[Some account of this piece may be found in Haslewood's Preface, which precedes our text of "Thersites." It may be added, that whatever shortcomings may be apparent in these productions from a literary and dramatic point of view, they are by no means devoid of a fair share of shrewd humour and pointed vivacity, and are, moreover, not unimportant contributions, especially when their early date is considered, to the illustration of manners. The low-comic view predominates in most of them, and we meet with occasional grossnesses which, so far as "Jack Juggler" itself is concerned, are the more remarkable when it is recollected that the performance was presented by youths. In none of these ruder specimens of the drama is any distribution to be found into acts and scenes; nor is it invariably clear how the entrances and exits were introduced.

As to the groundwork of this interlude, Mr Child observes:—[174]]

"Plautus's tragi-comedy of 'Amphitryon' has been perhaps more popular on the modern stage than any other ancient play. It is the groundwork of one of the best comedies of the great MoliÈre, and of a once favourite English drama, which Sir Walter Scott, in an introduction not everywhere distinguished by his usual judgment, styles 'one of the happiest effusions of Dryden's comic muse.' It has been several times translated into our tongue, and by Bonnell Thornton, with an elegance, spirit, and correctness that leave nothing to be desired.

"This is not the place to expatiate on the merits of the Latin play; but the assertion may be hazarded without much risk, that both the original and Thornton's version are, taken as wholes, considerably superior to any of the imitations. Indeed, the character of Alcmena, as drawn by Plautus, so truly innocent, simple, and loving, her distress on being suspected by her husband, and his agony at finding her, as he believes, dishonest, immediately suggest, as the accomplished translator has observed, a not discreditable comparison with our 'Othello.' We may add, too, that the conclusion of the fourth act, where Amphitryon, 'perplexed in the extreme,' and defying the gods in the intensity of his despair, rushes to the house to wreak his vengeance on his family, and is struck down by lightning, rises to grandeur, almost to sublimity, and must produce immense dramatic effect in the representation. Very little of this sort of thing appears in the modern play. What Dryden has made of Alcmena will be understood, when we observe that he adapted her to the standard of contemporary taste. Yet Scott has strangely said, that, 'in the scenes of a higher cast, Dryden far outstrips both the French and Roman poet!'

"The reader will not find any such important characters as gods and generals in the drama before him. 'Jack Juggler' can hardly be called an imitation of the comedy of Plautus. It is the play of 'Amphitryon' without the part of Amphitryon, and resembles more than anything else one of those pieces made up of the comic portions of plays, which used to be called 'drolls.' In fact, 'Jack Juggler' is a caricature even of the comic parts. All dignity is stripped from the characters, every ridiculous feature is much exaggerated, and the language and incidents are ingeniously vulgarized to reduce everything to the grotesque, the quaintness of the expressions greatly heightening the effect to a modern reader. The amiable Alcmena becomes a 'verie cursed shrew.' General Amphitryon sinks into Master Boungrace, a commonplace 'gentilman,' somewhat subject, we suspect, to being imposed upon by his wife and servants. Bromia, the insignificant and well-conducted attendant, is changed into the smart and malicious Aulsoon tripe and goo.

"There is no proper plot to the piece, the whole action consisting in getting Jenkin Careawaie into as much trouble as possible, when he is left to go to bed with aching bones, and wishing bad luck to his second self. He does not get off with a beating from Jack and his master. The servant-maid lends her tongue, and her mistress both tongue and hand, for the amusement of the spectators and the revenge of Jack Juggler. Those who are acquainted with the tedious performances of those times will recognise with pleasure an uncommon raciness and spirit in this little interlude. The lines are rude, but sharp and bold, and Dame Coye may even be called a well-drawn and original character.

"In Mr Wright's 'Early Mysteries, and other Latin Poems of the Twelfth and Thirteenth Centuries,' will be found a rather clever and once very popular poem, founded on 'Amphitryon,' the 'Geta' of Vital of Blois. Amphitryon in this is a student of Greek learning, and the awkwardness of Alcmena's situation, after Jupiter's visit is got over, by her assuring her confiding husband that she thinks the whole affair must have been a dream."