Kit. '' t ^ % .f ^ ••' : s* •^- *)r ,t .♦ Ai^iC**^' dtomrfl Hmrmltg ^iitm^ 2236 Cornell University Library PR 1266.H94 1866 Dramatic works of Wycherley, Congreve, V 3 1924 013 328 889 'M Cornell University Library The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924013328889 SilAftfAjriC wo El. 1*5 ■art nH?: Ki, .« OF WLEf. £0I^G1E¥E, YAlBMSl AWM rimi 1 1. a 'S M m TO W T h^fy y^ -^ .-^^ ^w f'l^/^de^^ 7 y ir' DEAMATIC WOEKS OF WYCHERLEY, CONGREYE, YANBRUGH, FARQUHAR. BIOGRAPHICAL AND CRITICAL NOTICES. BY LEIGH HUNT. A JTEV EDITION. LONDON: UEOEGE EOUTLEDGE AND SONS, BROADWAT, LUDGATB HILL. NEW YORK: 129, GRAND STREET. 1866. LONDON : BBADBDBY, EVANS, AND CO., PRINTERS, WB ITEFRI ARS. !(, ;l. II A ii wr 'C i(:i ii'i li l e t € r^i T I s scoi , z.f iff L'AH Till M JWClrATlUS AB illLJ-O. ¥11 LOWDOW, OEOHG-B ROITTLBDOK & SONS. BBOADWAY, LtlDOATB HILL. THOMAS MOORE, ESQ. ^' Waiu firition THE DEAMATIC WORKS OF WYCHERLEY, CONGEEVE, VANBEUGH, AND FAEaiHAR, IS INSOfilBED, THE-^ PUBLISHER. OoToBEn, 1840. CONTENTS. WYCHERLEY. rAOR BIOGRAPHICAL AND CRITICAL NOTICES . .' . , , , , . i* ^ LOVE IN A WOOD; OR, ST. JAMES'S PARK , , 3 THE GENTLEMAN DANCING-MASTER . 36 .THE COUNTET -WIFB 69 THE PLAIN DEALER , . . 102 CONGREVE. COMMENDATORY VERSES US THE OLD BACHELOR ... .1*7 THE DOUBLE-DEALER 173 LOVE FOR LOVE 202 THE MOURNING BRIDE . . 236 THE WAT OF THE WORLD ............ 25S THE JUDGMENT OF PARIS 288 SEMBLB • .200 \ CONTENTS. VANBRUGH. PAay , THE RELAPSE; OE, VIRTUE IN DANGER 301 4tHE provoked wipe . .- 836 /ESOP . . . 36T Part II 388 THE FALSE FRIEND . . , 394 THE CONFEDERACY Hi » >HE MISTAKE 440 THE COUNTRY HOUSE . . 459 A JOURNEY TO LONDON . . s , , 403 -. ; FARQUHAR. LOVE AND A BOTTLE , 485 THE CONSTANT COUPLE; OR, A TRIP TO THE JUBILEE . . . .518 SIR HARRY WILDAIR 544) THE INCONSTANT; OR, THE WAY TO WIN HIM 661 THE TWIN-RIVALS .... .' B85 THE RECRUITING OFFICER 61? ^THE BEAUX-STRATAGEM ' . 641 \ BIOGRAPHICAL AND CRITICAL NOTICES OF WTCHERLEY, CONGREYE, YANBRUGH, AND FARQUHAR. BY LEIGH HUNT. WYCHEELEY. llT collecting materials for tlie following lives, an eye has been had to the discovery of such . additional facts, however small or even collateral in their interest, as might result from a diligent I perusal of the works of the authors, and a reference to the literature of their age ; and, aceordingly, some have been procured, which it is hoped wiE not be unwelcome to the lovers of genius and I of books. The same wish to render the volume as complete as lay in the power of those concerned in it, ■has led also to the selection of such passages from the miscellaneous writings of the authors, as the i editor, in the indulgence of a habit of that kind, felt an impulse to mark with his pen. Critical inotices have been added to the biographical ; and, at the conclusion of the whole, a general estimate has been attempted of their comparative merits, together with some idea of the moral spirit in. which they deserve to be read. ■WILLIAM WYCHEELET, the earliest of these chiefs of our Prose Drama, was eldest son of Daniel Wycherley, Esquire, a gentleman of some property at Clive, near Shrewsbury, afterwards one of the tellers of the Exchequer ; and he was bom in that village about the year 1640. His ancestors have been traced, as residents on the spot, as far back as the reign of Henry the Fourth ; but we .Relieve nothing has been known of the family since our Author's time. A correspondent of the- •'Gentleman's Magazine," who in the year 1796 took the drawing of their house, from an engraving •cf which our vignette has been copied, says it had been a handsome structure, but left in great ineasure to go to decay, and ths, remainder clumsily turned into a farm-house. The walnut-tree in the print was said to have been planted by Wycherley, but he could not vouch for the truth of the report.* The future dramatist' appears to have received the rudiments of education, either at home or in the neighbourhood ; and instead of going to the university at the early period of life then customary,. i\ toobably owing to its heterodox condition under Cromwell, was sent at the age of fifteen, or thereabouts, to the banks of the Cl*arente in France, where he was introduced to the reigning circles of the Eambouillets and Mfintausiers, who converted him to the continental orthodoxy, or ■ Gflntlemnn'a MaEazine, vols. Ixxxi., Ixxxii. BIOGRAPHICAL AND CRITICAL NOTrCES. creed of the church of Rome. His theologian on the occasion, s, i;atural one enough to a susceptible youth, is said to have been the Duchess de Montausier, better known to posterity as Julie d'Angenneu, for whom the French poets composed the famous " Garland; " or still better, as the Mademoiselle Rambouillet of the Mgnages and Toitures, the presiding divinity oiiheprecieuse style of wit, which was BO pleasantly overthrown by Molifere. But the Duke her husband, the prototype of Molifere's "Misanthrope," and consequently of Wycherley's own "Plain Dealer," was himself a convert from the Huguenots ; for whose church, while he was only a younger brother, he had been educated ; and as he had that strong turn of Ms own for the didactic, whieli afterwards made him so severe a tutor to the Dauphin, it is not improbable, that although his wife had a singularly staid reputation for a leader of French fashions, and he himself was a most Grandisonian and self-satisfied personage, he would be no uninterested spectator of these enlightenments of the boudoir. On his return to England, our Author, at the Restoration, became a fellow-commoner of Queen's College, Oxford ; " but wore not a gown," says Wood ; " only lived in the Provost's lodgings, being entered in the public library under the title of Philosophiae Studiosus, in July 1660 ; " and he departed, the same authority informs us, without being matriculated, or taking a degree ; though not without having been re-converted to the Protestant faith by Dr. afterwards Bishop Barlow, a shrewd casuist of those times, who contrived to keep his fellowship under the Puritans, though he had ba^Jered their university proceedings in a pamphlet. We shall see, however, that this re-conversion was not our Author'^ last. On leaving college, he entered himself of the Middle Temple, probably with little or no intention of studying the law ; for according to the dates furnished by Pope, and repeated to him again and again by Wycherley himself, he must have written his first play, " Love in a Wood," the year before he went to Oxford, when he was nineteen, and his second, the " Gentleman Dancing-Master," the year after his arrival ; — proofs of earliness of production, common to dramatists of his class, and no less explanatory of much of their character and defects, than creditable to their natural genius. At twenty-five he wrote the " Plain Dealer," which shows his acquaintance with courts of law ; and two-and-thirty was the date of his concluding play, the " Country Wife ; " by which time he had completed that intimacy with the town, which had weaned him alike from the huffish foppery and ' self-complacency of the " young gentlemen " of his first piece, and the equally mistaken, though sincerer, endeavour to be misanthropic in the second ; leaving him, he thought, a shrewd, solid, and modest superiority to both, in the quiet impudence of the character of Horner. If Wycherley did not speak laxly of these dates to Pope, or imply a completeness in their composition which only resulted from subsequent handling, none of his plays appeared either on the stage or in print till some years after they were written. When finally collected into a volume, or at least in one of the single-volume editions of the booksellers, their chronological order was reversed. The earliest was put last, and the " Country Wife " first; doubtless in consideration of what was held to be most attractive.* It is curious to think of the young theological proselyte returning to England, only to plunge into gay company and the playhouses, and write his comedy of " Love in a Wood." He goes in like manner to the university to be made a Protestant, and compose the "lentleman Dancing-Master." * " The chronology of Wycherley's plays I am well acquainted with," says Pope, " for he told it me over and over. ' Love in a Wood " he wrote when he was hut nineteen ; ' The Gentleman Dancing-Mauter,' at twenty one; 'The Plain Dealer,' at twenty-flve ; and 'The Country Wife,' at one or twn and thirty."— Spence's Anecdotes, (Singer's edit) p. 161. We helieve this to have been the order of the comr: s^ Wycherley, notwithstanding the contradictionafforded to it by some of the original dates of their prin)^^-. . d'^ijvX and its apparent refutation in one of the scenes uf the "Plain Dealer ;" that is to say, we have made a; sv. . -i \n common with later critics, that the author did actually write his plays in this order, however he ma , f ■ .\o have them acted in another. A doubt (which turned out to be true) of the public acceptability of the i •«!• t,s *in?y, in the '• Plain Dealer," might easily have kept that comedy back, till the later composition, the ■■ '. SiVii ■>' was performed ; and this previous performance would as easily account for the allusion to the "Gih,;,,'^ t>*,Asub8equently added to the " Plain Dealer," when the latter was brought out. In the volume, however, mn i>< ^ to the public, we have adopted the printed order, as the one the more consistent with appearanct >al reader can still, if he pleases, go through the plays in the order in which we suppose the author to ha> -i. He can also, in the questionable matter of dates, and some other disputed facts, consult the passages , cted for that purpuhe from an article on this book which appeared in the popular critical journal, the .41. ' > page Ixxxii. V WTCHERLEY. And as he aeenis to have beeome a student-at-law for the sole purpose of drawing the character of Widow Bladeacre in the " Plain Dealer/' so the trip to sea which he took, on occasion of one of our fights with the Dutch, appears to hare been for no end but to write some verses denouncing its horrors, and to make his hero the Plain Dealer a sea-captain. This event in his life he has recorded in the title of the verses alluded to* He most probably went as a volunteer, a, circumstance not tiausual with the gentry of that period ; and for a reason we shall give -when we come to apeak of the play, we guess the fight to have been that with Opdam, the same in which his friend Lord Dorset was present, and that occiisioned the gay verses, " To ill you ladies now at land." It is no common evidence of the manliness aoA philosophy of Wycherley's turn of mind at this early period of life, (unless, indeed, it was the wit of a candid effeminacy,) that his presence on so triumphant an occasion gave him no sort of prejudice in favour of the glories of war. It did not even lead him, with the pardonable vanity of youth, to bOast of his own share in them. Indeed he makes no mention of himself at all, except in the title of the poem. He merely seems to have thought both parties engaged in a truly infernal business. From the period of this event in his life we know of no other till the appearance of " Love in a Wood," in the year 1672. This brought him acquainted with the Duchess of Cleveland, and it is said, in a very eurious manner. The story is, that this celebrated mistress of Charles the Second, who took publicity so easily that she would lie back asleep in her coach along Hyde Park with her mouth wide open, called out to Wycherley's coach in Pall-Mail from her, own coach-window, soon after his play had been acted, and upon the strength of a compliment which he had paid in it to the wit and spiiit of natural children, saluted him by the plainest title of affiliation with which the illegitimate of the mercenary are wont to be greeted. Wyoherley, agreeably to what was considered "good fortune" in those days, stopped his carriage, and turned, and came up with "the lady" (as Clarendon used to call her), and the dialogue is recorded to have proceeded in the following manner. " Madam," said Wycherley, " you have been pleased to bestow a title on me which belongs only to the fortunate. Will your ladyship be at the play to-night % " " Well," answerfcd the duchess, " what if I am there t " " Why, then," replied Wycherley, " I will be there to wait on your ladyship, thougJi J disappoint a fine woman, who has made me an assignatvm." [0 loving and delicate age of Charles the Second !] " So," exclaimed the lady, " you are sure io disappoint a woman who has favoured you, for one who has not ? " " Tes," returned he, "if the one who has not favoured me is the finer woman of the two ! But he who can be constant to your ladyship till he can find a finer, is sure to die your captive." And so, with this climax of common-place, and a conviction on both sides that there was no heart in the matter, these two poor people were bound to meet at the play, as they did, and to " make as if" they were full of love and tenderness.— Toltaire, in his " Letters on the English Nation," says, that the duchess used to go to Wycherley's chambers in the Temple, dressed like a country maid, in a straw hat, with pattens on, and a box or basket in her hand. Pope, according to Spence, related the story of the meeting in a different, and probably truer inanner; for Dennis's version has a faste of the literary cookery of the time. "Wycherley," said Pope, "was a very handsome man. His acquaintance with the fcimous Duchess of Cleveland commenced oddly enough. One day, as he passed that duchess's coach in the Ring, she leaned ouk of the windows, and cried out loud enough to be heard distinctly by him, ' Sir, you 're a rascal ; you re a villain ! ' (Most probably Spence, in one of his fits of dulness, had forgotten the real appellation.) Wycherley from that instant entertained hopes 1 He did not fail waiting on her the next morning ; and, with a very melancholy tone, begged to know how it was possible for him to have so much disobliged her grace V (Upon which, of course, the explanation of the allusion would take place.) « They were very good friends from that time ; yet, after all," concludes the poet with uaivetg, "what * hoBtoumouB Works, p. 235.-" On a Sea-Figl-t. whloh tbe Author was in, betwixt the English and Dutch " BIOGKAPHICAL AND CEITICAL NOTICES. djd he get by her 1 " (A very natural question.) " He was to have travelled with the young; Uuke of Richmond. King Charles gave him, now and then, & hundred pounds, not often." \ IVycherley, however, was so proud of this intimacy, that an oflfence which Cleveland's cousin the Duke of Buckingham took against him, might be traced to the foppery of his dedication of the play to her, without enlisting in the matter a personal jealousy that might have had no sort of foundation : for, though the duke is said not to have been without his gallantries towards the royal mistress, there was in general little love lost between those two noble personages. Wycherley, in this dedicatiqpl^ repeatedly speaks in strong and exulting language of the " favours " which her grace had shown hiiA; and though he explains these favours to mean her having been to see his play two nights runningy , yet the vanity natural to a young author, the story already in circulation (according to Dennis), and. the equivocal acceptation of the word, might combine to create a suspicion of its being intended to>, , convey a more triumphant meaning; and the fashionable circles might be offended, whatever was the; V case with the lady. Be this as it may, mutual friends succeeded in doing away the offence; and'^ Buckingham, pleased with a wit and conversation which no man knew better how to appreciate, took the startled offender under his patronage. He gave him a commission in his regiment ; made him one of his equerries, as master of the horse ; and helped to bring him into such- intimacy with the king, that besides the bounties above-mentioned, Charles visited him while lying Ul of a fever at his lodgings in Bow-street ; recommended him to try the air of Montpelier for the recovery of his health (which he did) ; and what will astonish those who are acquainted with the exchequer-accounts of that leign, presented him with five hundred pounds to defray the expenses of the journey. But probably it was the fair hand of the duchess that opened the purse-strings on this occasion, grateful for some wit and sincerity of companionship which she could not procure at court ; for Wycherley was a better man than he seemed in his writings ; and his heart, albeit through his vanity, could not help being touched perhaps by such circumstances as Voltaire relates, and which are not at all incompatible •with what is known of the manners of the time. As to the royal third party, he had infidelities enough of his own to warrant him in pardoning those of one of his mistresses, perhaps even to induce lim to desire them, in order to save him from her reproaches. Charles had such an esteem for Wycherley as even to wish him to be tutor to his son the Duke of Richmond, whom he spoke of bringing up like a prince ; but we shall see how this appointment was prevented. What, in all probability, crowned the favour of Wycherley at court, as long as it lasted, was the reputation which «^ | he had acquired for sincerity and manly feeling, and which must have given a very rare character to*5| his homage. Meantime, while these events had been growing, our author had produced on the stage, and published, his three other plays,— the "Gentleman Dancing-Master," in 1673, the "Country Wife," in 1675, and the "Plain Dealer," in 1677.* For want of a date for the event we are now about to speak of, we are inclined to put Wycherley's first marriage soon after the appearance of the last of the three; for the "Plain Dealer" was the occasion of it; and the circumstance with which the story commences looks as if the play had been but newly published. The once formidable Dennis, the critic, is again the authority for these amatory matters. It is curious that his importance should now be confined to the exercise of offices so gentle. Dennis informs us, that immediately after Wycherley had received the intimation we have mentioned from Charles the Second, relative to the tutorship of his son, he went down to Tunbridge, most likely for the purpose of refreshing himself with the ordinary attractions of the place; when promenading one day at the Wells with his frieni Mr. Pairbeard, of Gray's Inn, it happened, just as he arrived at the bookseller's shop, that the Countess of Drogheda, a widow, young, handsome, and rich, came into it also, and inquired of the bookseller for the "Plain Dealer." The rest of the story shall be told in the words of its latest and best repeater, Mr. Boll, who, if we venture to think him inclined now and then to be over-thankful * These dates are taken from the •• Biogr.-,pl,ia Draniatica," not the very best authority, except where rntr^ei to-hrth™ flrVt!