of versification,
in the opinion of some, has spoiled our modern tragedies, as poetry
is made to supply nature, and declamation characters. Whether this
observation is well founded, we shall not at present examine, only
remark, that if any poet has a right to be forgiven for this error, Mr.
Rowe certainly has, as his cadence is the sweetest in the world, his
sentiments chaste, and his language elegant. Our author wrote several
other Tragedies, but that which he valued himself most upon,
says Welwood, was his Tamerlane; acted at the Theatre in
Lincoln's-Inn-Fields, and dedicated to the marquis of Hartington.

In this play, continues Welwood, 'He aimed at
a parallel between the late king William and
Tamerlane, and also Bajazet, and a monarch who
is since dead. That glorious ambition in Tamerlane,
to break the chains of enslaved nations, and
set mankind free from the encroachments of lawless
power, are painted in the most lively, as well
as the most amiable colours. On the other side,
his manner of introducing on the stage a prince,
whose chief aim is to perpetuate his name to posterity,
by that havock and ruin he scatters through
the world, are all drawn with that pomp of horror,
and detestation, which such monstrous actions
deserve. And, since nothing could be more
calculated for raising in the minds of the audience
a true passion for liberty, and a just abhorrence of
slavery, how this play came to be discouraged,
next to a prohibition, in the latter end of queen
Anne's reign, I leave it to others to give a reason.'

Thus far Dr. Welwood, who has endeavoured to point out the similiarity
of the character of Tamerlane, to that of king William. Though it is
certainly true, that the Tamerlane of Rowe contains grander sentiments
than any of his other plays; yet, it may be a matter of dispute whether
Tamerlane ought to give name to the play; for Tamerlane is victorious,
and Bajazet the sufferer. Besides the fate of these two monarchs, there
is likewise contained in it, the Episode of Moneses, and Arpasia, which
is of itself sufficiently distressful to make the subject of a tragedy.
The attention is diverted from the fall of Bajazet, which ought to have
been the main design, and bewildered in the fortunes of Moneses, and
Arpasia, Axalla and Selima: There are in short, in this play, events
enough for four; and in the variety and importance of them, Tamerlane
and Bajazet must be too muc