run; the great object which puts them in motion, but it is not the comedy itself. With respect to character, therefore, we mean such as is found in general nature, this piece can produce none. The modern drama, indeed, seems to have laid aside a rule, which our ancient writers, our Farquhar, our Congreve, and Vanburgh, justly considered as the basis of comedy,—that it should not only be an imitation of familiar life, but that such situations and characters should be selected, that though, still within the sphere of common life, the representation should have no less novelty than fidelity. They considered it equally fundamental in this species of writing, as in others, to observe the point where the trite and familiar, the natural and gross, become confounded. They possessed ease without inanity, and strength without coarseness.

If in fable and character this play be defective, it is no less wanting in the grace, ease, and sobriety of appropriate dialogue.

This farce runs on a string of equivoques.The part of Sir Mathew Meddle is not ill ima gined; that of a man always giving his advice, and regulating every body's conduct by his own. The character of Lady Wrangle is copied from Widow Blackacre, in The Plain Dealer. But the defect of this piece is, that it wants humour.— The dialogue is terce, and somewhat elegant, but it is without point and jest. Nothing is so abominable as gravity in a farce; punning and buf

In the language of the stage there are two requisites: It should be a just imitation of that species of dialogue which belongs to the particular mode of character in which the speaker is found: and secondly, it should be selected from this mode of life, with that necessary abridgment and colouring which the effect of the stage demands. If a character, who belongs to one class, speaks in the language of another, we have an example of the first defect; if the redundant flip-foonery are at all times preferable to melancholy pancy, the grossness, and unmeaning laxity of general conversation be copied, we have an example of the second. Such is the rule with respect || to the diction of the stage. In this the present piece is equally deficient. The dialogue is either flippant and means nothing, as in the character of Query, or is overcharged and beyond the occasion, as in the parts of Hardacre and Blandford.

mirth. Comedy ought to represent nature as she really is; farce may be allowed to distort and overcharge, for the sake of humour. Dennis and Dacier were of opinion that comedy allows nothing grave, unless for the purpose of ridicule. This is but true in part.-Farce, however, has an unlimited range, and where we expect a laugh it is hard to be disappointed. The author of this piece is unknown; it has not succeeded suffi

To improve the dialogue, recourse is had to the pitiful expedient of patriotic and moral clap-ciently to induce him to break cover. traps. All this is wrong, because out of natureno man talks so in common life-a little leaky patriotism, and unseasonable morals, may occasionally break out in a maiden speech in parliament, or in an election handbill; but such language in common life would be affected, and should not therefore be copied on the stage.

If the fable, character, and dialogue of this piece, therefore, be tried by the Norma dramatica, it will be impossible to withhold our censure from its wide deviation.-But if, in compliance, perhaps, with the popular taste, we establish a rule more suited to the greater part of our modern dramas, and examine it upon this principle, it will not perhaps be unjust to admit that this comedy is equal to any which have been lately produced, In the present state of the stage, therefore, it is some credit to have been the au

THE STAGE.

MR. EDITOR,

You must know that I have long thought to distinguish myself as a dramatic poet, and to that end, fancying myself brimful of matter, am incessantly scribling; and, indeed, flatter myself, had Shakespeare left room for originals, that I could treat some subjects-but no matter. What I here propose is a simple relation of facts, which occurred to me as follows:

In the beginning of last year, my muse after labouring some months, brought forth the first fruits of her genius, a comic opera. Proud of my coup d'essai, as papa of the first fruits of con. nubial affection, I contemplated with rapturous

delight every grice and beauty with which (in my ideas) it abounded; read, or caused it to be read, at every opportunity among my friends and acquaintance, and was complimented profusely by all parties; insomuch, that I began already to think myself a great man; anticipated every advantage that might arise from its success on the stage; sat for my portrait without delay, fully persuaded that I should shortly have the satisfaction to see an engraving of me facing the titlepage of The Monthly Mirror; but, alas !-However you shall know all.