*" "™™'^ ™ ''''" "" ''''" "^' '° '"^ ™'''^"^- "' ^'""•-- ^°^ O-'^' "-' '"='. "" WYCHEELEY. xin for a piece of address in others, in consequence of his own hearty appreciation of whatsoever is graceful towards the sex, has done no more than justice on the present occasion to the happy promptitude of this gentleman with the auspicious name, Mr. Fairbeard, " Madam," said Mr. Fairbeard, " since you are for the ' Plain Dealer,' there he is for you," pushing Mr. Wyclierley towards her at the same time. " Yes," observed Wycherley, with his usual promptitude and gallantly, " this lady can bear plain-dealing, for she appears to be so accomplished, that what would be compliment addressed to others, would be plain-dealing addressed to her." The countess replied to this sally, with "Ko truly. Sir, I am not without my faults any more than the rest of my sex; and yet, notwithstanding all my faults, I love plain-dealing, and am never more fond of it than when it tells me of my faults." " Then, Madam," interposed Mr. Fairbeard, who appears to have played his part in the scene with excellent taste and good-humour, "you and the Plain Dealer seem designed by heaven for each other." The result of this dramatic exordium was the usual termination of comedy, — matrimony ; and (as Dennis might have said) something not so pleasant afterwards, at the fall of the curtain. Wycherley waited on the lady, first in Tunbridge, and afterwards at her house in Hattotirgarden, and obtaining her affections, is said to have been induced by his father to marry her. in secret, for fear of diverting the intentions in his favour at court ; a piece of craft, which according to the wonted fashion of that kind of wisdom, ended in producing the very evil which it thought to prevent. The discovery made- the ting regard the marriage as an act of contumacy, aggravated by disingenuousness, — a conclusion of the very worst sort for poor "manly Wycherley;" and though it is understood that the royal indignation might have been appeased in time, the Countess completed the apparent contempt of court, by a jealousy which kept the handsome dramatist away from it ; not at all approving a place, of the temptations of which she was not ignorant, and which was still presided over by the fair and voluptuous dedicatee of " Love in a Wood." Our author's consort, in fact, had been a " maid of honour " herself in the very honourable and perilous domain of WMtehall. She was one of the "Mademoiselles Eobartes," mentioned in Grammont, daughters of Lord Eobartes, afterwards Earl of Eadnor. She was married to the Earl of Drogheda during her father"? Lord-lieutenancy of Ireland ; and in the course of ten years becoming a widow, now occupied a house in the ever-dramatic but then also fashionable quarter of Bow-street, Covent Garden, where she was the glory, plague, and torment of her beloved husband the Plain Dealer. She might still possibly " like to have her faults told her," rather than not be spoken of at all, especially if they came mended by fond lips into virtues ; but there were faults of Mr. Wycherley's own, in his past life, perhaps in his present, which she could not construe into virtues by any process of imagination ; and the consequence was, that whenever he went to meet his old companions at their favourite tavern in Bow-street, which unfortunately for him was right opposite the house, he was obliged to sit with the windows of the room open, in order that the fair Letitia-Isabella might be assured there was no female in the company ! The disasters arising from this unfortunate marriage did not terminate even with the poor woman's death, which took place before long. She seems really to have loved her husband, as vrell as such a temper could ; and accordingly left him the whole of her fortune ; but the title Tinder which he claimed the property was disputed, and the law-expenses resulting threw him into such a series of difficulties, that his father was unable to extricate him, and the luckless dramatist lay in the Fleet prison for seven years ! The Eadnor family by this time were probably not rich. The Earl, her brother, had married the daughter of Sir John Cutler, the miser, who would not give the new countess a dowry. The sister's fortune may have become of proportionate consequence; and, at all events, Wycherley lost it. In his " Posthumous Works " is a poem addressed to Cutler, Ijanteringly exhorting him to stick to his avarice as the summum honum ; whether in spite to his wife's relations, or in the forlorn hope of shaming away the cause of dispute, it is of course impossible to guess. It would seem unaccountable that so long a captivity should withhold from the society which he had delighted, an author who was acknowledged to have a good heart, and who was gifted by his BIOGKAPHICAL AND CiU'WCJAJj JS'OTiCJiri. ■iontemporarioswith a title to Bpeoial reputation as a man. But ill-luck, the character of not being worldly Trise, perhaps real improvidence, at all events the difficulty of bringing his troubles to a close by one large sum, may naturally have perplexed such friends as an author is likely to have. And even his titled ones may have not been among his richest, considering the wa»ts of their luxury. He told, however, his first biographer. Pack, that the Earl of Mulgrave (Sheffield, after- wards Duke of Buckinghamshire) once lent him five hundred pounds. Why the king did not assist him, perhaps indeed why he withdrew his countenance 6:0m him in the first instance, may have been accounted for, not ty his marriage, but by the strong partisanship of his attachment to Villiers, Duke of Buckingham, whose side, in the disputes with him at court, even when accused of treason and thrown into the Tower, he took with a fondness of zeal that does credit to both their memories. TVe learn th^s characteristic and engaging circumstance from a poem in his folio volume, addressed to the Duke on the occasion, and beginning with this uncompromising verse :— " Your late disgrace was but the court's disgrace." ■ " Manly Wycherley " is conspicuous here, and no less so the reason why he was not likely to enjoy a life-long continuation of the king's &your. Pack says, that while the author was in the extremest of these troubles, the bookseller, who had profited largely by the sale of the " Plain Dealer," refused to lend him the sum of twenty pounds ; a churlishness which, taking for granted honesty on one side, and pecuniary ability on the other, would certainly not have been shown to such a man now-ardays. But whether these stories were true or false, it seems not unlikely that Wycherley would have ended his days in prison, had not Charles's successor, James, happening to witness the performance of the " Plain Dealer," and being struck , with the supposed virtues of its hero's character, which touched him on the side of his own claims to sincerity, issued orders for the payment of the author's debts in full, and settled a pension on him besides of two hundred a year, so long as he should reside in England. But in matters of pecuniary trouble, "it never rains but it pours," as the proverb says, come what sunshine there may betwixt. Even under this unlooked-for felicity, Wycherley's ill-luck haunted him in the shape of a bashfulness, which, while it deteriorates from our sense of his " wit," gives liim an unexpected addition of good-will in our hearts, at the thought of such childish unworldliness in the " man of the world." He was too modest to state the whole amount of his debts, even to his friend Lord Mulgrave, who was commissioned to learn it ; perhaps the more modest, because of his friendship ; and the consequence was, an unliquidated balance of liabilities, which still weighed on his mind. Even when the death of his father, at a ripe old age, put him in possession of the family estate, — even then, being only a tenant for life, and unable to raise money upon it to a sufficient amount, he obtained but slight relief Land thus the irretrievable difficulty might now be supposed to have reached its climax ; but a sense of dramatic surprise mingles with one's pity, at discovering, that the last desperate measure to which he was about to resort for the purpose of delivering himself, did but bind him in new chains for the short remainder of his life, and leave him freetfrom the others, only to see it hasten its termination. Wycherley had a disagreeable nephew (very disagreeable and unworthy, one should suppose, to be able to disconcert the last days of a man rendered philosophic both by good-nature and misfortune.) This nephew he could not bear to think of succeeding him. We do not very well understand the case, as it is variously related in the biographies ; perhaps for want of the due legal knowledge ; but it appears, that by a certain combination of law and matrimony, he thought at once to disappoint this nephew, free himself from his other annoyances, and confer, as he fancied, a benefit on a deserving object. He, therefore, almost in arlieulo mortis, married a young woman whom he supposed possessed of a considerable estate, settled a jointure upon her out of it, and applied a part of the proceeds to his own uses. In vain ! He dies eleven days afterwards, in the December of the year 1716, aged 76 ; and if his spirit were tobe supposed cognizant of what was going forward over his coffin, it has been asserted by some biographers, that he would have found his widow an WYCHEKLEY. impostor, and already in tlie possesoiou of another man. It is said, that by a truly dramatic close of his existence, he summoned his new wife to him the evening before he expired, and haying obtained her consent to a request he was about to make, explained it in the following words ; " My dear, it is only this, — that you will never marry an old man again." Here was the ruling passion of wit and humour strong in death ; though Pope, adding jest to jest, thinks it hard he. should have debarred her from doubling her jointure "on the same easy terms." It does not appear that she would have baulked herself of twenty such. She went by the name of Jackson ; and the alleged fellow-swindler, wlio subsequently married her, called himself Captain Shrimpton. Bethia Shringston was the name of Wycherley's mother. It was through the Captain and Theobald, that the volume of " Posthumous Works," which Pope had had so uneasy a hand in re-touching, came before the public. Wycherley's remains were deposited in the vault of the church in Covent Garden. Pope affirmed to Spence that he died a '' Romanist ; " and that he had owned that religion in his hearing. When people have not the very best ideas of this world, nor, consequently perhaps, of the next, it is natural enough that fear on some occasions, and doubt on all, should make them willing to abide by the church that claims to itself exclusively the power of solving all doubt, and delivering from all fear. — So Madame de Montausier triumphed at last. The chain of these melancholy events, so closely linked with one another, has hindered us from speaking till nolv of the curious intercourse that took place, in his latter days, between Wycherley, the oldest wit of the departing age, and Pope, the youngest of the new. Wycherley, in the year 1704, which was the sixty-fourth year of his age, not being the everlasting young-old boy that Chancer was, nor of the right faith in things poetical, published a bad volume of poems, full of harsh verses and insipid gallantries ; and Pope giving the world his Pastorals about the same time, and being then sixteen to Wycherley's sixty-five, the two books appear to have brought the old wit and the new together. Pope, with the reverence natural to a young writer, diligently cultivated his new acquaintance, haunting his lodgings in town, (following him about, as he describes it, like a dog) and trying to entice him to come and see him in Windsol' Forest. (Lady W. Montague says he did it for a legacy ; but the charge is manifestly nothing but a bit of the spite and malice, to which her ladyship's fine brain too frequently condescended). Wycherley, on the other hand, always promising to go to the Forest, and always complaining of his irresistible itch of writing, wishes to get up a fresh volume of poems, and compliments his new friend, iiot yet out of his teens, with asking him to correct his verses. A dangerous Compliment.! Pope entered upon his task with more sincerity than comfort, asking, among other cavalier inquiries, whether he was to turn the " worst pieces " into " very good ; " and implying, in that case, that it might be necessary to " re-write " them ! The old man, unable to deny himself the pleasure of seeing his darling verses trimmed up, yet wincing under the approach of so slashing an instrument, compliments the " great mind ' of his critic at the expense of his " little, tender, and crazy body." In short, spleen and impatience break out on both sides in the course of an anxious correspondence, till Pope, with hardly sufficient delicacy of forbearance, testily throws lip his office ; and though strong expressions of esteem afterwards passed between them through the medium of common friends, the intercourse was never renewed. Of the tjro, Wycherley appears to us to have been the less in the wrong ; but then his experience left him the smaller excuse for not foreseeing the result. From the letters that passed between Pope and Wycherley, and the recollections of him by the former in Spence, we learn something of the habits and appearance of the dramatist. Pope put him in the list of those who had the " nobleman-look." He did not care for the country; was fond of serious and philosophic authors (Montaigne, Eochefoucault, Seneca, and Gracian), in one of whom he used to " read himself asleep o' nights ; " and was vain of his handsomeness, the departure of which in old age he could so little endure, that he would sigh over the portrait of him at twenty-eight by Sir Peter Lely, and to the engraving made of it in 1703, (from which the one in the present volume is taken) ordered the motto to be put, " Quantum mutatus ab illo," (how changed from 1dm!) "which he used to repeat," says Pope, "with a melancholy emphasis." Sir Godfrey Kneller BIOGEAPHICAL AND CRITICAL NOTICES. said he would make a very fine head without hia wig ; but he could not bear the portrait when done, and Sir Godfrey was obliged to add the wig. Alas for a Charlcs-the-Seeond old age ! Shakapeare speaks of a man who was " incapable of his owa distress." Here was a man who was unequal to Ma own Tenerableness. He retained however to the last, in spite of the occasional " peevishness " natural to such a decline (unless Pope's own peevishness found it in his associate) the character he Tiad always possessed of good-heartedness and sincerity. His contemporaries have recorded him as •being of an intercourse as modest and gentle as his public satire was bold ; and they all agreed in :giTing him, as an epithet of distinction, the name of his hero in the Plain Dealer, " Manly," — a cognomen, to which perhaps his personal appearance helped to contribute, — ^for Eochester, in his " Session of the Poets," designated him as " brawny Wycherley," though the word was omitted in subsequent editions. Dryden, with his usual good-nature towards young authors, once invited him to join him in writing a comedy ; but he modestly declined the offer in a poem of gratefiil panegyric.* It is difficult to say which was the luckier in the failure of this proposal, Dryden or Wycherley ; for the poetical part of Dryden's spirit, especially if he had written in verse, would have borne down the unbelieving prose of a man who had no such poetry in him : while, on the other hand, the ^eater, or at all events purer, dramatic power of Wycherley would not have known what to be at ■with the unseasonable and arbitrary superfluities of Dryden. Wycherley has justly been considered as the earliest of our comic prose dramatists, who forsook -the fleeting shapes of custom and manners that were brought to their gayest head in Etherege, for the more lasting wit and humour natural to the prevailing qualities of mankind. Etherege was the ■" dandy " of the prose drama, and Wycherley the first man. Shadwell had glimpses " in his drink ; " "but he was only a gross and hasty sketcher. Sohlegel has missed a general airiness in all our plays of this class, through the whole range of English comedy ; and Wycherley is certainly no exception to the defect. He is somewhat heavy as well as "brawny" in his step ; and when he moves fester, it is seldom from gaiety. He has " wit at will " also ; but then the will to be witty is frequently too obvious. It has too artificial an air of thought and antithesis. His best scenes are those of cross- purposes, mutual exposure, or the contrast of natural with acquired cunning ; those, in short, in which reflection and design have much more to do than animal spirits. His style is pure and unaffected ; and clearness and force are hia characteristics, in preference to what is either engaging or laughable. We can easily believe him to have been a " slow " writer ; not from dulness, but from care and consideration. " Of all our modem wits, none seem to me Once to have toucVd upon true comedy, But hasty $hadwell and slow Wycherley." The truth of the application of this epithet lias been controverted, especially by Lord Lansdowne, ■who knew him, and who implies that he contradicts it from personal knowledge.t But unless the Joss of memory, which he suffered in advanced life, had altered his habits of composition, the question might appear to be settled by the interlined state in which Theobald says his manuscripts were left, and which was so excessive, that a stranger could hardly read them. The failure of his faculties, it is true, in this respect was so great, that Pope says he would copy other authors on ■paper and repeat himself, and forget that he had done either in the course of a few hours. On ■4he other hand, Eochester's triplet has some more lii*es to it, not so often quoted : — " Shadwell's unfinishM works do yet Impart Great proofs of nature's force, though none of art ; But Wycherley earns hard whato'er he gains, He wants no judgment, and he spares no pains." Perhaps Eochester spoke of his younger efforts, and Lansdowne knew him at a time of life when * ** An Epistle to Mr. Dryden, occasioned by liis desiringr to join with liim in writing a Comcdj'."