Marston’s Antonio and Mellida is a tragedy of considerable force and pathos; but in the most critical parts, the author frequently breaks off or flags without any apparent reason but want of interest in his subject; and farther, the best and most affecting situations and bursts of feeling are too evidently imitations of Shakespear. Thus the unexpected meeting between Andrugio and Lucio, in the beginning of the third act, is a direct counterpart of that between Lear and Kent, only much weakened: and the interview between Antonio and Mellida has a strong resemblance to the still more affecting one between Lear and Cordelia, and is most wantonly disfigured by the sudden introduction of half a page of Italian rhymes, which gives the whole an air of burlesque. The conversation of Lucio and Andrugio, again, after his defeat seems to invite, but will not bear a comparison with Richard the Second’s remonstrance with his courtiers, who offered him consolation in his misfortunes; and no one can be at a loss to trace the allusion to Romeo’s conduct on being apprized of his banishment, in the termination of the following speech. ‘_Antonio._ Each man takes hence life, but no man death: He’s a good fellow, and keeps open house: A thousand thousand ways lead to his gate, To his wide-mouthed porch: when niggard life Hath but one little, little wicket through. We wring ourselves into this wretched world To pule and weep, exclaim, to curse and rail, To fret and ban the fates, _to strike the earth As I do now_. Antonio, curse thy birth, And die.’ The following short passage might be quoted as one of exquisite beauty and originality— —‘As having clasp’d a rose Within my palm, the rose being ta’en away, My hand retains a little breath of sweet; So may man’s trunk, his spirit slipp’d away, Hold still a faint perfume of his sweet guest.’ _Act IV. Scene_ 1.