he to be the only person of this tragedy who listens, when love and treason were so often talked in so publick a place as a hall? I am afraid the author was driven upon all these absurdities only to introduce this miserable mistake of Marcia, which, after all, is much below the dignity of tragedy, as any thing is which is the effect or result of trick.
But let us come to the scenery of the Fifth Act. Cato appears first upon the scene, sitting in a thoughtful posture; in his hand Plato's treatise on the Immortality of the Soul, a drawn sword on the table by him. Now let us consider the place in which this fight is presented to us. The place, forsooth, is a long hall. Let us suppose, that any one should place himself in this posture, in the midst of one of our halls in London; that he should appear solus, in a sullen posture, a drawn sword on the table by him; in his hand Plato's treatise on the Immortality of the Soul, translated lately by Bernard Lintot: I desire the reader to consider, whether such a person as this would pass, with them who beheld