The next persons to encounter were the actors, between whom, the following squabble ensued. Celia, the heroine, thought proper to demand a song from the part of Delia; upon which, the latter complained grievously, and urged that she was enviously robbed of the best part of the character allotted to her; however, with some address, matters were at length amicably settled

between the ladies.

The first of the gentlemen comedians (though as vile a croaker as ever sung Bobbing Joan in a country alehouse), was much disconcerted that he had no song; for, added he, I am always well received in a lively duet with the Signora! How we apples swim! Sir, you shall have something Another objected to his part, because, forsooth, there was no breaking of shins over banisters, no lady's toupee to frizzle, no cant phrase, nor any of those chaste eccentricities which the gods admire, and which constitute so considerable a part of the modern drama.

ticular interest to study; and desired therefore, that this gentleman be allowed to arrange the part he was to enact suitable to his own powers: whereupon, some of my best dialogue was to be omitted, and a Merry Andrew, Jew Pedlar, Sailor Jack, Tom Tinker, Tom the ; in short, any thing, as I at last understood, like grimace and buffoonery introduced.

My opera fell by chance into the hands of an eminent literary gentleman, who read it, and was pleased, without hesitation, to say, that the story was good; that it was neatly and humourously-all right so far. told; characters chastely drawn, and judiciously varied; incidents naturally diverting, songs charming, and introduced with much taste; advised me to present it to the theatre; adding, that if I thought of so doing, he would give me an introductory letter to the Manager. This from om What could I do here but appeal to the ma him, who (by the way) is a severe critic, gave nager? who did not chuse to interfere, as Mr. me every reaso; a to hope that I was now in a fair | Feignwell was, in his opinion, perfectly acquaintway to attain the very summit of my wishes. Ied with John Bull, whose taste it was their par gladly accept his offer; and accordingly waited upon the manager, who read the letter, and appointed me to call again, which I did the week following,; when he informed me with great coolness, that he had read my piece, and, to my no small mortification, without a single encomium upon it, observed, that it wanted stage-effect; but, provided Crotchet, the composer, thought it worth music, it should have a trial. Crotchet, ir, his turn, vouchsafed to pronounce it pretty; and, though in its present state not fit for representation, thought it a production of much promise; but the songs, which were by no means suitable to the taste of the day, must be altered. Here, I observed, that the songs of an opera ought, in my opinion, to be expressive of some passionate sentiment, naturally arising from the character, situation, &c. and upon that principle I had written mine. "Why, aye," rejoined Crotchet," that formerly was the principle adhered to; but we find now that any little episodical ditty, opposite to the situation in which it is introduced, goes off much better than any thing absolutely connected with the business of the piece."-Yielding with deference to the judgment and experience of a profession 1 gen-elegant and delightful species of amusement, tleman, I promised my best endeavours to make them what he would like; and accordingly invoked the muse a second time: who, though very reluctantly, at last, furnished me with ballads for bravuras,-comic songs for quartettos, ditties for duettos, and for rondos, short couplets, garnished with fal, la, la,-ti, tum, ti, &c. &c.-all of which were approved.

By this time, the poor child of my brain was so mangled and disfigured, that it was with great difficulty, my patron on seeing it again, could recognize a single feature; who therefore, advised me to take it to my own protection, which I consented to do, rather than "turn it forth,” as I must have done, "ashamed of my own work, and set no mark upon it."

Now, Sir, as the last consolation we can hope for in cases of this kind, is the commiseration of those who will indulge us with a hearing, I must beg you to excuse this trespass upon your pa tience; and if you can insert this in your Fashionable Magazine, as a word to my brother scribblers, it may prepare them for a similar ordeal; and perhaps in some measure, account for the contemptibly degener te state, to which that once

called an Opera is reduced; which from a regular and forcefully harmonious composition of poetry and musie, aided by the graces of the dance, and embellished with the beauties of art, is become a confused jumble of heterogeneous matter, scarcely worth representation in a booth at Bartholomew Fair I am, Sir, &c. VAPID.