appalling. He speaks as a "prophet new inspired," and we listen in
wonderment and awe. The language is amazingly strong and rich, and the
imagination gorgeous.

At the beginning of the fifth act comes the news of the rising of Julius
Vindex. Like a true coward Nero makes light of the distant danger; but
when the rumours fly thick and fast he gives way to womanish
passionateness, idly upbraiding the gods instead of consulting for his
own safety. His despair and terror when he perceives the inevitable doom
are powerfully rendered. The fear of the after-world makes him long for
annihilation; his imagination presents to him "the furies arm'd with
linkes, with whippes, with snakes," and he dreads to meet his mother and
those "troopes of slaughtered friends" before the tribunal of the Judge

"That will not leave unto authoritie,
Nor favour the oppressions of the great."

But, fine as it undoubtedly is, the closing scene of the play bears no
comparison with the pathetic narrative of Suetonius. Riding out,
muffled, from Rome amid thunder and lightning, attended but by four
followers, the doomed emperor hears from the neighbouring camp the
shouts of the soldiers cursing the name of Nero and calling down
blessings on Galba. Passing some wayfarers on the road, he hears one of
them whisper, "Hi Neronem persequuntur;" and another asks, "Ecquid in
urbe novi de Nerone?" Further on his horse takes fright, terrified by
the stench from a corpse that lay in the road-side: in the confusion the
emperor's face is uncovered, and at that moment he is recognized and
saluted by a Praetorian soldier who is riding towards the City. Reaching
a by-path, they dismount and make their way hardly through reeds and
thickets. When his attendant, Phaon, urged him to conceal himself in a