quiet days would not have questioned their inherited opinions. Lodge's experience of the harsher side of Puritanism, at home in his youth, may have had something to do with the reaction. His change to Catholicism we may take to be complete when, in the "Fig for Momus," we find Everard Digby singled out as friend. There is an eclogue in this pleasant book inscribed to Samuel Daniel, and there is an epistle "To Master Michael Drayton," opened with earnest lines upon the poet's duty to make high and pure use of his gifts. In 1598 there were three more publications-"The Devil Conjured," "Wit's Miserie," and "A Margarite from America"-chiefly translations from the Spanish. These Lodge made, "being at sea four years before with Master Cavendish in passing through the Straits of Magellan."

Thomas
Lodge,
Doctor of
Physic.

After this, Thomas Lodge gave himself to the study of medicine. He graduated at Avignon as Doctor of Physic, was incorporated at Oxford in 1602 with the same degree, and in the same year published, in a folio of more than eight hundred pages, a translation of Josephus-"The Famovs and Memorable Workes of Iosephus, a Man of Mvch Honovr and Learning among the Iewes, Faithfully translated out of Latin, and French, by Tho. Lodge, Doctor in Physicke." Lodge published a Treatise of the Plague in 1603, and another folio, "The Works, both Moral and Natural, of Lucius Annæus Seneca, done into English," in 1614. He lived as a Roman Catholic physician, with a good practice among Roman Catholic families, through the reign of James I., and died in 1625, when he was almost eighty years old.

Through Josephus and Seneca, as through his own earlier books, Lodge sought to give occasion for the proper use of thought. In the preface to his "Josephus" he spoke of the men who vainly imagine themselves wise because they have read much, when they have not applied wisely what they

F-VOL. X.

read. He compares them to an ignorant mob that during “the late disturbances in France" broke into an apothecary's shop, and were so pleased with the colours of the drugs and tinctures that they freely ate and drank of them, with terrible and very mixed results.

Lodge's
"Wounds
of Civil
War.

We turn now to the play written by Lodge alone, “The Wounds of Civil War," which he produced, probably, about the time when the three parts of " King Henry VI.” were written. It was first published, in 1594, as "The Wounds of Civil War. Lively set forth in the true Tragedies of Marius and Scilla. As it hath been publiquely plaide in London, by the Right Honourable the Lord high Admirall his Servants. Written by Thomas Lodge, Gent. O vita! misero longa, fælici brevis. London. Printed by John Danter, and are to be sold at the signe of the Sunne in Paules Churchyard." Based upon Plutarch's "Lives," this play has poet's music in it, notwithstanding the bombastic rhetoric supplied in much of its blank verse, notwithstanding also the poor wit of its clown scenes, and crudities in conduct of the action, as in the abrupt change of Sylla's mind before his death. Nearly all the tricks of rhetoric could be illustrated from passages in this play, yet one feels in it strongly—as, more or less, in any one of these pieces produced between 1586 and 1593 upon our early stage-that the writer meant to provide real entertainment for an audience that was always present to his mind—a rude audience of men simple as nature made them, with a sprinkling in it of fine gentlemen and wits and critics, but also with a soul in it of rough earnestness that answered to the poet's touch.

"The Wounds of Civil War."

The senate of Rome, met on the Capitol in Sylla's absence, discusses civil feuds, and substitutes old Marius for Sylla as "chief general against

Mithridates." Sylla, with captains and soldiers, enters and learns what trust has just been given

"To Marius? Jolly stuff! why then I see

Your lordships mean to make a babe of me."

Dissension becomes civil war: "Here let the senate rise and cast away their gowns, having their swords by their sides." Old Anthony, with a "honied tongue

warns in vain.

Washed in a syrup of sweet conservatives,"

There is "a great alarum. Let young Marius chase Pompey over the stage, and old Marius chase Lucretius." Then Sylla wraps his colours round him, and animates his retreating men to battle with a What, what, what :

"What, will you leave your chieftains, Romans, then,

And lose your honours in the gates of Rome?

What, shall our country see, and Sylla rue,

These coward thoughts so fixed and firmed in you?
What, are you come from Capua to proclaim
Your heartless treasons in this happy town?"

(Heartless treasons, happy town: h, t: h, t.)

"What, will you stand and gaze with shameless looks,
Whilst Marius' butchering knife assails our throats?

Are you
Are you

Are you

etc."