* Poatfwmota WorHs, p. 18, t See the passage in Anderson's British Poets, vol. vii. p. 722; WYCHEULEY. practice had made him quicker. And yet, as Wj'cherley was not a writer of impulse, there is some- thing of that kind of simple hardness in his style which looks like a slow growth. Congreve's agglomerations of wit have the same appearance of elaboration, though from another cause. Vanbrugh and Farquhar have more spirits, and a readier air accordingly. But we shall touch upon these comparisons, when we have done speaking of all separately. We shall now glance at each play of Wycherley's, in the order of its composition. — The idea of " Love in a Wood, or St. James's Park," (for the Park was the wood,) was evidently suggested by the " Mulberry Garden " of Sir Charles Sedley, — a title suggested by a house of entertainment which stood on the site of Buckingham Palace, and the grounds of which, like the Spring-garden at the opposite corner, were resorted to by the gallants and masked ladies of the time, when they issued forth of a summer's evening like so many gnats, to buzz, sting, and make love. It turns upon a game of hide-and-seek, and other cross-purposes, between some of these " minions of the moon," and is worth little in style or plot ; yet we think, upon the whole, it has been undervalued. It is not unamusing. It gives early evidence of that dislike of backbiting and false friendship, which honourably distinguished Wycherley through life ; and there are the germs of two characters in it, which have been since developed by Hoadley and Sheridan, — that of Falkland in the " Rivals " (the Valentine of this play) and Sanger in the " Suspicious Husband ; " whose name, with a candour that was to be expected from Hoadley's superior nature, was retained by him from the Banger of Wycherley. Compare, in particular, the immense yet pleasant impudence, and reconciling animal spirits, of the •entrance of Hoadley's Banger into the bedroom of 3Trs. Strickland, with its manifest prototype in the second act of " Love in a Wood." The concluding stanza of the song in the first act contains the passage which is said to have been the origin of the writer's acquaintance with the Duchess of Cleveland. Either Wycherley's memory must have failed him as to the early period of spme of his com- positions, or vanity helped to mislead it, — for he had manifestly gone to the same sources as Molifere for the improvement of his plots, when he wrote the " Gentleman Dancing-Master." There is a similar amusing intrigue in it to that of the " Ecole des Femmes," carried on through the medium of an unconscious wittol, who hugs himself upon the fool he is making of the favoured lover ; and the author, besides looking back to old English comedy for a Frenchified Englishman, has brought a formalised one from Spain, the favourite store-house of the comedy of the preceding age. The hero of the piece, who is made to personate a dancing-master, and to be always in motion whether he will or no, is very amusing ; so is the suspicious old aunt, who sees through his incompetency : but, above all, there is an exquisite truth to nature in the egotistical effrontery of the father, who, after treating the aunt's suspicions with contempt, takes to himself the credit of making the very discovery, which she has all along been trying to beat into his head. The " Plain Dealer," — with the exquisite addition of the litigious Widow Blackacre, a kind of born female barrister, an original which he had doubtless met with in the courts of law, — is an English version, in its principal characteristics, of the " Misanthrope " of Molifere, greatly improved, inasmuch as the hero is less poetically tragic, but equally contrary to nature and to the true spirit of comedy, inasmuch as he is tragical at all ; and in one respect it is shockingly below the original ; for it is ■deformed so as no other age but such a one as that of Charles the Second could suppose manhood to be deformed, and yet remain consistent with itself, by the sort of revenge which he permits himself to take on his mistress, — ^that of a possession of her person under the supposition of his being another man, and while he feels nothing for her disposition but hatred and contempt. Yet in this gusto of desecrated animal passion, fit only for some ferocious sensualist who believed himself as great a rascal as he thought everybody else, the wits of those days saw nothing to deteriorate from a character emphatically christened and thought " Manly," — a name which it imparted, as an epithet of honour, to the Author himself. As to the rest, the wit put into the mouth of this much- injured Captain of the British navy is as forced, and not seldom as common-place, as the violent and solemn coxcombry of his hatred of all other vices but his own is ridiculous. Indeed all misan- thropes, whatever be their pretensions in other respects, nay,ia very proportion to their claims upon BIOGRAPHICAL AND CKITICAL NOTICES. being thought exceptions to the generality of mankind, are, and must be, so far, nothing but stupid and immodest coxcombs, for daring to set up their supposed knowledge of themselves above the whole virtues of the rest of theiJ fellow-creatures. In what has been charged, however, as unnatural in the characters of the two heroes of Wycherley and Molifere, with regard to their believing in the goodness of one select friend and one mistress, this, We confess, appears to us provokingly true to nature ; fbr the same arbitrary will and pleasure that trumps up a man's Own virtues to himself, has only to include the fifst convenient man or woman it meets irith in tlie same spotless category, and' for not a jot better reason. The feelings of the public saw better than, the court-wits, and instinctively revolted against this 'play ill spite of the exquisite scenes of the scandal-mongering fine ladies abd gentlemen, the prototypes of those in Congreve alid Sheridan. It is said, that the gOod-iatured Duke of Dorset, wfi6 tried hard to take his own bilious tempera^ ment fbr a kind of misanthropy, but was too modest aiid good-hearted to succeed, was the first to reconcile the town to an approval of it. If so, perhaps the Duke's having been in ,the great sea^ fight against Opdain, may serve both to account for the profession assigned to the' Author's hero, and to corroborate a guess as to the particular battle that Wycherley hitnself was in. In the " Country Wife " there are no such scenes and dialogue of continued excellence as those of Olinna and her visitors in the second act of the "Plain Dealer;" but the principal female character hits a point of more lasting nature, and is an exquisite meeting of the extremes of simplicity and cunning; so that with some alterations, especially of the impudent project of Hofner, which would have been an affi-ont ih any other age to a decent audience, this cojnedy out- lasted the performances of the graver one, and will always be revived whenever such an actress appears as Mrs. Jordan. Those Who remember how that 'delightful' woman seemed made for every trusting enjoyment, — how she could unite boisterpus animal spirits with a Ijrimful sensibility, — how she woUld come dancing on thtf stage i% forty, a girl still in spite of her fat, — What a breath and music there was in her voice, and how the people loved it the moment they heard it, — how she would wear a huge buxom pin-afore, divide sobs of sorrow with the comforts of a. great slice of bread-and-butter, anticipate a world of delight with rubbed hands and huddling shoulders, — and with what a cramming of all the powers of coaxing into one little syllable she would utter the word " hud" while taking her guardian's cheeks in her hands, as though it sprang out of the fulness of her heart, and formed her lips into the very thing it spoke of, — will sigh to think, that circumstances rarely produce creatures made of such cordial human clay ; or that anything could have made a life close in sorrow, which had given to others nothing but happiness. We have found nothing in the Letters of Wycherley, either to Pope or Dennis, worth extracting in this place ; bilt from an 'ejrtraordinary heap Of bad and good in the three hundred and eight " Maxims and Eeflections " written by him in his old age, we have selected some not unworthy of " The satire, wit, and strength of Manly Wycherley." (So wrote Dryden of him in one of his own strong lines.) As wit is too hard for power in council, so power is too hard for wit in action. Our hopes, though they never happen, yet are some kind of happiness ; as trees, whilst they are still • growing, pleaee in the prospect, though they bear no fruit. Believe your friend honest to make him so, if he be not so : since, if you distrust him, you make his falsehood a piece of justice. We increase our losses ourselves, and club with Fortune to undo us, when with them we lose oui patience too ; as infants, that being robbed of some of their baubles, throw away the rest in childish anger. Every little club thinks wit confined to it ; as every small sect of godly professors think to monopolise salvation. We reprove our friends' faults more out of pride, than love or charity ; not so much to correct tlicm, at to make them believe wo are ourselves without them. Lies, artifice, and tricks, are as sure a mark of a low and poor spirit, as the passing of false money :s of i poni, low purse. COKGEaVE. iL IS a very common Ic.iiMg lu us uuvci- to be satisfied with our lonuni-, lud never tliisatiolied wilU o.ir flcnsG and conduct. Charity and good-nature give a sanction to the i^iost o&mmon actions ; ai^d pride and ill-nature make our best virtues despicable. The silence of a wise man is more v/rong to manUnd than the slwnder.er's speech. This last is a noble observatibn, and looks profoundly into the wants of society, feom the rest ■we may gather the amiableness as well as sincerity of the Author's character ; who was so heloved in his time, as to afford a caution to sour, and therefore crude, moralists, how (,hey put the worst construction upon what is not always best in his writings. CON(JEE\nE. WILLIAM CONGtEETE was the second son of Eichard Congreve, Esq., of Congreve and Stretton, Vho was one of the thirteen Staffordshire gentlemen upon whoin Charles the Second intended to tonfer the order of the Eojal Oak, had the institution taken place. The late Sir Williatn Congreve; Bart., th6 inventor of the fo'ctet syst^tii, was the descendant of a ybunger branch of the family ; but the direct Jine still survives at Aldermans town in Berkshire, on a jiroperty which came to it by inarriage. The Stretton festate, on which the family had resided since tte'time of Edward the Second, was sold by our author's great-grand-nephew, William, who married a "Waller ; and it is now the property of Edward Monqkton, Esq. An oak is still shown there, on a laWn, Under which part of the " Old Bachelor " is said to have be?n written. But wherever such opportunities' boisur, some spot or other i» pretty sure to be identified with, the haunts of genius,— with the flights, and warblings of the human bird. Scriptorum diorus omnis amat nemuk. ■ The choir of penmen all delight in trees. Our author's mother (a relationship always pleasing to ascertain) was Anne, daughter of Sir Thomas Fitzherbert, and grand-daughter of Sir. Anthony, the celebrated judge, who wrote thg work praised by Blackstone, De Naturd Breviwm. She had a maternal uncle, who possessed a house at Bardsey, near Leeds ; and it was there that the dramatist was born-, in the year 1669, probably, while his father, a- younger brother, and an ofiicer in the army, was cultivating in Ireland the patronage of the Earl of Burlington, on whose estate he subsequently had employment as a land-agent.* It is curious to see how unwUling- people were to take Congreve's word that he was born in England, and not in Ireland ; — a dispute which Malone set at rest by the production of a register. Dr. Johnson, among others, seems to Jiave " sullenly " begged the question against Congreve's veracity, purely that he might indulge in the following gratuitous piece of acuteness : — " Ifeither the time nor place of hisbirth are certainly known ; if the inscription upon his monument be true, he was bom in 1672. For the place, it was said by himself that he owed his nativity to England, and by everybody else, that he was bom in Ireland. Southern, mentioned him with sharp, censure, as a man that meanly disowned his native country. The biographers assign his nativity to Bardsa, near Leeds, in Yorkshire, from the account given by himself, ts they suppose, to Jacob. - " To doubt," continues Johnson, " whether a man of eminence has told the truth about his own birth, is, in appearance, to be very deficient in candour ; yet nobody can live long without knowing that falsehoods of convenience and vanity — falsehoods from which no evil immediately visible ensues^ except the general degradation of human testimony — are very lightly uttered, and once uttered, are * For snch of tbe ahove family particnlars as are new to the hioprnphy of Ciingi-eve, wn are indebted t.) n>nkr'3 Genealogical and HUiorical Account of the Landed Gentry of England, vol. iii. p. 41?, &c. BIOGEAPHICAL AND CRITICAL NOTICES. sullenly snppcrted. Boileau, who desired to be thouglit a vigorous and steady moralist, having told a petty lie to Louis XIV., continued it afterwards by false dates ; thinking himself obliged in honour, says his admirer, to maintain what, when he said it, was so well received."* But Johnson, while he was thus detecting one infirmity in mankind, was overlooking another, in which he himself was indulging, viz. — a tendency to prefer accusation to proof. How could " everybody else " but Congreve say that he was born in Ireland, when hia " biographer " said otherwise? And if they took his word for it, why should they not, merely because he might have lied? Southern was himself an Irishman; and in that circumstance the Doctor, had he chosen, might have detected another weakness, — that of wishing to make out as much wit and talent as possible for one's own country. A better ground of suspicion against Congreve would have been found in the general fastidiousness of his character, and in the infirmity of his taking conventional ascendancies for something superior to genius itself. Though Congreve was not born in Ireland, he was assuredly educated there ; first at Kilkenny, and afterwards at Trinity College, Dublin : where he had for his tutor St. George Ashe, afterwards bishop of Clogher and Derry, who had been the tutor of Swift. Congreve was but two years younger than Swift; and as the latter had been educated also at Kilkenny, and stuck to his friend through life, though of dififerent politics, it would have been pleasant to fancy them under the same tutor at the same time. But whatever may have been the case with the school, somebody has told us that they were not together under Dr. Ashe. On quitting the University, Congreve was entered of the Middle Temple ; but he does not appear to have paid any attention to the law. Having family, as well as wit and scholarship, he was admitted into every kind of good company ; and he probably soon discovered, that he could make way enough in life, without a profession, to suit the views of a man of no great affections, who saw little in the world superior to the union of wit and gentility. His first publication was a novel entitled "Incognita, or Love and Duty Eeconciled;" which was said to have been written at the age of seventeen, but made its appearance at twenty-one. Johnson's convenient criticism upon it was, that he would " rather praise it than read it." Being of a less robust conscience on the reviewing side, it is our lot to have read it, without being able to praise. The author, though fresh from reading romances, already shows himself a man of the world, in the tone of his "love," and his notions of womankind. He was never young in that respect; — nor yet ever attained to years of poetical discretion. He aspires to be poetical nevertheless; and one of his fancies about his heroine is, that Cupid employs a quiU out of his wings in "picking her teeth ! " About the same period, at Drury Lane theatre, came out his first dramatic performance, the " Old Bachelor," written, like the novel, " several years before," and, as he said, in his fine-gentleman fashion, to " amuse himself in a slow recovery from a fit of sickness." Diyden, to whom he had addressed a reverential panegyric on the translation of " Persius," declared he had " never seen such a first play;" and he. Southern, and Maynwaring, freed it from some inexperiences, to fit it for the stage. The play was fortunate in every respect. Davies says, that when four of the actresses, Mrs. Bany, Mrs. Bracegirdle, Mrs. Mountford, and Mrs. Bowman, appeared together on the stage in the last act, the audience were so struck with a group so beautiful, that they broke out into a fervour of applause.t The talents of the actors, Betterton, Powel, and others, were on a par with the beauty and vivacity of the women. And fame was followed up by more profits than theatrical ones ; for Montagu, afterwards Earl of Halifax, and then one of the Lords of the Treasury, gave the author a place, — that of a commissioner for licensing hackney-coaches. Johnson says, that he " soon after " gave him another place in the pipe-office, and a third in the customs, of six hundred pounds a-year. These two offices, however, are probably but one and the same, which he did not receive till upwards of twenty years afterwards. Swift says he had but a single appointment for " half his days ;" and with whatever spleen he said it, Swift surely ought to have known. Among minor instances of the new dramatist's luck on this occasion, Southern is suppgsed to allude to this comedy when he says, that on reading it * Art Congreve, in tbe Lives of Om Poets. + Dramatic Miscellanies, Vol, Hi. p. 417. CONGREVE. to the players, the author pronounced it so wretchedly, that they had almost rejected it; but that subsequently they became so persuaded of its excellence, and the manager, Thomas Davenant, ivas so pleased -vrith his conversation, that for half a-year before it was acted, he was allowed, upon Southern's recommendation, the privilege of the house ; — no very great indulgence, it should seem, compared with the liberality of managers at present. The author of one successful piece is easily persuaded to write another ; but the impulse, though encouraged by the triumph, is apt to be of a less genuine sort, and more critical ; so as to lose mol-e on the side of felicity, than it has gained on that of good luck. The " Double Dealer," which came out at the same house the year following, did not please like the " Old Bachelor." Congreve, in his adulatory dedication to Montagu, pretended not to care ; but he smiled and winced at the critics like Sir Fretful Plagiary. Queen Mary, however, came to see both the plays ; and Dryden addressed him the celebrated epistle, in which he hailed him as the successor of the new stage and the old, and touchingly bequeathed to him the care of his own reputation. On the queen's coming to see the " Old Bachelor," Congreve wrote a new prologue, in which, with no great modesty, nor in any very poetical style, he says, " By this repeated act of grace, we see Wit is again the care of majesty;" and then he pretty broadly hints a comparison to his advantage with all preceding stages, ancient and modem. The writer of two such plays before he was twenty-six, might be allowed to be vain ; but Shakspeare, and fifty predecessors inferior to Shakspeare, would not have talked thus. Their genius would have been aware of its deficiencies, by reason of its being something which the utmost stretch of Congreve's " wit " was not large enough to discern. Drury Lane theatre was at that time the only one ; and as the nuing patentees were men of arbitrary tempers, or were exasperated by coalitions to force them into different conduct, the monopoly tempted them into behaviour so offensive, that Betterton, an i others of its best actors, finally revolted, and obtained a patent for a new one, which was set up within the walls of a tennis- court in Lincolu'a-Inn-Fields. Congreve's wit was in such estimation, notwithstanding the comparative failure of the " Double Dealer," and he appears also to have sympathised so strongly with the revolters, that they bore hioa with them to their new house ; and as he had great sense and judgment, notwithstanding his spleen against critics, he had tacitly profited by the censures on him, and the theatre opened with a new comedy from his pen, " Love for Love," which was as lively and successful as the " Old Bachelor." The success, indeed, was so advantageous to the actors, that besides an author's customary profits, they gave their coadjutor a share in the house itself, on condition of his furnishing them with a play a year, " if his health was good enough." It is to be concluded, that his health was not good enough ; for he was nearly six years in producing his two remaining plays. One of them, however, was the most successful he wrote, and the managers appear to have been satisfied. This most prosperous of his performances was his only serious one, the " Mourning Bride ; " perhaps we should rather say, his only tragic one ; for there is a severity of rascality, as well as an intricacy of plot, in some of his comedies, that produces upon many of their . readers far too grave an impression. The "Mourning Bride " came out in the year 1697 ; and was followed in 1700 by the " Way of the World," which, as the former had been the most successful of his plays, was the least so, and completed that disgust with the stage, which a performer upon it, of a very new complexion, had begun. We allude to the famous Jeremy Collier, who in the interval between the appearances of these two dramas, astonished the play-going public by coming like a crash upon their " houses," and forcing the "men of wit and honour " to fly to the most amazing of all self-defences— that of their morality. We shall notice this battle, sincere on one side, half-confounded on the other, and mistaken on both, when we come to the remarks at the close of our lives. The great success of the " Mourning Bride " was a pleasing instance of the willingness of society at all times to prefer the gravity of the affections to the levity of doubt and sarcasm. Our great modem novelist, Sir Walter Scott, strangely mistook a matter of fact in the tendencies as well as history of BIOGRAPHICAL AND CKITICAL NOTICES. humanity, when lie said that mankind at large prefer comedy to tragedy. The stronger sensation, and therefore the more popular, must of necessity be on the side of passion, rather than of the absence of it, and of the elementary feelings which all the world experience, rather than of pleasantries often rendered local and fleeting by circumstances of nation and fashion. None but a Frenchman can thoroughly laugh, even with Molifere ; and to a modern Greek half of Aristophanes . is a jargon ; but';&ll the world can weep and be exalted with Sophocles and with Shakspeare„ Far are we from undervaluing comedies and laughter. We heartily wish there were more of both. It is too often forgotten by the wOuld-be rational as well as the Would-be pious, that heaven iaade laughter as well as tears. But even the height of pleasure becomes serious; and it may be said^that the sweet gravity of the highest kind of poetry is ever on the face of Nature herself. There was an iuoredible tradition, that when Congreve found " The Way of the World " not likely to succeed, he came in a passion on the stage, and told the audience thdy need not trouble themselves to show their dislike, for.he intended to write for them no longer, nor ever again submit himself to the judgment of impotent critics. This proceeding has been pronounced not likely in a gentleman of his politeness ! The truth is, it would have been a madness. Cpngreve felt the public censure strongly, no doubt ; and betook himself, as a man of letters and fashion, to his calm airs of superiority and contempt ; but fancy this urbanest of companions, who never said a painful thing to any one, suddenly giving up the habit of a life in order to rush upon the stage, and insult the town to its face, like a mad scene-shifter ! * He yet made his appearance however, once more, on a new stage, which was that of the larger theatre erected for Betterton's company, on the site of the present opera-house, by Sir John Vanbrugh, whom the old actors had now detached, as well as Congreve, from the Drury Lane Theatre, and whom they appointed " viceroy over them," in conjunction with his brother wit. Keferring to Vanbrngh's life, who was the more concerned in it, for what farther may be said on this event, we shall only state here, that Congreve did little or nothing for his share of the management but contribute a prologue or so, and one or two miserable bits of operas. He then backed, in fastidious incompetence, out of the concern. From this period, till the close of his days, with the exception of publishing his collected works in 1710, he betook himself to a private life, sweetened by a fame which he affected not to care for, and by the approbation of men of all parties, which he secured by occasionally saying a good word for a friend, and a bad one against nobody. What his finances were up to a certain period, or how they enabled him to live among the great, is a mystery. Swift's account of them has been thought a Tory libel : " Thus Congreve spent in writing plays, And one poor office, half his days ; While Montague, who claim'd the station To be Maecenas of the nation^ For poets open table kept, But ne'er consider'd where they slept. Himself, as rich as fifty Jews, Was easy, though they wanted shoes ; And crazy Congreve scarce could spare A shilling to discharge his chair ; Till prudence taught him to appeal From Pagan's fire to party zeal ; Not owing to his happy vein The fortunes of his latter scene ; Took proper principles to thrive ; And so might every dunce aUve."— 0» Br. Delany and Lord Carteret. * It iiBB struck u«, on reflection, that as the stage itSBlf in those times, during the performance of a play was often intruded upcjn by the reigning fops and critics, Cjngreve might possibly have uttered something of the kind to those gentlemen tn a fit of momentary indignation. CONOREVE. We take Swift to have been in the right, as to the fact of the single office. Congreve's receipts from Ms various places have been usually huddled together, as though Halifax had given them all, and at once. Probably they did all come from him, or through him ; but it is certain our author was not made a Commissioner of Wine Licences till the November of 1714. His richest appointment, that of Secretary for Jamaica, followed in the course of the next month. Halifax died the May ensuing. The whole of Congreve's offices now put him in possession, it is said, of twelve hundred a-year, a very handsome income in those days for a bachelor. Up to this period, he probably lived according to Swift's intimation, in straitened circumstances at home, though magnificently in the houses ^ his noble friends ; not the happiest possible condition for a proud man, or any man ; though •pride csn sooner reconcile itself, than less assuming passions, to vrhatsoever it condescends to be convenienced with. At all events, whether proud or philosophic, Congreve repaid with interest what he received, by the charms of his wit and conversation ; and men of genius, of all parties, would have handed his name down to posterity, had he done nothing else for it himself. Dryden may be said to have eulogised him as long as he survived. Steele dedicated his "Miscellanies" to him, and Pope his " Iliad ; " and he was visited by Voltaire. Occasionally he wrote some verses which were handed about, or a prologue for some friend, or a paper for a periodical work, or epistle to some coffee-house wit. But he lived more like a man of birth than of letters ; and his powers of amusement being equal to his fame, he became celebrated for his bonnes fortunes, and was always in tender connexion with some reigning charmer. At one time, the lady appears to be Mrs. Arabella Hunt, the singer; at another, he is residing in the same house with " Madam Berenger ; " at another, and for a long while, he is the friend of delightful Mrs. Bracegirdle (whose very name sounds like a Venus) ; and during the last years of his life he was the cherished companion of Henrietta, Duchess of Marlborough, wife of the Lord Treasurer Godolphin. Upon the subject of these two latter connexions it is proper to dilate somewhat, as they not only coloured his life and reputation, but form no inconsiderable portion of the essential history of the man and his nature. The date of his first acquaintance with Mrs. Bracegirdle was doubtless that of his introduction to the stage. It is observable, that she not only acted the heroine in every one of his plays, but always spoke either a prologue or epilogue to it. Her appearance on these occasions is not less certain, than the dedication of the play to some man of quality. Gallantry and fashion always went hand in hand with Congreve. Among the exquisite portraits of stage contemporaries painted by Colley Gibber, — who could become serious, and even feeling, when describing a cordial woman, — the following one of this delightful actress remains ever fresh on the canvas ; — ■ " Mrs. Bracegirdle was now just blooming to her maturity ; hor reputation as an actress gradually rising with that of her person ; never any woman was in such general favour of her spectators, which to the last scene of her dramatic life she maintained by not being unguarded in her private character. This discretion contributed not a little to make her the cara, the darling of the theatre : for it will be no extravagant thing to say, scarce an audience saw her that were less than half of them lovers, without a suspected favourite among them ; and though she might be said to have been the universal passion, and under the highest temptations, her constancy in resisting them served but to increase the number of her admirers. And this perhaps ycu will more easily believe, when I extend not encomiums on her person beyond a sincerity that can be suspected ; for she had no greater claim to beauty than what the most desirable brunette might pretend to. But her youth and lively aspect threw out such a glow of health and cheerfulness, that on the stage few spectators that were not past it could behold her without desire. It was even a fashion among the gay and young to have a taste or tendre for Mrs. Bracegirdle She inspired the best authors to write for her ; and two of them, when they gave her a lover in the play, seemed palpably to plead their own passion, and make their private court to her in fictitious dbarai^ters. In all the chief parts she acted, the desirable was so predominant, that no judge could be cold enough to consider from what other particular excellence she became delightful, 'i'o speak critically of an actress that was extremely good, were as hazardous as to be positive in cue's opinion of the best opera singer. People often judge by comparisons w'jsre there is no BIOGEAPHICAL AND CRITICAL N-QTICES. similitude in the performance. So that in this case we have only taste to appeal to, and of taste there can be no disputing. I shall, therefore, only say of Mrs. Bracegirdle, that the most eminent authors always chose her for their favourite character, and shall leave that uncontestable proof of her merit to its own value. Yet let me say there were two very different characters in which she acquitted herself with uncommon applause ; if anything could excuse that desperate extravagance of love, that almost frantic passion of Lee's " Alexander the Great," it must have been when Mrs. Bracegirdle was his Statira : as, when she acted Millamant, all the faults, follies, and affectation of that agreeable tyrant were veuially melted down into so many charms and attractions of a conscious beauty." * With this charming woman, not only Congreve is understood to have fallen in love, but Eowe ; who, by the way, if he did, left no small proof of the heartlessness of which some have accused him, in a bantering copy of verses upon her, in which Lord Scarsdale is encouraged not to be ashamed to many her, though her father did keep an inn at Northampton. " Do not, most fragrant Earl, disclaim Thy bright, thy reputable flame, To Bracegirdle the brown; But publicly espouse the dame, And say, G — d — the town," &c. It had not been discovered in those days, that a charming actress was worth marrying for her own sake, in proportion to the evidences she had given of genius and a good heart. Eowe, with a spite that would hardly have been found in a greater poet, and that is doubly revolting if he had loved her, compliments her upon the offers of wealth and rank which she had rejected, in the very lines which ridicule her parentage and her profession. Even one of these grounds of objection is said to have been false. A commentator in Nichols's edition of the Tatter (vol. i. p. 215), designates her father as " Justinian Bracegirdle of Northamptonshire, Esquire," who " ruined himself, among other ways, by becoming surety for some friends." Be this as it may, hear Davies's account of the share which Eowe as well as Congreve had in the admiration which she excited : — " Mrs. Bracegirdle was the favourite actress of Congreve and of Eowe. In the several lovers they gave her in their plays, they expressed their own passion for her. In ' Tamerlane,' Eowe courted her Selima in the person of Axcdla; in the 'Fair Penitent,' he was the Horatio to her Lavinia; and in ' Ulysses,' the Tdemaclms to Bracegirdle's Semanthe. Congreve insinuated his addresses in his Valentine to her A ngelica, in ' Love for Love ; ' in his Osniyn to her A Imeria, in the ' Mourning Bride ; ' and, lastly, in his Mirabel to her Millamant, in the ' Way of the World.' "+ " Honest Tom Davies " proceeds to vindicate his heroine from the scandals of lawless " Tom Brown," who tells us that Congreve " dined with her every day, and visited her in public and private." The deduction thus intended to be implied cannot, argues Davies, be tnie, because Mrs. Bracegirdle was visited to the last moment of her life by " persons of the most unblemished character and the most exalted rank." He admits, at the same time, that Congreve's " assiduous courtship did not pass unnoticed ; that he was constantly in her lodgings, and often rode out with her." Mr. Davies's gentle mystifications may be safely left to the reader's " candour " (to use a favourite word of those times). The toleration of polite life for temptations of the heart on the stage, has not been one of the least redeeming or sincere of its own claims to indulgence. Mrs. Bracegirdle's successor in the public admiration, Mrs. Oldfield, who was counted a model even to the fashionable world on every point but one, was intimate with the people of the " most unblemished character and exalted rank." Mr. Davies subsequently tells us so himself; adding, that the royal family did not disdain to see her at their levees : and he repeats an amusing instance of her address. The princess! of Wales (afterwards queen of George the Second) told her one day that she had heara * Cilbor's " yVpology," 12mo, IS2C", p. 102. t " Miscellanies," ut sup., vol. iii.p. 380, conIjeeve. (ihat General Chnrohill and she were married. " So it is said, may it please your highness," said Mrs. Oldfield ; " but we have not owned it yet." Prom collateral as well as other circumstances that transpire in the literature of the period, we taie the conclusion respecting Bracegirdle to be, that she was more truly in love with Congreve than be with her ; that it is probable she expected him to marry her ; that her expectations gradually gave way before his worldlier heart, probably to the ultimate consolation of her own, when he went to live with another ; and that sufficient friendship was retained on both sides, to maintain an affectionate interest in one another for life ; — in Congreve, because he was a gentleman and a man of sense ; and in the mistress, because the memory of the very dreams of a real regard is too sweet, to let the bitterness even of its waking turn angry. Congreve visited her to the last, and remembered her in his will, though not generously. And his kinder friend took what care she could of his reputation. " When Curll, whom Dr. Arbuthnot (says Davies) termed one of the new terrors of death, from his constantly printing every eminent person's life and last will, published an advertise- ment of Memoirs of the Life of Congreve, she (Mrs. Bracegirdle) interested herself so far in his reputation, as to demand a sight of the book in manuscript. This was refused. She then asked, by what authority his life was written, and what pieces contained in it were genuine. TTpon being told that there would be several of his letters, essays, &e., she answered, ' Wot one single sheet of paper, I dare say.' And in this (rightly concludes Davies) she was a true prophet ; for in that book there is not a line of Congreve which had not been printed before.* Cibber speaks of her in advanced life as retaining her usual agreeable cheerfulness. Some few years before her death, she retired, Davies informs us, to the house of W. Chute, Esq., and died in 1748, in the eighty-fifth year of her age, bequeathing " her effects " to a niece, " for whom she expressed great regard." What sort of charms the greater lady possessed, for whose society Congreve appears to have forsaken that of Mrs. Bracegirdle, with the exception of her admiration of himself, her rank, and the beauty common to the house of Churchill, we know not. There is nothing to show for her having a grain of the other's sense and goodness. She was daughter and co-heir of the great Duke of Marlborough, and became duchess in her own right, and wife of the Earl of Godolphin. She was at variance with her mother, the famous Duchess ; but so was all the world. Congreve was older than she by eight or nine years. Lord Chesterfield, speaking of her husband on a political occasion, calls him "that cypher ;" and intimates, that what ability he possessed consisted in " sleeping." + Now certainly Congreve was a man for keeping a lady's eyes and ears open, however short he might have come of her heart ; and accordingly, he seems, for many years, to have been as regular at her Grace's table, as the wine. They had a good deal of music at the house. Bononcini, the rival of Handel, was patronised there. Lady Mary Wortley Montagu has a passage on the subject, which reminds us that she too was so intimate an acquaintance of Congreve as to address very Lady-Mary- like verses to him, extremely resembling what in a male writer to a female would have looked like a declaration. J Perhaps this may explain the remainder of the passage : — " The reigning Duchess of Marlborough (writes her ladyship to her sister) has entertained the town with concerts of Bononcini's composition very often ; but she and I are not in that degree of friendship to have me often Invited ; we continue to see one another like two people who are resolved to hate with civility."§ ^ Congreve however, though not old, was now growing mfirm. He had led a free and luxurious life ; had become gouty ; and was afflicted with cataracts in his eyes, which terminated in blindness. To relieve his gout, he took a journey to Bath, in the summer of 1728, for the benefit of the waters i * Ut supra, p. 362.— He alludes to " Memoirs of the Lf/e, Writings, and Amours of William Congreve, Esq.,*' purporting to be written by a Mr. Wilson, but supposed to be the manufacture of Oldmixon. It contains the novel of the " Incognita," and is still to be met with on the book-stalls. Mr. Wilson himself, in his preface, relates the above anecdote of Bracegirdle. t Letters to and from Henrietta, Countess of Suffolk, i^c.,— vol. ii. p. 82. t See them in her Wtrkt (by Lord Whamoliffe,) vol. iii. p. 401. { Jror»j,vol. ii. p. 13S. BIOGRAPHICAL AND fiEITICAL NOTICES. but had the misfortune to be overturned there in his chariot, which is supposed to have occasioned jome inward bruise ; for returning to London, he complained thenceforward of a pain in his side, and lied the 19th of January following, of a gradual decay, at his house in Surrey-street, in the Strand, and in the fifty-serenth year of his age. The Duchess of Marlborough took instant possession of the right of burial. On the Sunday following, the corpse lay in state in the Jerusalem Chamber ; and the same evening was borne with great solemnity into Henry the Seventh's Chapel, and interred in the south transept of the Abbey. The pall was supported by the Duke of Bridgewater (whose first wife was the Duchess's sister), Lord Cobham (Pope's friend), the Earl of Wilmington (the dull man, whom Thomson took for a patron), George Berkeley (who married Lady Sufifolk), and General Churchill (above mentioned, the friend of Mrs. Oldileld, and cousin, we believe, of the Duchess). Colonel Congreve, the deceased's relation, followed as chief mourner. In the Suflfolk Correspondence are two short letters to Mr. Bermey, which may be here given as characteristic of the Duchess : — ■ "Jem. 22,1728-9. " SiE, — I must desire you to be one of the six next Sunday upon this very melancholy occasion. I always used to think you had a respect for him, and I would not have any there that had not. I am, &c., Maelbobouqh." The next letter appears to have been accompanied with some memorial of Congreve : — *■ «/a». 