE ACTING COPY, WITH REMARKS, To which are added, A DESCRIPTION OF THE COSTUME, -CAST OF THE CHARACTERS, ENTRANCES AND EXITS, RELATIVE POSITIONS OF THE PERFORMERS ON THE STAGE, AND THE WHOLE OF THE STAGE BUSINESS. As now performed at the THEATRES ROYAL, LONDON. EMBELLISHED WITH A FINE WOOD ENGRAVING, By Mr. WHITE, from a Drawing taken in the Theatre by LONDON: JOHN CUMBERLAND, 19, LUDGATE HILL. REMARKS. Jane Shore. A TRAGEDY professedly written in the style of Shakspeare, may well claim a inore than ordinary share of attention; and its author must have been aware of the claim, for he was a learned and ingenious commentator of that immortal poet. To the memory of Rowe literary honour is justly due; and, if it becomes our duty as critics to point out how entirely he lost sight of the originat he would fain have copied, let us do justice to that genius, which, while it aspired to no higher honour than an imitator, insensibly became an original. It has been said that Spenser wrote no language at all-that his phraseology belongs neither to his own nor to the preceding age; that it is too modern to be ancient, and too ancient to be modern. Shakspeare, who followed hard upon him, has no barbarons terms, and few uncouth ones; his obscurity consists not in words or construction, but in temporary allusions and forgotten customs; and our language must undergo a total revolution, ere his style can be pronounced rude and antiquated. Spenser has been succesfully imitated, and has become partially obsolete, while Shakspeare has alike defied the hand of time and imitation. Time has only served to swell the loud trump of universal praise; and imitation haa never reached beyond, "By holy Paul!" "Beshrew my heart!" and "Good morrow ty'e, Master Lieutenant !" The story of Jane Shore is well calculated for the display of tragic interest. It is interwoven with a well known portion of English history, and embraces characters and events highly important and pathetic. In selecting history for the groundwork of his drama, Rowe has certainly imitated Shakspeare; who rightly judged that that which could charm in the rude form of an ancient traditionary story or ballad, would prove lastingly attractive, when inspired by the genius of poetry. The incidents of this drama are conducted and developed with considerable skill, and the few capital characters are drawn with energy and power. Glo'ster is preserved with historical truth: he is wily, ferocious, and revengeful; daring in his designs, and prompt in their execution. The unshaken loyalty and ill-starred passion of Hastings-the jealousy, despair, and madness of Alicia, call forth the strongest emotions of pity and terror; while the sufferings, the contrition, the deep humiliation of Jane Shore, are depicted in such true colours, that Rowe had only to consult his own genius, to satisfy the judgment and subdue the heart. The language of this tragedy exhibits all the characteristics of the author's styleharmony, sweetness, and florid elegance. It has much pathos, but little strength, except in the parting interview between Jane Shore and Alicia, and in the council-scene, where Glo'ster accuses Jane Shore of sorcery. How forcibly is the effect of this pretended witchcraft conceived and expressed: "Behold my arm, thus blasted, dry, and withered, |