crous paroxysms of wayward humour or fantastic passion.
That the "Roman tragedy" of Cæsar and Pompey was earlier in date than most though later in publication than any except Chabot of the French series, we might have conjectured without the evidence of the dedication. It is more unequal and irregular in the proportion of its good parts and its bad than any of Chapman's tragedies except Bussy d'Ambois; I should imagine it to be a work of nearly the same period; though, as was before intimated, it bears more affinity to the sequel of that play and to the great tragic poem on Biron in the main quality of interest and the preponderance of speech over action. To this play we might adapt a well-known critical remark of Dr. Johnson's on Henry VIII., much less applicable in that case than in this, and say that the genius of the author comes in and goes out with Cato. Not that even in this case that rhetorical phrase would be wholly accurate; there are noble lines and passages discernible elsewhere; but the
