little remains but to talk of what is past. It has been obferved, that the title of the play does not fufficiently correfpond with the behaviour of Califta, who at last shews no evident figns of repentance, but may be reasonably fufpected of feeling pain from detection rather than from guilt, and expreffes more shame than forrow, and more rage than fhame.

His next (1706) was Ulyffes; which, with the common fate of mythological ftories, is now generally neglected. We have been too early acquainted with the poetical heroes, to expect any pleasure from their revival; to thew them as they have already been fhewn, is to difguft by repetition; to give them new qualities, or new adventures, is to offend by violating received notions.

The Royal Convert (178) feems to have a better claim to longevity. The fable is drawn from an obfcure and barbarous age, to which fictions are more eafily and properly adapted, for when objects are imperfectly feen, they eafily take forms from imagination. The scene lies among our ancestors in our own country, and therefore very easily catches attention.

Rodogune is

a per

a personage truly tragical, of high ípirit, and violent paffions, great with tempeftuous dignity, and wicked with a foul that would have been heroick if it had been virtuous. The motto feems to tell that this play was not fuccessful.

Rowe does not always remember what his characters require. In Tamerlane there is fome ridiculous mention of the God of Love; and Rodogune, a favage Saxon, talks of Venus, and the eagle that bears the thunder of Jupiter.

This play difcovers its own date, by a prediction of the Union, in imitation of Cranmer's prophetick promifes to Henry the Eighth. The anticipated bleffings of union are not very naturally introduced, nor very happily expreffed.

He once (1706) tried to change his hand. He ventured on a comedy, and produced the Biter; with which, though it was unfavourably treated by the audience, he was himself delighted; for he is faid to have fat in the house laughing with great vehemence, whenever he had in his own opinion produced a jeft. But finding that he and the publick had no fympathy of mirth, he tried at lighter fcenes no more.

After

After the Royal Convert (1714) appeared Jane Shore, written, as its author profeffes, in imitation of Shakspeare's ftyle. In what he thought himself an imitator of Shakspeare, it is not easy to conceive. The numbers, the diction, the fentiments, and the conduct, every thing in which imitation can confift, are remote in the utmost degree from the manner of Shakspeare; whose drama it resembles only as it is an English story, and as some of the persons have their names in history. This play, confifting chiefly of domestic scenes and private diftrefs, lays hold upon the heart. the heart. The wife is forgiven because she repents; and the husband is honoured because he forgives. This, therefore, is one of those pieces. which we ftill welcome on the ftage.

His last tragedy (1715) was lady Jane Grey. This fubject had been chofen by Mr. Smith, whofe papers were put into Rowe's hands fuch as he describes them in his preface. This play has likewise funk into oblivion. From this time he gave nothing more to the stage.

Being by a competent fortune exempted from any neceffity of combating his inclination,

nation, he never wrote in diftrefs, and therefore does not appear to have ever written in hafte. His works were finished to his own approbation, and bear few marks of negligence or hurry. It is remarkable, that his prologues and epilogues are all his own, though he fometimes fupplied others; he afforded help, but did not folicit it.

As his ftudies neceffarily made him acquainted with Shakspeare, and acquaintance produced veneration, he undertook (1709) an edition of his works, from which he neither received much praise, nor seems to have expected it; yet, I believe, those who compare it with former copies will find that he has done more than he promifed; and that, without the pomp of notes or boasts of criticifm, many paffages are happily restored. He prefixed a life of the author, fuch as tradition, then almost expiring, could supply; and a preface* ; which cannot be faid to discover much profundity or penetration. He at least contributed to the popularity of his author.

Mr. Rowe's Preface, however, is not diftinct, as it might be fuppofed from this paffage from the Life. R.

He

He was willing enough to improve his fortune by other arts than poetry. He was under-fecretary for three years when the duke of Queensberry was fecretary of state, and afterwards applied to the earl of Oxford for fome publick employment*. Oxford enjoined him to study Spanish; and, when, fome time afterwards, he came again, and faid that he had mastered it, difmiffed him with this congratulation, "Then, Sir, I envy you the pleasure of reading Don Quixot in the original.”

66

This story is fufficiently attested; but why Oxford, who defired to be thought a favourer of literature, fhould thus infult a man of acknowledged merit; or how Rowe, who was fo keen a Whig† that he did not willingly converse with men of the oppofite party, could ask preferment from Oxford; it is not now poffible to discover. Pope, who told the story, did not say on what occafion the advice was given; and, though he owned Rowe's disappointment, doubted whether any injury was intended him, but thought it rather lord Oxford's odd way.