impressions appealed to, and with masterly address, are habitual, external, and conventional advantages: the ideas of birth, of fortune, of connexions, of dress, accomplishment, fashion, the opinion of the world, of crowds of admirers, continually come into play, flatter our vanity, bribe our interest, soothe our indolence, fall in with our prejudices; it is these that support the goddess of our idolatry, with which she is every thing, and without which she would be nothing. The mere fine lady of comedy, compared with the heroine of romance or poetry, when stripped of her adventitious ornaments and advantages, is too much like the doll stripped of its finery. In thinking of Millamant, we think almost as much of her dress as of her person it is not so with respect to Rosalind or Perdita. The poet has painted them differently; in colours which 'nature's own sweet and cunning hand laid on,' with health, with innocence, with gaiety, 'wild wit, invention ever new;' with pure red and white, like the wilding's blossoms; with warbled wood-notes, like the feathered choir's; with thoughts fluttering on the wings of imagination, and hearts panting and breathless with eager delight. The interest we feel is in themselves; the admiration they excite is for themselves. They do not depend upon the drapery of circumstances. It is nature that blazons herself' in them. Imogen is the same in a lonely cave as in a court; nay more, for she there seems something heavenly-a spirit or a vision; and, as it were, shames her destiny, brighter for the foil of circumstances. Millamant is nothing but a fine lady; and all her airs and affectation would be blown away with the first breath of misfortune. Enviable in drawingrooms, adorable at her toilette, fashion, like a witch, has thrown its spell around her; but if that spell were broken, her power of fascination would be gone. For that reason I think the character better adapted for the stage: it is more artificial, more theatrical, more meretricious. I would rather have seen Mrs. Abington's Millamant, than any Rosalind that ever appeared on the stage. Some how, this sort of acquired elegance is more a thing of costume, of air and manner; and in comedy, or on the comic stage, the light and familiar, the trifling, superficial, and agreeable, bears, perhaps, rightful sway over that which touches the affections, or exhausts the fancy. There is a callousness in the worst characters in the Way of the World, in Fainall, and his wife and Mrs. Marwood, not very pleasant; and a grossness in the absurd ones, such as Lady Wishfort and Sir Wilful, which is not a little amusing. Witwoud wishes to declaim, as far as he can, his relationship to this last character, and says, 'he's but his half-brother;' to which Mirabell makes answer— Then, perhaps, he's but half a fool.' Peg is an admirable caricature

of rustic awkwardness and simplicity, which is carried to excess without any offence, from a sense of contrast to the refinement of the chief characters in the play. The description of Lady Wishfort's face is a perfect piece of painting. The force of style in this author at times amounts to poetry. Waitwell, who personates Sir Rowland, and Foible, his accomplice in the matrimonial scheme upon her mistress, hang as a dead weight upon the plot. They are mere tools in the hands of Mirabell, and want life and interest. Congreve's characters can all of them speak well, they are mere machines when they come to act. Our author's superiority deserted him almost entirely with his wit. His serious and tragic poetry is frigid and jejune to an unaccountable degree. His forte was the description of actual manners, whether elegant or absurd; and when he could not deride the one or embellish the other, his attempts at romantic passion or imaginary enthusiasm are forced, abortive, and ridiculous, or common-place. The description of the ruins of a temple in the beginning of the Mourning Bride, was a great stretch of his poetic genius. It has, however, been over-rated, particularly by Dr. Johnson, who could have done nearly as well himself for a single passage in the same style of moralising and sentimental descripTo justify this general censure, and to shew how the lightest and most graceful wit degenerates into the heaviest and most bombastic poetry, I will give one description out of his tragedy, which will be enough. It is the speech which Gonsalez addresses to

tion.

Almeria :

'Be every day of your long life like this.

The sun, bright conquest, and your brighter eyes
Have all conspired to blaze promiscuous light,
And bless this day with most unequal lustre.
Your royal father, my victorious lord,

Loaden with spoils, and ever-living laurel,

Is entering now, in martial pomp, the palace.
Five hundred mules precede his solemn march,

Which groan beneath the weight of Moorish wealth.
Chariots of war, adorn'd with glittering gems,

Succeed; and next, a hundred neighing steeds,
White as the fleecy rain on Alpine hills;

That bound, and foam, and champ the golden bit,
As they disdain'd the victory they grace.
Prisoners of war in shining fetters follow:
And captains of the noblest blood of Afric
Sweat by his chariot-wheels, and lick and grind,
With gnashing teeth, the dust his triumphs raise.
The swarming populace spread every wall,
And cling, as if with claws they did enforce

Their hold, through clifted stones stretching and staring
As if they were all eyes, and every limb

Would feed its faculty of admiration,

While you alone retire, and shun this sight;

This sight, which is indeed not seen (though twice
The multitude should gaze) in absence of your eyes.'

This passage seems, in part, an imitation of Bolingbroke's entry into London. The style is as different from Shakspeare, as it is from that of Witwoud and Petulant. It is plain that the imagination of the author could not raise itself above the burlesque. His Mask of Semele, Judgment of Paris, and other occasional poems, are even worse. I would not advise any one to read them, or if I did, they would not.

