was written in ridicule of the London apprentices in the reign of Elizabeth, who had a great hand in the critical decisions of that age. There were other dramatic writers of this period, noble and plebeian. I shall only mention one other piece, the

Committee,' I believe by Sir Robert Howard, which has of late been cut down into the farce called 'Honest Thieves,' and which I remember reading with a great deal of pleasure many years ago.

One cause of the difference between the immediate reception and lasting success of dramatic works at this period may be, that after the court took the play-houses under its particular protection, everything became very much an affair of private patronage. If an author could get a learned lord or a countess-dowager to bespeak'a box at his play, and applaud the doubtful passages, he considered his business as done. On the other hand, there was a reciprocity between men of letters and their patrons ; critics were “mitigated into courtiers, and submitted," as Mr. Burke has it,“ to the soft collar of social esteem,” in pronouncing

66 sentence on the works of lords and ladies. How ridiculous this seems now! What a hubbub it would create if it were known that a particular person of fashion and title had taken a front box in order to decide on the fate of a first play! How the newspaper critics would laugh in their sleeves! How the public would sneer! But at this time there was no public. I will not say, therefore, that these times are better than those; but they are better, I think, in this respect. An author now-a-days no longer hangs dangling on the frown of a lord, or the smile of a lady of quality (the one governed perhaps by his valet, and the other by her waiting-maid,) but throws himself boldly, making a lover's leap of it, into the broad lap of public opinion, on which he falls like a feather-bed; and which, like the great bed of Ware, is wide enough to hold us all very comfortably!





On Wycherley, Congreve, Vanbrugh, and Farquhar.

COMEDY is a “graceful ornament to the civil order; the Corinthian capital of polished society." Like the mirrors which have been added to the sides of one of our theatres, it reflects the images of grace, of gaiety, and pleasure double, and completes the perspective of human life. To read a good comedy is to keep the best company in the world, where the best things are said, and the most amusing happen. The wittiest remarks are always ready on the tongue, and the luckiest occasions are always at hand to give birth to the happiest conceptions. Sense makes strange havoc of nonsense. Refinement acts as a foil to affecta. tion, and affectation to ignorance. Sentence after sentence tells. We don't know which to admire most, the observation or the answer to it. We would give our fingers to be able to talk so ourselves, or to hear others talk so. In turning over the pages of the best comedies, we are almost transported to another world, and

escape from this dull age to one that was all life, and whim, and mirth, and humour. The curtain rises, and a gayer scene presents itself, as on the canvass of Watteau. We are admitted behind the scenes like spectators at court, on a levee or birthday; but it is the court, the gala day of wit and pleasure, of gallantry and Charles II. ! What an air breathes from the name! what a rustling of silks and waving of plumes! what a sparkling of diamond ear-rings and shoe-buckles! What bright eyes, (ah, those were Waller's Sacharissa's as she passed !) what killing looks and graceful motions! How the faces of the whole ring are dressed in smiles! how the repartee goes round! how wit and folly, elegance and awkward imitation of it, set one another off! Happy, thoughtless age, when king and nobles led purely ornamental lives; when the utmost stretch of a morning's study

went no farther than the choice of a sword-knot, or the adjustment of a side-curl; when the soul spoke out in all the pleasing eloquence of dress; and beaux and belles, enamoured of themselves in one another's follies, fluttered like gilded butterflies, in giddy mazes, through the walks of St. James's Park !

The four principal writers of this style of comedy (which I think the best) are undoubtedly Wycherley, Congreve, Vanbrugh, and Farquhar. The dawn was in Etherege, as its latest close was in Sheridan.—It is hard to say which of these four is best, or in what each of them excels, they had so many and such great excellences.

Congreve is the most distinct from the others, and the most easily defined, both from what he possessed, and from what he wanted. He had by far the most wit and elegance, with less of other things, of humour, character, incident, &c. His style is inimitable, nay perfect. It is the highest model of comic dialogue. Every sentence is replete with sense and satire, conveyed in the most polished and pointed terms. Every page presents a shower of brilliant conceits, is a tissue of epigrams in prose, is a new triumph of wit, a new conquest over dulness. The fire of artful raillery is nowhere else so well kept up. This style, which he was almost the first to introduce, and which he carried to the utmost pitch of classical refinement, reminds one exactly of Collins's description of wit as opposed to humour,