28, 1728-9. " SiE, — The last letter I writ to you was upon always having thought that you had a respect, and a kind one, for Mr. Congreve. I dare say you believe I could sooner think of doing the most monstrous thing in the world than sending anything that was his, where I was not persuaded it would be valued. The number of them I think so of, are a mighty few indeed ; therefore I must always be in a particular ™a"ier. Yours, &c., Makieokotjgh." * The word " him " in the first of these epistles, without any name specified, is touching. The other letter is slip-slop enough. A monument succeeded the funeral, the following inscription upon which was from her own hand :— "Mr. William Congreve died Jan. the 19th, 1728, aged fifty-six, and was buried near this place ; to whose most valuable memory this monument is set up by Henrietta Duchess of Marlborough, as a mark how deeply she remembers the happiness and honour she enjoyed in the sincere friendship of so worthy and honest a man, whose virtue, candour, and wit, gamed him the love and esteem of the present age, and whose writings will be the admiration of the future." The old Duchess her mother, misquoting one of the words of this epitaph, said, "I know not what Vlea^re she might have in his company, but I am sure it was no honour."t But the most curious evidence of her attachment remains to be told. According to Davies, she had an "automaton, or small statue of ivory, made exactly to resemble him, which every day was brought to table. A glass was put in the hand of the statue, which was supposed to bow to her Grace, and to nod in approbation of what she spoke to it." J This is as fantastic though not half so sensible as the whim of the cobbler, mentioned in the " Tatler," who had a lay-figure which reverently bowed and held out one shoe to him, while he was mending its fellow. A more particular account of this folly is given by a correspondent of the " Biographia Britannica :" — " This lady (he says), commonly known by the name of the young Duchess oi Marlborough, had a veneration for the memory of Mr. Congreve, which seemed nearly to approach to madness. Common fame reports, that she had his figure made in wax after his death, talked to it as if it had been alive placed it at table with her, took great care to help it to diflferent sorts of food, had an imaginary sore on its leg regularly dressed ; and to complete all, consulted physicians with relation to its health."§ * LMirt to and from Henrietta, Counteit' " ^is dying moments. But perhaps he retained though he seldom lived in it. + Spence s Anecdotes nt lup. p. 370. BIOGRAPHICAL AND CKITICAL NOTICES. regular than expressive of sensibilily. He had high features, and a look between sensuality and foppish vivacity. The foppery, however, may have been added by the painter, and increased by the turn given to the attitude and the flowing peruke. There is a great contempt of coxcombry in his writings ; but this does, not imply exception from the weakness. Sometimes it argues a, greater share of it. No man is so vain, as he who thinks himself free from all vanity. " Mr. Congreve," said Voltaire, " had one defect, which was his entertaining too mean an idea of his first profession, that of a writer, though it was to this he owed his fame and fortune. He spoke of his works as of trifles ihat were beneath him ; and hinted to me in our first conversation, that I should visit him upon no other foot than that of a gentleman, who led a life of plainness and simplicity. I answered, that had he been so unfortunate as to be a mere gentleman, I should never have come to see him ; and I was much disgusted at so unseasonable a piece of vanity."* Various constructions, it is true, have been put upon this intimation of Congreve's. Dr. Johnson pronounces it a " despicable foppery." Gibber characteristically looks upon it as an attempt to " divest himself of human nature." But Mason is of opinion, that it was the "indifference to literary fame," of a man advanced in life. And Dr. Campbell, the first editor of the " Biographia Britannioa," thinks it hard and strange, that an author should be reproved for being so modest as to " undervalue his own works." The religious might discover a more serious exculpation. A Mr. Dingley (probably a friend of Swift's) told Dr. Campbell, upon the authority of Beveru the Quaker, that on a visit to Bevem in company with Pope, Congreve expressed sorrow for the errors of his youth, and " most sincerely wished that it were possible to obliterate all the offensive and impure passages in his works ."+ But setting aside the possibility that the Quaker's story may have been a pious fraud, or become exaggerated in its progress from mouth to mouth, Congreve never expressed any public sorrow for his writings, as a sincere penitent would have seized occasion of doing. Neither did his mode of life announce any feeling of the sort. And some verses which he addressed in his decline to Lord Cobham, show that his morals were of the old epicurean sort, though calmed and philosophised. The climax of his list of the goods of life is — " Health, honour, and a lair estate, A table free, and ekgwiUly ruat I " " What" (exclaims he, at the crowning inspiration of this line), " What can be added more to mortal bliss ? " Congreve had not got his gout for nothing. The conclusion respecting the Voltaire question we take to be, that our author, who was both a reader and thinker, and had suffered pain and evil enough to drive his thoughts to their depth, had really come to consider his works as no very wonderful things ; and he felt perhaps, when reminded of them by a young and enthusiastic admirer (as Voltaire then was), some little irritation at finding the sum total of his powers and aspirations rated by no higher standard. There may still have been a vanity in this, but it was at least not a contented Tianity, or one that recognised nothing greater than its own achievements. If, however, he affected to set the " gentleman " above the author, upon some abstract ground of fashion and refinement, thai indeed was being a traitor to wit, and setting the less above the greater with a very madness of foppery ; as though, in some dream of dandyism, he should have clapped a cocked-hat over his crown of bays. Congreve's acquisition of the fame which has been deemed so perilous ("when all men speak well of you,") may be accounted for on two opposite principles, and will redound to his praise or dishonour accordingly. It may have been owing to unbounded benevolence, or to a calculating selfishness. But there may also have been mixed motives. Congreve has the solid reputation of never having forgotten any one who did him a service. And he always adhered to the Whigs, prosperous or otherwise. On the other hand, he continued to do this without giving offence to the * Letters on the English Nation. t Biographia Britannica, «« repra, p. 79. CONGEEVB. Tories ; and though he never forgot a benefactor, it is not told of Mm, nor does it seem likely from his writings, that he ever risked any thing, or encountered any kind of martyrdom or privation to benefit anybody. The best thing we find recorded of him is, his having given a young author a paper for a new periodical, and his writing it out with his own hand, " bliad as he was " (says Swift). This, by the way, was in the year 1710; which was eighteen years before his death, and shows how early he was threatened with loss of sight.* But again, he bequeathed a pittance to his reduced kindred, and to " poor Mrs. Braoegirdle," and gave thousands where they were not wanted, " Adding the sum of more To that whidh has too much ; " a " testament," as Shakspeare has remarked, characteristic of " worldlings." Congreve therefore might still have been " Friendly Congreve, unreproachful man,*' as Gay called him ; his company might never have been quitted by anybody with one pang of personal mortification, as Steele has told us ; and even Pope and Tonson, in the fondness of their regret, might say of him, that he. Garth, and Tanbrugh, were the " three most honest-hearted, real good men of the poetical members of the Kit-kat Club ; " and yet the conclusion seems unavoidable, that he was negatively rather than positively amiable, and must be ranked among the agreeably selfish. (What a blessing if all the selfish were equally agreeable !) We can easily understand how a man of his sort might be too good-tempered and sensible to discompose either himself or others, and yet make a rich duchess his heir, and leave a poor relation to sigh over the " Way of the World." If you want truer amiableness and more generous virtues, you must go to the greater world of nature and the beautiful, and not take the little world, miscalled the great, for the planet on which it is but a speck. There is one evidence in Congreve, nevertheless, of the love of the highest aspirations, which has always puzzled us, and which, if it had not been for this bequest, would have forced us to give him credit for being superior, at heart, to his worldly tendencies. And indeed it is impossible to say, that such might not have been the case in his healthiest days, which are those in which the entire man is to be estimated. We allude to the power he had to write such verses as those on Lady Gethin, and such papers as the one he contributed to the Tatler, on the character of Lady Elizabeth Hastings, — an effusion so full of enthusiasm for the moral graces, and worded with an appearance of sincerity, so cordial, that we can never read it without thinking it must have come from Steele. It is in this paper that he says one of the most elegant and truly loving things that were ever uttered by an unworldly passion : — " To love hee, is a liberal education." Alas ! why does the faith in good and beauty sometimes light up the human bosom, as if only to show that every heart has a comer capable of reflecting it for a moment, but not strong enough to retain it ! — And yet, let us be glad that even the temporary capability is there. Time, and healthier institutions, and then custom and convention itself, will bring the rest. Meantime the plays of Congreve will not help the advancement, except inasmuch as their narrow views contradict worse bigotries, and serve to neutralize both. His love is spare and sorry ; his belief in nothing, abundant ; the whole set but a mass of wit, and sarcasm, and fine writing ; — of brilliant exposures of hoUowness, and of plots so over-ingenious as to become perplexing and tiresome. Speaking for ourselves, indeed, we can never attend sufSciently to the plots of Congreve. They soon puzzle us, and we cease to think of them. We see nothing but a set of heartless fine ladies and gentlemen, coming in and out, saying witty things at each other, and buzzing in some maze of * " Congreve gave me a Tatler he had written out, as blind as he is, for little Harrison. 'Tis ahniit a scoimdrel that was grown rich, and went and bought a coat of arms at the Herald's, and a set of ancestors at Fleet Ditch ; it is well enough, anA shall be printed in two or three days." Bv/iWa Journal to Stella. — Seethe paper in the (jctavo edition of the Tatler of 1709, vol. iv. p. 595. It was one of a New Tatler, which was to succeed Steele's. By the *' young Duchess of Marlborough" is meant only juniority in relation to her mother the old Duchess, who was '.itiil alive. BIOGRAPHICAL AND CKITIGAL NOTICES. intrigue. Tet incessant activity Is there ; the first demand of life, movement, is supplied; and no human beings are as bad as they sometimes/after themselves they are, or as the gay comic writer amuses his activity by supposing them. But above all, we must confess we find the " wit " become tiresome. We love it heartily in its proper places, in Butler, Swift, and Addison, where it is serving some jrarpose greater than itself; and we love it still more, when it issues out of sheer animal spirits, and is happy as a child. But wit for wit's sake becomes a task and »■ trial ; and in Congreve's days it was a cant, like the talk about "sense"' and "reason;" — as if all sense, and reason, and wit, had been comprised in the substitution of the greater faculties of man for the less, and the critical for the unconscious. Everybody was to be " witty." Letters were to be full of " wit," and end in some " witty turn." Coffee-houses were to talk nothing but " wit." Ladies were to have " wit and sweetness," and gentlemen " wit and fire;" not the old "mother-wit" of Shakspeare and his fellows, which was a gift from the whole loving frame of Nature ; but a trick of the fancy and of words, which you might almost acquire from the brother-wits of the tavern, and which dealt chiefly in simile, with a variation of antithesis. Eveiy thing seemed to be of value, only inasmuch as it could be likened or opposed to something else ; till at length simile and metaphor came to be taken for a " reason ; " and " sense " itself was occupied, not in seeing into anything very deeply for its own sake, but in discovering how far it was capable of being split off into a couple of images. The great wits, to be sure, bantered the less, and affected to laugh at the affectation ; but it was only for the purpose of guarding its rank and distinctions. This cant of wit, which affected " manly Wycherley" himself a great deal more than it ought, came to its head in Cougreve, and pretty well ceased with him. Vanbrugh was too robust and straight- forward to care for it, and Parquhar too full of play. . From the artificial nature of Congreve's plays, partly owing to this wrong direction of his ingenuity, and partly to the sophisticate excesses of his men and women, and the riddles of his plots, we have scarcely retained an impression of them sufficiently distinct from one another to enable ns to do justice to each, though we have just read them through for the express purpose, and marked them, and made notes besides. The " Old Bachelor " was thought astonishing for its knowledge of life, from an author not out of his teens ; but the critics have long discovered that there was no such " knowledge " in it as a youth so clever might not easily have attained. The wonderful thing was, the use he made of the knowledge, and the freedom from all appearance of immaturity. Dryden and Southeme, it is true, helped to fit it for the stage ; but it is not likely that they made any great ' alteration in the main body and spirit of the thing, or the prevailing amount of its " sense." The characters of Wittol, Bluffe, and Fondlewife, are old stage property, as may be seen by their names ; and the whole play, generally speaking, is but a wittier and less hearty re-fashionment of the style of Wycherley. Yet the reader, who has patience enough to watch the dialogue closely, will be rewarded with perpetual evidences of a quick observant mind, and of that conscious mastery over his pen and his sphere of action, which the new satirist of the circles appears to have felt the moment he entered them. The passage we call to mind with the greatest pleasure is the eighth scene of aot the fourth, where Belinda sets her hair to rights, and describes the two girls from the country, whose dress she adjusted for them, and one of whom in gratitude gave her " two apples, piping hot, out of an under-petticoat pocket." Pereant male qui ante nos, &c. The "fai amber necklace " of the mother is a touch of genius. The " Double Dealer," with the solemn reciprocities of Lord and Lady Froth, and the capital character of Lady Plijant, " insolent to her husband, and easy to every pretender," is far superior to the " Old Bachelor." Congreve excels in mixtures of impudence, hypocrisy, and self-delusion. The whole of the fifth scene of the second act, between Lady Plyant and Mellefont, is exquisite for the groBsness of the overtures made under pretence of a delicacy in alarm. But it is no wonder a comedy did not succeed that has so black a villain in it as Maslaoell, and an aunt who has a regularly installed gallant in her nephew. Sir Paul Plyant also says things to his daughter, which no decent person could hear with patience between father and child. The writer's object mio-ht have been a good one; but it is of doubtful and perilous use to attempt to do good by effrontery. It was on CONGEEVB. occasion of this play that Dryden addressed to Congrere his famous epistle, full of strength and good-nature, and almost as full of mistake. The dramatists of Charles the Second's age were described as superior in "skill" to the "giant race" their predecessors. Fletcher could "move," but had no power to "raise;" Ben Jonson doubled Fletcher's "force;" but all and everybody submitted to Congreve, except Shakspeare ; and even he had but " as much " in him ; for Nature " could not give him more ! " But the panegyrics of this age, for want of that highest kind of truth on all sides, whieh only belongs to the highest genius, supplied defect of warmth with extravagance of attribution. There was generally a bargain in the matter ; writers paid each other in kind, and lords paid dedicators in money. A natural excess of feeling on the part of the grateful, must be allowed to have had its share in the exaggeration. Flattery is not always insincere ; and modesty itself may help to beguile gratitude into adulation, out of a doubt of its ability to render what is due. "Love for Love" is the most amusing of all Congreve's plays, and the characters the least unpleasant. There are no revolting scoundrels ; and the lovers really have some love. Jeremy is most improbably witty, for a servant ; even though he once " waited on a gentleman at Cambridge." Miss Prue is not so naturally cunning as Wycherley's Country Wife, nor such a hearty bouncer as Tanbrugh's Hoyden; but she is a very good variety of that genus. The detection of one another by Mrs. Frail and Mrs. Foresight — « Where did you lose this gold hodkin ? oh, sister, sister ! " — " Well, if you come to that, where did you /nd this bodkin ? oh, sister ! sister every way ! " is ever fresh and retributive. Mr. Hazlitt has noticed the startling profundity of Valentine's request to his father, to disinherit him, not simply of the family estate, but of the passions and appetites which he begot in him. A less original, but like unconventional intimation, ia noticeable in the claim put in by the servant, to be considered on a level in that respect with gentlemen : — " Sir Sampson. 'Oons, whose son are you ! How were you engendered ? Jeremy. I am, by my father, the sou of a chairman ; my mother sold oysters in winter, and cucumbers in summer ; and I came upstairs into the world, for I was bom in a cellar. Foresight. By your look you should go up stairs out of the world too, friend. Sir Sanvpson. And if this rogue were anatomised now, and dissected, he has vessels of digestion and con- coction, and so forth, large enough for the inside of a cardinal, this son of a cucumber. These things are unaccountable and unreasonable.'