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Come, go with us; we'll look to that anon:
Embrace thy brother there, rejoice with him.

[Exeunt ANTIPHOLUS S. and E. ADR. and Luc. Dro. S. There is a fat friend at your master's

house,

That kitchen'd me for you to-day at dinner;
She now shall be my sister, not my

wife. Dro. E. Methinks, you are my glass, and not

my brother:

I see by you, I am a sweet-faced youth.
Will you walk in to see their gossiping?

Dro. S. Not I, sir; you are my elder.
Dro. E. That's a question: how shall we try it?

Dro. S. We will draw cuts for the senior: till then, lead thou first.

Dro. E. Nay, then thus: We came into the world, like brother and brother; And now let's go hand in hand, not one before another.

[Exeunt.?

dick says)

? On a careful revision of the foregoing scenes, I do not hesitate to pronounce them the composition of two very unequal writers. Shakspeare had undoubtedly a share in them; but that the entire play was no work of his, is an opinion which (as Bene

“ fire cannot melt out of me; I will die in it at the stake.' Thus, as we are informed by Aulus Gellius, Lib. III. cap. 3, some plays were absolutely ascribed to Plautus, which in truth had only been (retractatc et erpolitæ) retouched and polished by him.

In this comedy we find more intricacy of plot than distinction of character; and our attention is less forcibly engaged, because we can guess in great measure how the denouement will be brought about. Yet the subject appears to have been reluctantly dismissed, even in this last and unnecessary scene, where the same mistakes are continued, till their power of affording entertainment is entirely lost. STEEVENS.

The long doggrel verses that Shakspeare has attributed in this play to the two Dromios, are written in that kind of metre which was usually attributed, by the dramatick poets before his time, in their comick pieces, to some of their inferior characters; and this sireumstance is one of many that authorize us to place the preceding comedy, as well as Love's Labour's Lost, and The Taming vf

the Shrew, (where the same kind of versification is likewise found,) among our author's earliest productions; composed probably at a time when he was imperceptibly infected with the prevailing mode, and before he had completely learned “ to deviate boldly from the common track.” MALONE.

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MA C BE Τ Η.*

VOL. IV.

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