Wycherley was before Congreve; and his Country Wife will last longer than any thing of Congreve's as a popular acting play. It is only a pity that it is not entirely his own; but it is enough so to do him never-ceasing honour, for the best things are his own. His humour is, in general, broader, his characters more natural, and his incidents more striking than Congreve's. It may be said of Congreve, that the workmanship overlays the materials: in Wycherley, the casting of the parts and the fable are alone sufficient to ensure success. We forget Congreve's characters, and only remember what they say: we remember Wycherley's characters, and the incidents they meet with, just as if they were real, and forget what they say, comparatively speaking. Miss Peggy (or Mrs. Margery Pinchwife) is a character that will last for ever, I should hope; and even when the original is no more, if that should ever be, while self-will, curiosity, art, and ignorance are to be found in the same person, it will be just as good and as intelligible as ever in the description, because it is built on first principles, and brought out in the fullest and broadest manner. Agnes, in Moliere's play, has a great deal of the same unconscious impulse and heedless naïveté, but hers is sentimentalised and varnished over (in the French fashion) with long-winded apologies and analytical distinctions. It wants the same simple force and home truth. It is not so direct and downright. Miss Peggy is not even a novice in casuistry: she blurts out her meaning before she knows what she is saying, and she speaks her mind by her actions oftener than by her words. The outline of the plot is the same; but the point-blank hits and master-strokes, the sudden thoughts and delightful expedients, such as her changing the letters, the meeting her husband plump in the Park, as she is running away from him as fast as her heels can carry her, her being turned out of doors by her jealous booby of a husband, and sent by him to her lover disguised as Alicia, her sister

in-law-occur first in the modern play. There are scarcely any incidents or situations on the stage, which tell like these for pantomimic effect, which give such a tingling to the blood, or so completely take away the breath with expectation and surprise. Miss Prue, in Love for Love, is a lively reflection of Miss Peggy, but without the bottom and weight of metal. Hoyden is a match for her in constitution and complete effect, as Corinna, in the Confederacy, is in mischief, but without the wit. Mrs. Jordan used to play all these characters; and as she played them, it was hard to know which was best. Pinchwife, or Moody, (as he is at present called) is, like others of Wycherley's moral characters, too rustic, abrupt, and cynical. He is a more disagreeable, but less tedious character than the husband of Agnes, and both seem, by all accounts, to have been rightly served. The character of Sparkish is quite new, and admirably hit off. He is an exquisite and suffocating coxcomb; a pretender to wit and letters, without common understanding, or the use of his senses. The class of character is thoroughly exposed and understood; but he persists in his absurd conduct so far, that it becomes extravagant and disgusting, if not incredible, from mere weakness and foppery. Yet there is something in him that we are inclined to tolerate at first, as his professing that with him a wit is the first title to respect;' and we regard his unwillingness to be pushed out of the room, and coming back, in spite of their teeth, to keep the company of wits and raillers, as a favourable omen. utterly disgraces his pretensions before he has done. With all his faults and absurdities, he is, however, a much less offensive character than Tattle.-Horner is a stretch of probability in the first concoction of that ambiguous character, (for he does not appear at present on the stage as Wycherley made him) but notwithstanding the indecency and indirectness of the means he employs to carry his plans into effect, he deserves every sort of consideration and forgiveness, both for the display of his own ingenuity, and the deep insight he discovers into human nature-such as it was in the time of Wycherley. The author has commented on this character, and the double meaning of the name in his Plain Dealer, borrowing the remarks, and almost the very words of Moliere, who has brought forward and defended his own work against the objections of the precise part of his audience, in his Critique de l'Ecole des Femmes. There is no great harm in these occasional plagiarisms, except that they make one uncomfortable at other times, and distrustful of the originality of the whole.-The Plain Dealer is Wycherley's next best work; and is a most severe and poignant moral satire, There is a heaviness about it, indeed, an extravagance, an overdoing both in the style, the plot, and characters,

But he

man.

but the truth of feeling and the force of interest prevail over every objection. The character of Manly, the Plain Dealer, is violent, repulsive, and uncouth, which is a fault, though one that seems to have been intended for the sake of contrast; for the portrait of consummate, artful hypocrisy in Olivia, is, perhaps, rendered more striking by it. The indignation excited against this odious and pernicious quality by the masterly exposure to which it is here subjected, is a discipline of humanity.' No one can read this play attentively without being the better for it as long as he lives. It penetrates to the core; it shews the immorality and hateful effects of duplicity, by shewing it fixing its harpy fangs in the heart of an honest and worthy It is worth ten volumes of sermons. The scenes between Manly after his return, Olivia, Plausible, and Novel, are instructive examples of unblushing impudence, of shallow pretensions to principle, and of the most mortifying reflections on his own situation, and bitter sense of female injustice and ingratitude, on the part of Manly. The devil of hypocrisy and hardened assurance seems worked up to the highest pitch of conceivable effrontery in Olivia, when, after confiding to her cousin the story of her infamy, she, in a moment, turns round upon her for some sudden purpose, and affecting not to know the meaning of the other's allusions to what she has just told her, reproaches her with forging insinuations to the prejudice of her character, and in violation of their friendship. Go! you're a censorious ill woman.' This is more trying to the patience than any thing in the Tartuffe. The name of this heroine, and her overtures to Fidelia, as the page, seem to have been suggested by Twelfth Night. It is curious to see how the same subject is treated by two such different authors as Shakspeare and Wycherley. The widow Blackacre and her son are like her lawsuit-everlasting. A more lively, palpable, bustling, ridiculous picture cannot be drawn. Jerry is a hopeful lad, though undutiful and gets out of bad hands into worse. Goldsmith evidently had an eye to these two precious characters, in She Stoops to Conquer. Tony Lumpkin and his mother are of the same family, and the incident of the theft of the casket of jewels, and the bag of parchments, is nearly the same in both authors. Wycherley's other plays are not so good. The Gentleman Dancing Master is a long, foolish farce, in the exaggerated manner of Moliere, but without his spirit or whimsical invention. Love in a Wood, though not what one would wish it to be for the author's sake or our own, is much better, and abounds in several rich and highly-coloured scenes, particularly those in which Miss Lucy, her mother Crossbite, Dapperwit, and Alderman Gripe are concerned. Some of the subordinate characters and intrigues in this comedy are grievously