Apart from his undefined share in _A Looking-Glass for London and England_, all that we have of Thomas Lodge's dramatic work is _The Wounds of Civil War_, or, as its other title ran, _The Most Lamentable and True Tragedies of Marius and Sylla_ (about 1588). The author went to Plutarch for his facts and characters, and shows, in his treatment of the subject, that he caught at least a measure of inspiration from that famous biographer's vivid portraits. Marius and Sylla are clearly, though not impartially, discriminated, the former appearing as the dauntless veteran, ready to die sooner than acknowledge himself too old for command, the latter figuring as the man of resistless force and intense pride. Partiality is seen in the allocation of most of the insolence and cruelty to Sylla, while our sympathy is constantly being evoked on the side of Marius. It is Sylla who first draws his sword against the peace of the state; it is Marius who magnanimously sends Sylla's wife and daughter to him unharmed. Moreover, wooden as they sometimes are, these great antagonists and their fellow-senators show the right Roman nature at need. Marius sleeping quietly under the menace of death; his heroic son, with his little band of soldiers, committing suicide rather than surrender at Praeneste; Octavius scorning to imitate the vacillation and cowardice of his colleagues; Sylla plunging back alone into battle, that his example may reanimate the courage of his fleeing army: these are scenes that recall the best traditions of Rome. They are taken from Plutarch, it is true; but they are presented sympathetically and with stimulating effect. Thus, though the order of events has necessarily to be mainly historical, each is intimately related to the central clash of ambitions, with the result that singleness of interest is never lost until the death of Marius. In carrying history down to Sylla's abdication and death, the author betrays that ignorance of dramatic unity common to most of his contemporaries. The play is divided into five acts, but though there are obviously more than that number of scenes, the subdivisions are not formally distinguished. By the stiff, rhetorical style of its verse we seem to be taken back to the days of _Gorboduc_ rather than to the year of Marlowe's _Edward the Second_. Save in two quite uncalled-for humorous episodes, the language used maintains a monotonous level of stateliness or emotion. The plot is eminently suited for indignant and defiant speeches, but Lodge's poetic inspiration has not the wings to bear him much above the 'middle flight'. The following passage fairly illustrates his style. [CORNELIA _and_ FULVIA, _expecting close imprisonment, if not death, are set at liberty._] _Marius._ Virtue, sweet ladies, is of more regard In Marius' mind, where honour is enthron'd, Than Rome or rule of Roman empery. [_Here he puts chains about their necks._]