* • " The character of Foresight," says Johnson, " was then common. Dryden calculated nativities ; both Cromwell and King William had their lucky days ; and Shaftesbury himself, though he had no religion, was said to regard prediction. The Sailor is not accounted very natural, but he is very pleasant." We know not why the Sailor should have been accounted unnatural, except that he appears to be a common sailor, and yet is the son of a man of fortune. It used to be said that sailors do not talk like sailors, nor use a sea-jargon; but they do. They talk, as other people do, within the limits of their experience. As to Shaftesbury, it is far from surprising that they who have no religion should yet be liable to superstition. They are often but the more at mercy of it, from the want of any set limits to belief. The demand for books of astrology is considerable at the present moment ; and perhaps has never failed. Mankind cannot get rid of a sense of the unknown world, if it would; and till it takes to it in the widest and most poetical sense, which is also the Healthiest and most natural,— such as a, child instinctively has when it looks at the stars,— it will dabble in the darkest borders of it, with a knowledge less than childish. The "Mourning Bride" is not uninteresting in its story, nor so bad in its poetry as one might expect from the want of faith and passion natural to a town-wit of that age. Dr. Johnson, indeed, out of his amazing unacquaintance, or want of sympathy, (not to speak it irreverently) with poetry of the highest order, tells us, that if he were " required to select from the whole mass of English poetry the most poetical paragraph," (observe the instinct of that word !) "he knows not what he could BIOGRAPHICAL AND CRITICAL NOTICES. prefer to an exclamation in the " Mourning Bride ;" and then he quotes the passage in the third scene of act the second, where ^Zmeria is so affected by the awful aspect of the interior of a cathedral. The passage indeed is a poetical one, and the best that Congreve wrote. The strong material presence of a cathedral-aisle, aided by the help of those thoughts of death which everybody experiences in looking at tombs, gave him a sufficient knock on the head to stir him to some emotion and attention, notwithstanding the neutralizing levity of his peruke. But a lover of the old poets will laugh as much at Johnson's unique notions of it, as the writer of the English ballad does at the irreparable loss which he supposes to be felt in Scotland at the death of a single hero ; — *' I trust I have withiD my realm Five hundred aa good as he.'' As the leve of the " Mourning Bride," however, is defaced with the cant and sensuality of gallantry, so the style, for the most part, is poor, underbred (in a poetical sense), and instinctively prosaical ; speaking neither with the richness nor the simplicity of passion, nor above the common- place of conventional metaphor. If the tragedy were revived now, the audience would laugh at the inflated sentences and unconscious prose. The revival of old English literature, and the tone of our best modem poets, have accustomed them to a higher and truer spirit. Yet some of the language of Alineria, as where, for instance, she again meets with Osmyn, is natural and affecting ; and it is pleasing to catch a man of the world at these evidences of sympathy with what is serious. Nor are sensible and striking passages wanting. It is in this play, and the " Way of the World," that are to be found some of those rhyming, sententious couplets which have become proverbial, and which their quoters are often at a loss in what author to find. ^^'^eaven has no rage, Hke love to hatred turn'd, Nor hell a fury, like a woman Bcorn'd." Mcmming Bride. — Close of Act III. \: For blessings ever wait on virtuous deeds, /i.nd though a late, a sure reward succeeds." Idem. — Close of the Play. f there 's delight in love, 'tis when I see The heart which others bleed for, bleed for me." Way oftli£ IFbrZd.— Act III., Scene 12. The " Way of the World," though not the most amusing, is assuredly the most complete, piquant, and observant of all the works of Congreve ; full as an egg of some kind of wit or sense in almost every sentence, and a rich treat for the lover of this sort of writing, sitting in his easy-chair. Millamant pushes the confident playfulness of a coquet to the verge of what is pleasing ; but her animal spirits and good-nature secure her. Tou feel that her airs will give way, by-and-by, to a genuine tenderness; and, meanwhile, some of them are exquisite in their affected superiority to circumstances. " Mrs. Fainall. You were dressed before I came abroad. Millamcmt. Ay, that 's true. — 0, but then I had— Mincimg, what had I! Wliy was I so long ! Minci/ng. mem, your laship staid to peruse a pacquet of letters. Millamaait. O ay, letters — I had Utters — I am persecuted with letters — I hate letters. — Nobody knows how to write letters ; and yet one has 'em, one doesn't know why. — They seme one to pirn wp cme's hair.^ And again : — • " Beauty the lover's gift ! Lord, what is a lover, that it cam, give ! Why, one makes lovers as fest as one pleases, and they live as long aa one pleases, and they die as soon aa one pleases, and then, if one pleases, one makes more." Mrs. Mincing, who pins hair up " so pure and cnps," is the most niminy-piminy of attendants.— &.ct the fifth opens with one of Congreve's exquisite descriptions of common life : CONGREVE. " Lady Wishfort. Out of my liouse, out of my houafe, thou viper, thou seifeut, that I have fostered ; thou bosom traitress, that I i^sed from nothing. — Begone, begone, begone, go, go. — That I took from washing of old gauze and weaving of dead hair, with a black-blue nose over a chafing-dish of starved embers, and dining behind a traverse rag, in a shop no bigger than a bird-cage.^' -^ ^ '^ (^ U''-* This is certainly the genius loci ; — the poetry of local deacription, and narrow-minded contempt I Very little poetry of any sort ia there in the " Miscellanies " of Congreve, and not much of his accustomed wit. To his scholarship, as Dr. Johnson observed, the public were indebted for the discovery, that Cowley's irregular versification was not Pindaric ; though, in a directly critical sense, he can hardly be said to have first taught the knowledge to " English writers ;" for the example of the true Pindaric (as far as metre goes) had been set with pedantic nicety by Ben Jonson. Congreve professes not to be aware * of the existence of a precursor in this reformation ; and most likely he had forgotten Ben's miscellaneous poetry, though he had well studied the dramas of the old scholar. He retained a better recollection of Spenser ; for in the " Elegy on the Marquis' of Blandford," (the son of his friend the Duchess of Marlborough,) the toiler through its common-places is agreeably surprised at coming upon one or two passages of real fancy and tenderness, evidently suggested by the verses of the great poet on the " Death of Sir Philip Sydney." All his other " Mourning Muses," and serious poems of any sort, with the exception of a passage in his ode upon the singing of Arabella Hunt, (for he had a real feeling for music,) are, for the most part, to use a frank epithet applied to some of them by Johnson, " despicable." He sometimes follows Cowley so ill, that he may be said to imitate Sprat ! — as in the " sigh '' which Silence occupies by way of " throne," and which has been " purposely annihilated " to oblige him with that accommodation ! There is now and then a strenuous couplet in his translations, caught from the tone of Dryden. His art of "Pleasing" consists in a freedom from affectation ; which though a necessary, is hut a negative part of it. In his best songs he is remarkable for the absence of everything that is inverted in words, or superfluous to the thought ; and here also his wit returns ; but he implies, as usual, little cordiality in his gallantry. The following, however, is written in the spirit of a gentleman. SONG. False though she be to me and love, I 'U ne'er pursue revenge ; For still the charmer I approve, Though I deplore the change. In hours of bliss we oft have met, They could not always last ; And though the present I regret, I 'm grateful for the past. The following is more characteristic of hi? writings in ordinary; as full of wit, and what was thought " sense," as it is deficient in sentiment. It is needless to add, that epicures of this sort are ignorant of half of what they think they know best, the very luxury of the senses. SONG. Tell me no more I am deceived, That Chloe 's false and common ; I always knew, at least believed, She was a very woman. As such I liked, as such caressM ; She still was constant when possess'd She could do more for no man. * See the Discovree on ihfi Findarique Ode prefixed to one of Congreve's poeraa on King William ; and, In Ben Jonson'fl worlis, the " Pindaric Ode " to the memory of Sir Lucius Gary and Sir H. Morison. BIOGEAPHICAL AND CRITICAL NOTICES. But oh! her thoughts on others ran, And that you think a hard thing; Perhaps she fancied you the man, And what care I one farthing ? You think she 's false, I 'm sure she 's kind, 1 take her body, you her mind ; Which has the better bargain ? The perplexed heroine of the next has been thought to be " poor Mrs. Bracegirdle." SONG. Pious Belinda goes to prayers. If I but ask the favour ; And yet the tender fool 's in tears. When she believes I 'II leave her. Would I were free from this restraint, Or else had hopes to win her ! Would she could make of me a saint, Or I of her a sinner ! CongrevB had an admiratioa of fair saints ; which indeed is natural to a sinner of his sort. But " Doris " was thought his master-piece. The critics of the age, with good-natured Steele at their head, wanted words to express their admiration of " Doris ; " — Doris, which was the concatenation of everything new, and playful, and profound ; — Doris, the " inimitable Doris," which, for aught that Greece or Eome had to show to the contrary, might have been written by Horace or Menander, or Virgil himself ; nay, by Lord Dorset, or the Earl of Halifax. But we must not jest with a name like Steele, because we happen to lire in an age which has been taught better. " Doris " is, in truth, very acutely and pleasantly written, and, to this day, not a little startling ; though the character was not a new one, even with Congreve. It shall be the last of our extracts in verse : — ■ DOEIS. Doris, a nymph of riper age, Has every graoe and art A wise observer to engage. Or wound a heedless heart. Of native blush and rosy dye Time has her cheek bereft ; Which malnt, nor provided for even by the prospective ethics of dear, excellent Richard Steele. The sprightly success of the " Recruiting Officer " had probably the happiest effect upon the composition of our author's best and most successful production, the " Beaux-Stratagem ;" an excellent pla;^, which, like the one just mentioned, and the " Inconstant," is always acted whenever actors can be found. Its plot is new, simple, and interesting; the characters various, without confusing it ; the dialogue sprightly and characteristic ; the moral bold, healthy, admirable, and doubly needed in those times, when sottishness was a fashion. Archer and Aimwett, who set out IS mere intriguers, prove in the end true gentlemen, candid, conscientious, and generous. Scrub and Boniface, though but a servant and an innkeeper, are quotable fellows both, and have made PARQUHAE. lix themselves prominent in theatrical recollection, — the former especially, for his quaint ignorance and sordid cunning. And Mrs. Sullen is the more touching in her distress, from the cheerfulness with which she wipes away her tears. Sullen is an awful brute, yet not thoroughly inhuman ; for he feels, after all, that he has no right to such a wife. The only fault in the termination, is what Mrs. Oldfield objected to, — that the law had provided no sanction for it ; so that it became bu( a higher kind of sale by halter. But what a lesson did not this very want imply ? The footsteps of the gravest ultimate reforms are often found in places where they are least looked for. But Nature speaks there, and there they come. Parquhar's Irishmen have been thought not to be truly Irish, especially in regard to the brogue. We cannot speak to this ; but if the objection is well founded with respect to the people in general, might it not be otherwise removable, upon the ground that he drew his Irish from tie northern or semi-Scottish part of the country % We conclude this division of our task with some passages from Parquhar's " Letters," and from the sensible " Essay on Comedy." The poems are not worthy of his reputation. His best prologues and epilogues were written by impudent Joe Haines, and a Frenchman — Motteux — remarkable for his mastery of our idiom, and for being the best English translator of " Don Quixote." Parquhar is understood to have left no manuscripts. We could not find any in the British Museum ; and a few hours before he died he is said to have thrown what he had into the fire, observing that he had '•' no remains worth saving." There is a printed poem, however, which we have never seen, and which we sought for in vain at the library of the Museum, both in the catalogue, and by inquiring of the courteous gentlemen there, who did all they could to assist us. It is called " Barcelona," and was written upon the capture of that city by the great preux clievalier, the Earl of Peterborough. In the " Biographia Britannica " is the prose dedication of it to him, written with considerable vigour and elegance, and signed " Margaret Parquhai'," — ^his widow. If really her composition, she must have been a woman of no grdinary understanding, A DUTCH SKIPPER. A jolly skipper at the stern of his barge, with a furred cap like rays about his head, the helm in his hand, and his pipe in his mouth, with Liberty seated in one whisker, and Property in t'other. GENEROUS COMMERCUL POLTCY. One d.T.y upon the Exchange at Rotterdam, I casually met a gentleman, who some time ago lived one of the most considerable merchants in Ireland, and about some four years since, by great losses at sea, was forced to fly his country in a very mean condition. I put him in mind of his misfortunes by a favour he once conferred upon me of a bottle of claret and a neat's tongue, at launching of a new ship that he had built in Dubhn ; which vessel (bottom and goods all his own) was unfortunately lost the very first voy.ige. The gentleman seemed very sensible of his misfortunes, but withal told me, that he still had a glass of wine and a tongue at my service, if I would come and see him at his house that evening. I made him a visit, and found, to my no small surprise, a handsome house, neatly furnished, excellent meat, and as good burgundy as ever joyed the heart of man. I took the freedom to ask my merchant, how a bankrupt should come by all this ; in answer to which he gave me the following account of his affairs. " The Dutch, sir," said he, " have a law, that whatever merchant in any part of Europe, who has had any considerable traffic with this country, whose honesty is apparent by his former accounts, and can provo by sufficient testimony, that his losses and misfortunes are not chargeable upon his ignorance nor extrava^ gance, but purely those of unfortunate chance, above the reach of human prevention ; that then such a merchant may repair to them, have the freedom of any sea-port in the state, have a supply of whatever money he 's willing to take up out of the public revenue, upon the bare security of his industry and integrity ; and all this upon the current interest, which is seldom above four per cent. " Pursuant to this," continued the gentleman, " my qualifications for this credit being sufficiently testified, I took up here two thousand pounds sterling, and in two years have gained fifty per cent. So that by God's assistance, and my own diligent endeavours, I question not but in a few years I shall be able to show my face to my creditors, return to my country, and there live im statu quo." Ix BIOGRAPHICAL AND CRITICAL NOTICES. DRYDEN S FUNERAL. I come now from Mr. Dryden's funeral, where we had an Ode in Horace sung, instead of David's Pealms ; whence you may find, that we don't think a poet worth Christian burial. The pomp of the ceremony was a kind of rhapsody, and fitter I think for Hudibraa than him, because the cavalcade was mostly burlesque ; but he was an extraordinary man, and buried after an extraordinary fashion ; for I do believe there was never such another burial seen. The oration indeed was great and ingenious, worthy the subject, and like the author, whose prescriptions can restore the living, and his pen embalm the dead.* And so much for Mr, Dryden, whose burial was the same with his life : variety and not of a piece ; the quality and mob, farce and heroics ; the sublime and ridicule mixt in a piece ; great Cleopatra in a hackney-coach. RATIO OP DEMAND FOR LONG SERMONS. I have observed in my little travels, that a sermon of three quarters of an hour that might please the congre^tion at St. James's, would never satisfy the meeting-house in the city, where people expect more for their money ; and having more temptations of roguery, must have a larger portion of instruction. LAWFUL FREEDOM OF THE DRAMA FROM "CLASSIC RULES." The rules of English comedy don't lie in the compass of Aristotle, or his followers, but in the pit, box, and galleiies. And to examine into the humour of an English audience, let us see by what means our own English poets have succeeded in this point. To determine a suit at law we don't look into the archives oi Greece or Rome, but inspect the reports of our lawyers, and the acts and statutes of our Parliaments ; and by the same rule we have nothing to do with the models of Menander or Plautus, but must consult Shakspeare, Jonson, Fletcher, and others, who by methods much diflferent from the ancients have supported the English stage, and made themselves famous to posterity. We shall find that these gentlemen have fairly dispensed with the greatest part of critical formalities ; the decorums of time and place, so much cried up of late, had no force of decorum with them ; the economy of their plays was ad lihUvm, and the extent of their plots only limited by the convenience of action. I would willingly understand the regularities of Hamlet, Macbeth, Henry the Fourth, and of Fletcher's Plays; and yet these have long been the darlings of the English audience, and are like to continue with the same applause, in defiance of all the criticisms that ever were published in Greek and Latin. * 4: 3): * 4: 4: A play may be vmtten with all the exactness imaginable, in respect of unity in time and place ; but if you inquire its character of any persons, though of the meanest understanding of the whole audience, he will tell you it is intolerable stuff; and upon your demanding his reasons, his answer is, I don't like it: his humour is the only rule that he can judge a comedy by, but you find that mere nature is offended with some irregularities ; and though he be not so learned in the drama, to give you an inventory of the faults, yet I can tell you, that one part of the plot had no dependence upon another, which made this simple man drop his attention and concern for the event; and so disengaging his thoughts from the business of the action, he sat there very uneasy, thought the time very tedious, because he had nothing to do. The characters were so incoherent in themselves, and composed of such variety of absurdities, that in his knowledge of nature, he could find no original for such a copy ; and being therefore unacquainted with any folly they reproved, or any virtue that they recommended, their business was as flat and tiresome to him, as if the actors had talked Arabic. * * 3iC * * * I am aa little a friend to certain rambling plays as anybody, nor have I ever espoused their party by my ovra practice ; yet I could not forbear saying something in vindication of the great Shakspeare, whom every little fellow that can form an aorisPus primm will presume to condemn for indecorums and absurdities ; sparks that are so spruce upon their Greek and Latin, that, like our fops in travels, they can relish nothing but what is foreign, to let the world know they have been abroad forsooth ! But it must be so, because Aristotle said it ! Now I say it must be otherwise, because Shakspeai-e said it ; and I am sure that Shakspeare was the greater poet of ^*e> two. But you will say that Aristotle was the greater critic. That's a mistakej * Garth. FARQUHAK. ixi sir; for criticism in poetry is no more than judgment in poetry ; -which you will find in your Lexicon. Now, if Shatspeare was the better poet, he must have the most judgment in his art ; for everybody knows that judgment is an essential part of poetry, and without it no ■writer is worth a farthing. farquhar's portrait of himself. To a Lady, In pursuance to your order, madam, I have sent you, here inclosed, my picture ; and I challenge Vandyke or Kneller to draw more to the life. You are the first person that ever had it ; and if I had not some thoughts that the substance would tia,ll to your share, 1 would not part with my likeness. I hope the colours will never tade, though you mr^ *dve me some hints where to mend ^he G»*fcures, having so much power to correct the life. THE PICTURE. My outside is neither better nor worse than my Creator made it, and the piece being drawn by so great an artist, 'twere presumption to say there were many strokes amiss, I have a body qualified to answer all the ends of its creation, and that 's sufficient. As to the mind, which in most men wears as many changes as their body, so in me 'tis generally drest like my person, in black. Melancholy is its every day apparel ; and it has hitherto found few holidays to make it change its clothes. In short, my constitution is very splenetic, and yet very amorous ; both which I endeavour to hide lest the former should offend others^ and that the latter might incommode myself. And my reason is so vigilant in restraining these two failings, that I am taken for an easy natured man with my own sex, and an ill-natured clown by yours. 