between Vanoc and his Queen, at last
produced her revolt from him. She intrigues with Vellocad, who had been
formerly the King's servant, and enters into a league with the Roman
tribune, in order to be revenged on her husband. Vanoc fights some
successful battles, but his affairs are thrown into the greatest
confusion, upon receiving the news that a party of the enemy has carried
off the Princess his daughter. She is conducted to the tent of Valens
the Roman tribune, who was himself in love with her, but who offered her
no violation. He went to Vanoc in the name of Didius the Roman general,
to offer terms of peace, but he was rejected with indignation. The scene
between Vanoc and Valens is one of the most masterly to be met with in
tragedy. Valens returns to his fair charge, while her father prepares
for battle, and to rescue his daughter by the force of arms. But
Cartismand, who knew that no mercy would be shewn her at the hands of
her stern husband, flies to the Princess's tent, and in the violence of
her rage stabs her. The King and Yvor enter that instant, but too late
to save the beauteous Gwendolen from the blow, who expires in the arms
of her betrothed husband, a scene wrought up with the greatest
tenderness. When the King reproaches Cartismand for this deed of horror,
she answers,

Hadst thou been more forgiving, I had been less cruel.

VANOC

Wickedness! barbarian! monster--
What had she done, alas!--Sweet innocence!
She would have interceded for thy crimes.

CARTISMAND

Too well I knew the purpose of thy soul.--
Didst thou believe I would submit?--resign my crown?--
Or that thou only hadst the power to punish?

VANOC

Yet I will punish;--meditate strange torments!--
Then give thee to the justice of the Gods.

CARTISMAND

Thus Vanoc, do I mock thy treasur'd rage.--
My heart springs forward to the dagger's point.

Vanoc

Quick, wrest it from her!--drag her hence to chains.

CARTISMAND

There needs no second stroke--
Adieu, rash man!--my woes are at an end:--
Thine's but begun;--and lasting as thy life.

Mr. Philips in this play has shewn how well he was acquainted with the
stage; he keeps the scene perpetually busy; great designs are carrying
on, the incidents rise naturally from one another, and the catastrophe
is moving. He has not observed the rules which some critics have
established, of distributing poetical justice; for Gwendolen, the most
a