As soon as King Charles I. ascended the throne, who inherited from his father the warmest affection for his native country, he endeavoured to promote that design, which was likely to produce so great a benefit to the nation, and therefore created Sir William Alexander Lord Lieutenant of New Scotland, and instituted the order of Knight Baronet, for the encouraging, and advancing that colony, and gave him the power of coining small copper money, a privilege which some discontented British subjects complained of with great bitterness; but his Majesty, who had the highest opinion of the integrity and abilities of Sir William, did not on that account withdraw his favour from him, but rather encreased it; for in the year 1626 he made him Secretary of State for Scotch affairs, in place of the earl of Haddington, and a Peer, by the title of Viscount Stirling, and soon after raised him to the dignity of an Earl, by Letters Patent, dated June 14, 1633, upon the solemnity of his Majesty’s Coronation at the Palace of Holy-rood-house in Edinburgh.  His lordship enjoyed the place of secretary with the most unblemished reputation, for the space of fifteen years, even to his death, which happened on the 12th of February, 1640.

Our author married the daughter of Sir William Erskine, Baronet, cousin german to the earl of Marr, then Regent of Scotland; by her he had one son, who died his Majesty’s Resident in Nova Scotia in the life time of his father, and left behind him a son who succeeded his grandfather in the title of earl of Stirling.

His lordship is author of four plays, which he stiles Monarchic Tragedies, viz.  The Alexandraean Tragedy, Craesus, Darius, and Julius Caesar, all which in the opinion of the ingenious Mr. Coxeter (whose indefatigable industry in collecting materials for this work, which he lived not to publish, has furnished the present Biographers with many circumstances they could not otherwise have known) were written in his lordship’s youth, and before he undertook any state employment.

These plays are written upon the model of the ancients, as appears by his introducing the Chorus between the Acts; they are grave and sententious throughout, like the Tragedies of Seneca, and yet the softer and tender passions are sometimes very delicately touched.  The author has been very unhappy in the choice of his verse, which is alternate, like the quatrains of the French poet Pibrach, or Sir William Davenant’s heroic poem called Gondibert, which kind of verse is certainly unnatural for Tragedy, as it is so much removed from prose, and cannot have that beautiful simplicity, that tender pathos, which is indispensable to the language of tragedy; Mr. Rymer has criticised with great judgment on this error of our author, and shewn the extreme absurdity of writing plays in rhime, notwithstanding the great authority of Dryden can be urged in its defence.

Writing plays upon the model of the ancients, by introducing choruses, can be defended with as little force.  It is the nature of a tragedy to warm the heart, rouze the passions, and fire the imagination, which can never be done, while the story goes languidly on.  The soul cannot be agitated unless the business of the play rises gradually, the scene be kept busy, and leading characters active:  we cannot better illustrate this observation, than by an example.