'Tis true, I am very sparing in my praises and compliments to a lady, out of a fear that they may affect myself more than her. For the idols that we worship aie generally of our own making; and though at first men may not speak what they think, yet truth may catch them on t' other hand, and make them think what they speak. But most of all am I cautious of promising, especially upon the weighty article of constancy ; because, in the first place, I have never tried the strength of it in my own experience; and, secondly, I suppose a man can no more engage for his constancy ttian for his health, since I believe they both equally depend upon a certain constitution of body ; and how far and how frequently that may be liable to alteration, especially in affairs of love, let the more judicious determine. But so far a man may pr6mise, that if he find not his passion grounded on a false foundation, and that lie have a continuance of the same sincerity, truth and love to engage him ; that then his reason, his honour, and his giutitude, may prove too strong for all changes of temper and inclination. I am a very great Epicure ; for which reason I hate all pleasure that 's purchased by excess of pain. I am quite different from the opinion of men that value what's dearly bought ; long expectation makes the blessing always less to me ; for by often thinking of the future joy, I make the idea of it familiar to me, and so I lose the great transport of surprise ; 'tis keeping the springs of desire so long upon the rack, till at last they grow loose and enervate : besides, any one of a creative fancy, by a duration of thoughts, will be apt to frame too great an idea of the object, and so make the greater part of his hopes end in a disappointment, I am seldom troubled with what the world calls airs and caprices ; and I think it an idiot's excuse for a foolish action, to say 'twas my humour. I hate all little malicious tricks of vexing people, for trifles or teasing them with frightful stories, malicious lies, stealing lap-dogs, tearing fans, breaking china, or the like : I can't relish the jest that vexes another in earnest. In short, if ever I do a wilful injury, it must be a very great one. I am often melancholy, but seldom angry; for which reason I can be severe in my resentment, without injuring myself, I think it the worst office to my nature to make myself uneasy for what another should bo punished. I am easily deceived, but then I never fail at last to find out the cheat ; my love of pleasure and sedateness makes me very secure, and the same reason makes me very diligent when I am alarmed. I have so natural a propensity to ease, that I cannot cheerfully fix to any study, which bears not a pleasure in the application ; which makes me inclinable to poetry above anything else. I have very little estate, but what lies under the circumference of my hat; and should I by mischance w>me to lose my head, I should not be worth a groat ; but I ought to thank Providence that I can by three M BIOGRAPHICAL AND CRITICAL NOTICES. liours' study live one-and-twcnty with satisfaction to myself, and contribute to the maintenance of more families than some "who have thousands a year. I have something in my outward behaviour, which gives strangers a worse opinion of mo than I deserve ; but I am more than recompensed by the opinion of my acquaintancCj which is as much above my desert, I have many acquaintance, very few intimates, but no friend ; I mean, in the old romantic way. I have no secret so weighty, but what I can bear in my own breast ; nor any duels to fight, but what I may engage in without a second ; nor can I love after the old romantic discipline. I would have my passion, if not led, yet at least waited on by my reason ; and the greatest proof of my affection that a lady must expect, is this : I would run any hazard to make us both happy, but would not for any transitory pleasure make either of us miserable. Or the four dramatists of whom we have thus endeavoured to give some account, it appears to us that Wycherley was the most reflective for reflection's sake, the most terse with simplicity in his style, the most original in departing from the comedy in vogue, and adding morals to manners, and the least so with regard to plot and character : that Congreve was the wittiest, most scholarly, most highly bred, the most elaborate in his plots and language, and most pungent but least natural in his characters, and that he had the least heart : that Tanbrugh was the readiest and most straight- forward, the least superfluous, the least self-referential, mistrusting, or morbid, and therefore, with more pardon, the least scrupulous,— oaring for nothing but truth (as far as he saw it) and a strong effect : and that Tarquhar had the highest animal spirits, with fits of the deepest sympathy, the greatest wish to please rather than to strike, the most agreeable diversity of character, the best instinct in avoiding revolting extravagances of the time, and the happiest invention in plot and situation ; and, therefore, is to be pronounced, upon the whole, the truest dramatic genius, and the most likely to be of lasting popularity ; as indeed he has hitherto been. He has far surpassed them all, we believe, in the number of editions ; and is certainly ten times acted to their once. The " Confederacy " upon the strength of Brass, and Dich Amwell and his mother, is the only play of Vanbrugh's that can compete, unaltered, with the quadruple duration of the " Constant Couple," the " Inconstant," the " Recruiting Officer," and the " Beaux-Stratagem." His "Relapse " required to be turned into the " Trip to Scarborough," before his exquisite Lord Foppington could again be received into decent company. Astrology helps to pull down Congreve's " Old Bachelor," and .tragic venom and monstrous vices his " Double Dealer." The " Way of the World " is an admirable comedy, it must be confessed, especially for the sovereigu airs and graces of Millamant ; yet it is tiresome in its very ingenuity, for its maze of wit and intrigue ; and it has no heart, therefore wants the very soul of pleasure. There is a bit of heart in " Love for Love," and nature in Miss Pnie ; and Mesdames Frail and Foresight are exquisite. The Sailor also, as Johnson says, " if not very natural, is very amusiiig ; " and in truth he is more natural than he has been thought, except in being the son of a man of fortune. Accordingly, " Love for Love " is the only one of Congreve's plays that can be called popular. Wycherley's " Country Wife " (the " Country Girl " of Garrick) will be immortal in some shape or other, but cannot re-appear as herself, or at least not in her former company ; and even as herself she came from Molifere. The " Constant Couple," " Recruiting Officer," and " Beaux- Stratagem," are, in every respect, all Parquhar's own. But all the works of these dramatists are still read, though they are not all acted ; and that they are no longer all acted is not to be wholly attributed either to their vices or to our virtues. Manners alone make some difference. Conventional pleasantries go out and cease to be understood : conventional virtues also change, and are not always converted into others more real. We are not of necessity the better or more moral for thinking the worst we can of freer modes of speech, or even of conduct. Our ancestors may not have been so bad as we suppose them, even upon our own principles. Animal spirits often say more than they mean ; and in that case it is our dulness and want of spirits that misconstrues the speakers. Tanity pretends to more than it performs ; and so does our own when it affects an extreme the other way. The balance is not always settled in our favour merely by our looking grave on the matter, and showing that our '•irtue makes us neither merry nor charitable. FARQUHAK. Ixiii Again, the drama is not a mere copy of nature, — not a fac-simile. It is the free running hand of genius, under the impression of its liveliest wit or most passionate impulses, a thousand times adorning or feeling all as it goes ; and you must read it, as the healthy instinct of audiences almost always does if the critics will let them alone, — with a grain of allowance, — and a tendency to go awaj with as much of it for use as is necessary, and the rest for the luxury of laughter, pity, or poetical admiration. Farquhar's as well as Congreve's rakes, sometimes talk cruelly ; but it is either towards imposture and trickery, or in the mere sting of the gusto of the will. They mean it to the letter as little as anybody ; and we have seen that Farquhar himself died of anxiety for his family. There may have been a vanity in it, in his first productions ; and very painful and startling it always sounds ; but the very love of pleasure, in a heart like his, ended in making him humane, giving him a strong sense of the right of pleasure in others ; and it was doubtless out of a sense of the desire and feasibility of this for all the world, and a suspicion of the world's paining itself overmuch and ' not wisely, that he talked on some subjects as carelessly as he did, and not out of any indifference to the happiness and real virtues of mankind. Eead him, and his still freer spoken brethren, in the liberal spirit of that understanding, and yon are safe in proportion to the goodness and cheerfulness of your own heart. If you feel neither generous nor blithe in the perusal, neither moved to correct the letter of the worst passages by the spirit of the best, nor to feel that the whole has some healthy end beyond itself, thus mistrusting the final purposes and good-nature of Nature herself, as they operate through the medium of a lively art, you may certainly need restraints which these holiday-going dramatists are as certainly not in a condition to supply. And lucky will you be if you get them in mirth-denouncing quarters, without their depriving you of the charity which such writers do not deny to anybody, and thus subjecting you to those hard and melancholy Tiews o'f the world itself, which are the worst results of conduct the most vicious. Every book, it is true, even the noblest, is not a child's book, nor a guide to ordinary conduct ; but a mind, candidly and healthily trained, may be suffered to grow up in almost any library ; and you may put premature fears in it far worse than none. Nature approves of what is gradual, and loves a decent investment ; but she is not fond of mutilated editions. On the other hand, we are not to suppose that such a world as that of the very best of these dramatists is the best sort of world, or the cheerfuUest, and the one to be most desired ; much less such a suffocating region of fine heartless ladies and gentlemen as that of Congreve, who, in his passion for wit and a plot, thought of nothing but intrigue and lying, and saying two contrary things at once. It wanted all the poetry of the drama of the preceding ages, and had no fixed belief in any of the philosophy of the future ; though the good nature of the better part of it was a kind ot substitute for both. The best as well as worst of its women, for instance, are only fit to laugh and to perish. Perpetuity disowns them as thorough capable human creatures, such as Desdemona and Imogen, ready-made for being finally beautiful and moral, under the best conceivable dispensation : and yet the Sylvia and Mrs. Sidlen of Farquhar have links with even women like these, by the force of their sympathy with whatsoever is kind and just ; and Wycherley's Fidelia is an imitation of them. But who that is anything but half a man, ignorant of what such whole books as Shak- speare's can make him, would think of taking to his heart the flimsy creatures, made of ribands and tittle-tattle, out of the rest of the volume before us ? or the hoydens, that come driving out of the pantry, and running down the butler? Wycherley was obliged to go to the former times for his new edition of Viola; and so was Farquhar for his Oriana. And it is not a little curious to see, up to the days of sentimental comedy, what an uncouth tendency there was, whenever a little romance and good faith was to be introduced, to stilt up the dialogue into verse or measured prose ; as though the moment the writers came to anything serious, their own style was felt to be nought, and that of their predecessors the only worthy language of truth and beauty. Tanbrugh himself begins in verse : but is soon obliged to give it up. In fact, English comedy, as it is emphatically understood to be such in these prose dramatists, is the poorer half of the comedy of the preceding age ; or the levity and satire of it, deprived of its poetry. Farquhar's " Inconstant," inasmuch as it is a de-poetization of Fletcher's " Wild-goose Chace," is a type of the whole series. It is a mistake however to suppose Wt biographical and critical notices. that its licence began Tfith the prose-writers. Licence in abundance, far worse than the worst of theirs, was in the prosaioal part of the spirit of the poets of the time of James the First, — ^himself one of the most licentious olprosers; it was already pulling down their genius from the beautiful, believing heights of Shakspearo ; and worthy of reflection is another fact, that it was the prosaieal . excess of the Puritans in denying to whatsoever they thought wrong the least share of beauty and virtue, and the least right of gladness of heart, that helped to undo every species of belief in the identity of the terms, and when reaction came, render it thoroughly dissolute and misbelieving. Puritanism, the best part of which did as much and as lasting good as the worst part did fugitive evil, was preceded (be it obseiTed), as well as followed, by debauchery. Cromwell came between James the First and Charles the Second. The good part of Puritanism reformed the debauchery, but the bad part reproduced it ; and if Etherege and Wycherley, by dint of the very levity and gay- heartedness that made them comic writers, had not been better men than the gloomiest of their revilers, a truly infernal business they would have made of the new reaction^ — nothing but malignant satire, and a denial of those rights of mirth and laughter, which God has created as well as tears. This was the mistake of Collier, the non-juring clergj'man who came forward to denounce the " wickedness " of the drama. We mean, he assumed that the writers were so many knaves and fiends, who had positively malignant intentions ; and in so doing, he was not aware that he betrayed a vice in his own spirit, which if they had thought as ill of it as he did of their licence, would have warranted them in denouncing him as the far greater devil of the two. For to believe in such unmitigated wickedness at all, is itself the worst part of the result of vice ; namely, a moral melancholy, and an attribution to the Creator of having made what he never did. It is not necessary at this time of day to enter into the details of this once famous controversy. Collier was a clever, sincere, and vehement but half-witted man, who did good to the stage, inasmuch as he forced the writers to think of decorum ; but he quite overdid his charges on the score both of intention and commission ; and he would have fallen flat in his own fury, if the very weapons of his opponents had not sustained him. Farquhar saw this in his youth, and noticed it in his first publication, — the " Adventures of Covent Garden;" — unless, indeed, his remarks are a report of what was actually said at the club he speaks of. " Peregrine " (that is himself, whom he elsewhere designates a " stranger,") " goes next evening to the play; where meeting some of his ingenious acquaintance, viz., Mr. W-^ , Mr. H , Mr. M , with others of that club, (perhaps Wycherley, Hopkins, and Moyle,) there arose a discourse concerning the battle between the church and the stage, with relation to the champions that maintained the parties. The result upon the matter was this, — that Mr. Collier showed too much malice and rancour for a churchman, and his adversaries too little wit for the character of poets ; — that their faults transversed would show much better, dulness being familiar with those of Mr. Collier's functions, as malice and ill-nature is more adapted to the profession of wit ; — ^that the best way of answering Mr. Collier, was not to have replied at all ; for there was so much fire in hii book, had not his adversaries thrown in fuel, it would have fed upon itself, and so gone out in a blaze. As to his respondents, that Captain Va (Vanbrugh) wrote too like a gentleman to be esteemed a. good casuist; that Mr. C 's (Congreve's) passion in the business had blinded his reason, which had shone so fair in his other writings; (and) that Mr. Settle wanted the wit of Captain Ya as much as he did Mr. Settle's gravity."