Sylla, triumphant in the Second Act, cuts heads off cheerily. At Minturnum enters "Marius very melancholy," with the magistrates, who find him a dangerous guest and plan to kill him since he does not go. Young Marius, with lords and soldiers, seeks his father, but finds

"friends are geason* nowadays,

And grow to fume before they taste the fire."

Now, however, comes a slave from the consul, Cinna, with a secret letter to young Marius declaring himself strong friend of his father's faction.

* Geason, scarce, wanting. First English, gæsne, barren, wanting, lifeless.

In the first scene of the Third Act Cinna, master in Rome, prepares to succour Marius. In the second scene Marius, prisoner in Minturnum, sleeps expectant of his murderer. This brings us to the story of the Gaul who flinched and fled from the old soldier's eyes. What though the old Gaul is represented by a comic modern Frenchman?—

"Me no point de argent, no point kill Marius.

Marius,

tu es mort. Speak dy preres in dy sleep, for me sal cut off your head from your epaules before you wake. Qui est la ! What kind of a man be dis?

Pausanias.

What sudden madness daunts this stranger thus ? Pedro. Oh, me no can kill Marius! me no dare kill Marius ! adieu, messieurs, me be dead si je touche Marius. Marius est un diable. Jesu Maria sauve moi ! [Exit fugiens."

Marius lives for the seventh consulship to which he was destined. But he must quit Minturnum. Marius goes from "walls to woods," and Sylla is then shown in triumph, after Tamburlaine fashion, “in his car triumphant of gold, drawn by four Moors." He mocks the drawers of his chariot before he sends them away to be killed. Leaving Lucullus to "pursue Mithrídătes till he be slain," Sylla sets out to front Cinna in Rome.

From the triumph of Sylla the scene changes to Marius among the mountains, eating roots and getting some encouragement from Echo.

"Then full of hope, say, Echo, shall I go?—Go.

Is any better fortune then at hand?—At hand."

Young Marius, with soldiers, finds his father, and, at the end of the
Third Act, Marius and his son also set out to meet Cinna in Rome.

Cinna causes

In the Fourth Act Marius enters Rome with his son. Octavius to be stabbed. Old Marius is for the seventh time made consul. Sylla and his friends are banished, Sylla's house is razed; his wife and daughter, Cornelia and Flavia, are brought prisoners to Marius. He lets them think they are to die, then, by an unexpected turn, hangs chains of gold upon their necks, frees them, and largely honours their fidelity. A clown scene follows, of a drunken servant who speaks in couplets of Skeltonic rhyme and betrays the whereabouts of Anthony. The eloquence of Anthony disarms his murderers, but a soldier enters suddenly who has not been bewitched by his words. That soldier stabs him. Lectorius enters, pensive. He tells how old Marius died while sitting near a spring :

"Bright was the day, and on the spreading trees
The frolic citizens of forest sung

Their lays and merry notes on perching boughs;
When suddenly appeared in the east

Seven mighty eagles with their talons fierce,
Who, waving oft about our consul's head,
At last with hideous cry did soar away."

This was the sign of death, and Marius died when Sylla was about "to enter Rome with fury, sword, and fire.”

The Fifth Act begins with "a great skirmish in Rome and long, some slain. At last enter Sylla, triumphant." Sylla tells the Romans that

"the reasons of this ruthless wrack

Are your seditious innovations,

Your fickle minds inclined to foolish change."

Carbo, who will not bow to Sylla, is thrown down at Sylla's feet that Sylla may set his foot on Carbo's neck, before ordering his head off. Carinus' head also is taken off. Forty senators are proscribed

"And for our gentlemen are over proud,

Of them a thousand and six hundred die."

Next we are shown young Marius and his friends besieged in Præneste, "all in black and wonderful melancholy." They kill themselves rather than yield. Then we return to Sylla clothed in state, who is made perpetual Dictator, hears of the death of young Marius, and moralises suddenly on his own loss in leaving country life to be a king. After hearing throughout the play of many thousands slain in Sylla's wars, foreign and civil, seeing every now and then a head that he has ordered to be severed from the body, simple spectators of the play must have been much surprised when, among all "the tickle turns lent by inconstant chance," they find that Sylla suddenly dies moralising, with a clown scene thrust into the midst of his moralities. Sylla's Genius appears to warn him of his death, in Latin verses to which he makes reply in kind, and he is shown taking tender farewell of his wife and daughter, before he is carried out dead. With the body "exeunt omnes," to return and close the entertainment with a procession that sets forth "The Funeral of Sylla in great pomp."

Now let us turn to the play of which Lodge and Greene were the joint authors.