Greek drama. The plot is similar merely in one respect, that it turns much on what has been a favourite subject with many imaginative writers—the history of a foundling. But in this beautiful drama, the supernatural element is judiciously introduced. We are not shocked by the improbabilities of Greek mythology, or the amours of gods with women. On the other hand, it is not a Greek subject with English incidents.
Throughout the whole of the "Ion," we feel that we are on classic ground. Adrastrus, Ctesiphon, and Phocion are Greeks. Without the clumsy tediousness of a prologue, or the truistic platitudes of a chorus, the play is classical throughout, and such as an Englishman of genius, taste, and erudition would write on a Greek subject, avoiding equally the pedantry of Ben Jonson's tragedies, and the anglicisms of Whitehead. There is, throughout the "Ion," the overwhelming idea of a ruthless destiny, strong and sure in its accomplishment.
The Oracle has declared:
"Woe unto the babe!
Against the life which now begins, shall life
Lighted from thence be arm'd, and both soon quench'd,
End this great line in sorrow;"
and we feel that we are closed in by the adamantine walls of an immutable necessity.
"Creusa" was acted 1754. Garrick took the part of Aletes, Mrs. Pritchard that of Creusa. It was highly successful.
Soon after the exhibition of his play, Whitehead accompanied his noble pupil and Lord Nuneham, son of the Earl of Harcourt, on their travels. They passed through Flanders, resided some time at Rheims, and went thence to Leipsic, where it was their intention to study the Droit Publique, under Mascow. Their plan was frustrated, for they found