“Whose jewels in his crisped hair

Are placed each other's light to share." Sheridan will not bear a comparison with him in the regular antithetical construction of his sentences, and in the mechanical artifices of his style, though so much later, and though style in general has been so much studied, and in the mechanical part so much improved since then. It bears every mark of being what he himself in the dedication of one of his plays tells us that it was, a spirited copy taken off and carefully revised front the most select society of his time, exhibiting all the sprightliness,

and animation of familiar conversation, with the correctness and delicacy of the most finished composition. His works are a singular treat to those who have cultivated a taste for the


niceties of English style: there is a peculiar flavour in the very words, which is to be found in hardly any other writer. To the mere reader his writings would be an irreparable loss: to the stage they are already become a dead letter, with the exception of one of them, 'Love for Love.' This play is as full of character, incident, and stage-effect, as almost any of those of his contemporaries, and fuller of wit than any of his own, except perhaps the Way of the World. It still acts, and is still acted well. The effect of it is prodigious on the well-informed spectator. In particular, Munden's Foresight, if it is not just the thing, is a wonderfully rich and powerful piece of comic acting. His look is planet-struck; his dress and appearance like one of the signs of the Zodiac taken down. Nothing can be more bewildered; and it only wants a little more helplessness, a little more of the doating, querulous garrulity of age, to be all that one conceives of the superannuated, star-gazing original. The gay, unconcerned opinion of this play, and the romantic generosity of the conclusion, where Valentine, when about to resign his mistress, declares—“I never valued fortune, but as it was subservient to my pleasure; and my only pleasure was to please this lady,"—are alike admirable. The peremptory bluntness and exaggerated descriptions of Sir Sampson Legend are in a vein truly oriental, with a Shakspearian cast of language, and form a striking contrast to the quaint credulity and senseless superstitions of Foresight. The remonstrance of his son to him, " to divest him, along with his inheritance, of his reason, thoughts, passions, inclinations, affections, appetites, senses, and the huge train of attendants which he brought into the world with him," with his valet's accompanying comments, is one of the most eloquent and spirited specimens of wit, pathos, and morality, that is to be found. The short scene with Trapland, the money-broker, is of the first water. What a picture is here drawn of Tattle! “More misfortunes, Sir!" says Jeremy. Valentine. “What, another dun ?" Jeremy. “No, Sir, but Mr. Tattle is come to wait upon you.” What an introduction to give of an honest gentleman in the shape of a misfortune! The scenes between him, Miss Prue, and Ben, are of a highly coloured description. Mrs. Frail and Mrs. Foresight are “sis

ters every way;" and the bodkin which Mrs. Foresight brings as a proof of her sister's levity of conduct, and which is so convincingly turned against her as a demonstration of her own« Nay, if you come to that, where did you find that bodkin ?”. is one of the trophies of the moral justice of the comic drama. The Old Bachelor' and 'Double Dealer' are inferior to 'Love for Love, but one is never tired of reading them. The fault of the last is, that Lady Touchwood approaches, in the turbulent impetuosity of her character, and measured tone of her declamation, too near to the tragedy-queen; and that Maskwell's plots puzzle the brain by their intricacy, as they stagger our belief by their gratuitous villany. Sir Paul and Lady Pliant, and my Lord and Lady Froth, are also scarcely credible in the extravagant insipidity and romantic vein of their follies, in which they are notably seconded by the lively Mr. Brisk and "dying Ned Careless."

The 'Way of the World' was the author's last and most carefully finished performance. It is an essence almost too fine; and the sense of pleasure evaporates in an aspiration after something that seems too exquisite ever to have been realised. After inhaling the spirit of Congreve's wit, and tasting “ love's thrice reputed nectar” in his works, the head grows giddy in turning from the highest point of rapture to the ordinary business of life; and we can with difficulty recal the truant Fancy to those objects which we are fain to take up with here, for better, for worse. What can be more enchanting than Millamant and her morning thoughts, her doux sommeils ? What more provoking than her reproach to her lover, who proposes to rise early, “Ah! idle creature!" The meeting of these two lovers, after the abrupt dismissal of Sir Wilful, is the height of careless and voluptuous elegance, as if they moved in air, and drank a finer spirit of humanity.

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Millamant. Like Phæbus sung the no less amorous boy.
Mirabell. Like Daphne she, as lovely and as coy.

Millamant is the perfect model of the accomplished fine lady:

“Come, then, the colours and the ground prepare,

Dip in the rainbow, trick her off in air ;
Choose a firm cloud, before it falls, and in it
Catch ere she change, the Cynthia of a minute.”

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