conspirators, in which scene the author has followed closely in the
steps of Tacitus.

One of the most life-like passages in the play is at the beginning of
the third act, where Nimphidius describes to Poppaea how the weary
audience were imprisoned in the theatre during Nero's performance, with
guards stationed at the doors, and spies on all sides scanning each
man's face to note down every smile or frown. Our author draws largely
upon Tacitus and the highly-coloured account of Suetonius; but he has,
besides, a telling way of his own, and some of his lines are very happy.
Poppaea's wit bites shrewdly; and even Nimphidius' wicked breast must
have been chilled at such bitter jesting as:--

"How did our Princely husband act _Orestes_?
Did he not wish againe his Mother living?
_Her death would add great life unto his part_."

As Nero approaches his crowning act of wickedness, the burning of Rome,
his words assume a grim intensity. The invocation to the severe powers
is the language of a man at strife at once with the whole world and
himself. In the representation of the burning of Rome it will perhaps be
thought that the author hardly rises to the height of his theme. The
Vergilian simile put into the mouth of Antonius is distinctly misplaced;
but as our author so seldom offends in this respect he may be pardoned
for the nonce. It may seem a somewhat crude treatment to introduce a
mother mourning for her burnt child, and a son weeping over the body of
his father; but the naturalness of the language and the absence of
extravagance must be commended. Some of the lines have the ring of
genuine pathos, as here:--