— P. 29. Yanbrugh said well of Collier, that he made " debauches in his piety, as other men did in their drink." On the other hand, conceive the horror of Collier at seeing Vanbrugh saying in print, that he was really not aware of the indecencies imputed to him, and that he could very well fancy a virtuous woman laying his plays by the side of her Bible. It is difficult to believe that there was not something of the Captain's impudence in this; and yet Bishop Earle, in some verses on the death of Beaumont, compliments him and Fletcher on their total freedom from indecency! — The fact was, that " indecency " in those times meant nothing but the plainest kind of speech ; and so common was the habit of it, from the sovereign downwards, that it is one of the proofs of the beautifying effect of poetry on the minds of Beaumont and Fletcher, that they abstained from lavishing this species of FAKQUHAR. ixv intensity upon the putlic. Collier did not suspect that one profession might hare its privileged " indecencies " as well as another, and that a clergyman of those times might be solemnly and furiously vicious, — indecent for want of the decorums of charity, and " wicked" for want of charily itself. Yet we have now lived to see, that if the stage at that time was one half licentious, in the other half it was not only innocent of all evil intention, but had a sort of piety in the Very gaiety of its trust in nature ; while Jeremy Collier, if he was one half of him pious and Tfell-intentibned, was in the other half little better than a violent fool. And the case will be similar in future times with regard to the present. They will think us perhaps more honest in some tilings than we suppose we are ; but most certainly they will attribute vices, or at least barbarous follies, to us in others, of which we have no conception. There is an instinct in all ages, very natural and pardonable, of thinking the best of existing manners ; a con. sciousness that times and circumstances and tlie natural progress of events have to do with them, quite as much as ourselves ; and that it is not the most pragmatical denouncers, but the most charitable philosophers, that are likeliest to be in the right as to the best way of improving them'. A whole age has, at least, as much right to think good-naturedly of itself as a single bigot. It is a phase and variety of social nature ; and to think the worst of it, even on that score, is not paying the greatest possible compliment to the Providence'whose cause the bigot impudently takes upon him to advocate with fire and fury, out of the abundance of his bile and vanity. Future agSs will be astonished at the " profligacy " of some of our customs, ivhich a theatrical audience not only tolerates, but respects. Yes ; and by the same token, many things are done this moment, and thought very little of nay, reckoned creditable to thewit, and knowledge, and conventional respectability of the doers, — which two hundred years hence will be thought as immoral and ridiculous as we now think the immoralities and absurdities of the days of Charles the Second. And if these or some- of them do not immediately present themselves to every intelligent reader's mind, it only shows how fa,r we are gone in them, and how we are blinded in their gulf ;-^fortunate still if we do but know tliis, — that times will improve after us, as well as those that have gone before us ; and that those will see their own way through error best and cheerfuUest,- who think the best and kindest of whatsoever nature has done. The two best sermons we ever heard (and no disparagement either to many a good one from the pulpit), were a sentence of Dr. Whichcote's against the multiplication of things forbidden, and the honest, heart-and-sonl laugh of Dorothy Jordan. Upon the spirit in which these dramatists ought to be r^ad, Mr. Lamb has' written an essay, exquisite, like all his essays, for the abundance of the thoughts, the unsuperfluousness of the words, and the subtlety of their expression. We venture ta differ with one or two pbints, and shall state why ; but it is all so mucli to the purpose of the present volume, as well as so beautiful in itself, that we shall first transfer the whole of it to our pages, at the expense of their less relishing contents. ON THE ARTIFICIAL COMEDY OF THE LAST CENTUEY. The artificial Comedy, or Comedy of manners, is quite extinct on, our, stage. Congreve and Farquhar show their heads once in seven years only, to be exploded and put down instantly., ^The times cannot bear tliem. Is it for a few wild speeches, an occasional licence of dialogue ? I think not altogether. Tlie business of their dramatic characters will not stand the moral test. We screw everything up to that. Idle gallantry in a fiction, a dream, the passing pageant of an evening, startles us in the same way as the alarming indications ot profligacy in a son or ward in real life should startle a parent or guardian. We have no such middle emotions as dramatic interests left. We see a stage libertine playing his loose pranks of two hours' duration, and of no after consequence, with the severe eyes which inspect real vices with their bearings upon two worlds. We are spectators to a plot or intrigue (not reducible in life to the point of strict morality), and take it all for truth. We substitute a real for a dramatic person, and judge him accordingly. We try him in our courts, from whir-Ii there is no appeal to the dramatis persona, his peers. We have been spoiled with— not sentimenLal comedy — but a tyrant far more pernicious to our pleasures which has succeeded to it, the exclusive and all-Jevoiiriii>! drama of common life; where the moral point is everything; where, instead of tlie fictitious half-belicvcd Ixvi BIOGRAPHICAL AND CEITICAL XOTICES. personages of the stage (the phantoms of old comedy), we recognise onrselves, our brothers, aunts, kinsfolk, allies, patrons, enemjes, — the same as in life, — with an interest in what is going on so hearty and substantial, that we cannot afford our moral judgment, in its deepest and most vital results, to compromise or slumber for a moment. What is th£re transacting, by no modiScation is made to affect us in any other manner than the same events or characters would do in our relationships of life. We carry our fire-side concerns to the theatre with us. We do not go thither, like our ancestors, to escape from the pressure of reality, so much as to confirm our experience of it ; to make assurance double, and take a'bond of fate. We must live our toilsome lives twice over, as it was the mournful privilege of Ulysses to descend twice to the shades. All that neutral ground of character, which stood between vice and virtue ; or which in fact was indifferent to neither, where neither properly was called in question ; that happy breathing-place from the burthen of a perpetual moral questioning — the sanctuary and quiet Alsatia of hunted casuistry — is broken up and disfranchised, as injurious to the interests of society. The privileges of the place are taken away by law. We dare not dally with images, or names, of wrong. We bark like foolish dogs at shadows. We dread infection from the scenic representation of disorder, and fear a painted pustule. In our anxiety that our morality should not take cold, we wrap it up in a great blanket surtout of precaution against the breeze and sunshine. I confess for myself that (with no great delinquencies to answer for) I am glad for a season to take an airing beyond the diocese of the strict conscience,-^not to live always in the precincts of the law-courts, — but now and then, for a dream-while or so, to imagine a world with no meddling restrictions — to get into recesses, whither the huntei' cannot follow me — Secret shades Of woody Ida's inmost grove, While yet there was no fear of Jove. I come back to my cage and my restraint the fresher and more healthy for it. I wear my shackles more contentedly for having respired the breath of an imaginaiy freedom. I do not know how it is with others, but I feel the better always for the perusal of one of Congreve's — nay, why should I not add even of Wycherley'a — comedies. I am the gayer at least for it ; and I could never connect those sports of a wdtty fancy in any shape with any result to be drawn from them to imitation in real life. They are a world of themselves almost as much as fairy-land. Take one of their characters, male or female (vrith few exceptions they are alike), and place it in a modem play, and my virtuous indignation shall rise against the profligate wretch as warmly as the CatoB of the pit could desire; because in a modern play I am to judge of the right and the wrong. The standard o{ police is the measure of political jiistice. The atmosphere will blight it, it cannot live here. It has got into a moral world, where it has no business, from which it must needs fall headlong; as dizzy, and incapable of making a stand, as a Swedenborgian had spirit that has wandered unawares into the sphere of one of bis Good Men, or Angels. But in its own world do we feel the creature is so very had ? — The FainaUs and the Mirabels, the Dorimants and the Lady Touchwoods, in their own sphere, do not offend my moral sense ; in fact they do not appeal to it at all. They seem engaged in their proper element. They break through no laws, or conscientious restraints. They know of none. They have got out of Christendom into the land of — what shall I call it ? — of cuckoldry — the Utopia of gallantry, where pleasure is duty, and the manners perfect freedom. It is altogether a speculative scene of things, which has no reference whatever to the world that is. No good person can be justly offended as a spectator, because no good person suffers on the stage. Judged morally, every character in these plays — the few exceptions only are mistakes — is alike essentially vain and worthless. The great art of Congreve is especially shown in this, that he has entirely excluded from his scenes, — some little generosities in the part of AngeMca perhaps excepted, — not only anything like a faultless character, but any pretensions to goodness or good feelings whatsoever. Whether he did this designedly, or instinctively, the effect is as happy, as the design (if design) was bold. I used to wonder at the strange power which his " Way of the World " in particular possesses of interesting you all along in the purauits of characters, for whom you absolutely care nothing — for you neither hate nor love his personages — and I think it is owing to this very indifference for any, that you endure the whole. He has spread a privation of moral light, I will call it, rather than by the ugly name of palpable darkness, over his creations ; and his shadows flit before you without distinction or preference. Had he introduced a good character, a single gush of moral feeling, a revulsion of the judgment to actual life and actual duties, the impertinent Goshen would have only lighted to the discovery of deformities, which now are none, because we think them none. Translated into real life, the characters of his, and his friend Wyeherley's dramas, are profligates anil •trumpets,— the business of their brief existence, the undivided pursuit of lawless gallantry. No other spring FARQUHAR. ixvh of action, or possible motive of conduct, is recognised; principles whicli, univcrsiilly acted upon, must redme this frSme of things to a chaos. But we do them wrong in so translating them. No such effects arc produced in their world. When we are among them, we are amongst a chaotic people. "We are not to judge them by our usages. No reverend institutions are insulted by their proceedings — for they have none among them. No peace of families is violated — ^forno family ties exist among them. No purity of the marriage-bed is stained — for none is supposed to have a being. No deep affections are disquieted, no holy wedlock bands are snapped asunder— for affection's depth and wedded faith are not of the growth of that soil. There is neither right nor ^v^ong, — gratitude or its opposite, — claim or duty, — paternity or sonship. Of what consequence is it to Virtue, or how is she at all concerned about it, whether Sir Simon, or Dapperwit^ steal away Miss Ma/}'thaj or who is the father of Lord FrotTCs or Sir Pa/ul Plianfs children ? The whole is a passing pageant, where we should sit as unconcerned at the issues, for life or death, as at a battle of the frogs and mice. But, like Don Quixote, we takp part against the puppets, and quite as impertinently. We dare not contemplate an Atlantis, a scheme, out of which our coxcombical moral sense is for a little transitory ease excluded. We have not the courage to imagine a state of things for which there is neither reward nor punishment. We cling to the painful necessities of shame and blame. We would indict our very dreams. Amidst the mortifying circumstances attendant upon growing old, it is something to have seen the " School for Scandal" in its glory. This comedy grew out of Congreve and Wycherley, but gathered some allays of the sentimental comedy which followed theirs. It is impossible that it should be now actedj though it continues, at long intervals, to be announced in the bills. Its hero, when Palmer played it at least, was Joseph Surface. When I remember the gay boldness, the graceful solemn plausibility, the measured step, the insinuating voice — to express it in a word — the downright acted villany of the part, so different from the pressure of conscious actual wickedness, — the hypocritical assumption of hypocrisy, — which made Jack so deservedly a favourite in that character, I must needs conclude the present generation of playgoers more virtuous than myself, or more dense. I freely confess that he divided the palm with me with his better brother ; that, in fact, I liked him qufte as well. Not but there are passages, — like that, for instance, where Joseph is made to refuse a pittance to a poor relation, — ^incongruities which Sheridan was forced upon by the attempt to join the artificial with the sentimental comedy, either of which must destroy the other — but over these obstructions Jack's manner floated him so lightly, that a refusal from him no more shocked you, than the easy compliance of O/borles gave you in reality any pleasure ; you got over the paltry question as quickly as you could, to get back into the regions of pure comedy, where no cold moral reigns. The highly artificial manner of Palmer in this character counteracted every disagreeable impression which you might have received from the contrast, supposing them real, between the two brothers. You did not believe in Joseph with the same faith with which you believed in Charles. The latter was a pleasant reality, the former a no less pleasant poetical foil to it. The comedy, I have said, is incongruous ; a mixture of Congreve with sentimental incompatibilities : the gaiety upon the whole is buoyant ; but it required the consummate art of Palmer to reconcile the discordant elements. A player with Jack's talents, if we had one now, would not dare to do the part in the same manner. He would instinctively avoid everything which might tend to unrealise, and so to make the character fascinating. He must take his cue from his spectators, who would expect a bad man and a good man as rigidly opposed to each other as the death-beds of those geniuses are contrasted in the prints, which I am sorry to say have disappeared from the windows of my old friend Carrington Bowles, of St. Paul's Church-yard memory — (an exhibition as venerable as the adjacent cathedral, and almost coeval) of the bad and good man at the hour of death ; where the ghastly apprehensions of the former, — and truly the grim phantom with his reality of a toasting-fork is not to be despised, — so finely contrast mth the meek complacent kissing of the rod, — taking it in like honey and butter, — ^with which the latter submits to the scythe of the gentle bleeder. Time, who wields his lancet with the apprehensive finger of a popular young ladies* surgeon. What flesh, like loving grass, would not covet to meet half-way the stroke of such a delicate mower ? — John Palmer was twice an actor in this exquisite part. He was playing to you all the while that he was playing upon Sir Peter and his lady. You had the first intimation of a sentiment before it was on his lips. His altered voice was meant to you, and you were to suppose that his fictitious co-flutterers on the stage perceived nothing at all of it. What was it to you if that half reality, the husband, was overreached by the puppetry — or the thin thing (Lady Tea/zl^s reputation) was persuaded it was dying of a plethory ? The fortunes of Othello and Desdemona were not concerned in it. Poor Jack has passed from the stage in good time, that he did not live to this our age of seriousness. The pleasant old Teazle^ King, too, is gone in good time. His manner wou' L scarce have Ixviii BIOGRAPHICAL AND CRITICAL NOTICES. passed current in our day. 'W'e must love Or hate — acquit or condemn — censure or pity — exert our detestable coxcombry of moral judgment upon everything. Joseph Surface, to go down now, must bo a downright repotting villain — no compromise — his first appearance must shock and give hoiTor — his specious plausibilities, which the pleasurable faculties of our fathers welcomed with such hearty greetings, knovring that no harm (dramatic harm even) could com'p, or was meant to come, of them, must inspire a cold and killing aversion, Charles (the real canting person of the scene — ^for the hypocrisy of Joseph has its ulterior legitimate ends, hut his brother's professions of a good heart centre in downright self-satisfaction) must be loved and Joseph hated. To balance one disagreeable reality with another. Sir Peter !teazle must be no longer tjie comic idea of a fretful old bachelor bridegroom, wtose teasings (while King acted it) were evidently as much played off at you, as they were meant to concern anybody on the stage, — he must be a real person, capable in law of sustaining an injury — a person towards whom duties are to he acknowledged — the genuine cvim. con. antagonist of the villainous seducer Joseph, To realise him more, his suflferings under his unfortunate match must have the downright pungency of life — must (or should) make you not mirthful hut uncomfortable, just as the same predicament would move you in a neighbour or old friend. The delicious scenes which give the play its name and zest, must affect you in the same serious manner as if you heard the reputation of a dear female friend attacked in your real presence. Crahtree and Sir JBenJamin — those poor snakes that live but in the sunshine of your mirth — must be ripened by this hot-bed process of realization, into asps or amphisbsenas ; and Mrs. Candowr — 6h ! frightful ! — become a liooded serpent. Oh ! who that remembers Parsons and Dotjd — the wasp and butterfly of " The School for Scandal"— in those two characters; and charming natural Miss Pope, the perfect gentlewoman, as distinguished from the fine lady of comedy, in this latter part — would forego the true scenic delight — the escape from life — the oblivion of consequences — the holiday barring out of the pedant Reflection — those Saturnalia of two or three brief hours, well won from the world — to sit instead at one of our modern plays — to, have his coward conscience (that forsooth must not he left for a moment) stimulated with perpetual appeals — dulled rather, and blunted, as a faculty without repose must be — and his moral vanity pampered with images of notionjil justice, notional heneficenfce, lives saved without, the spectators' risk,- and fortunes given away that cost the author nothing? No piece was, perhaps, ever so completely cast in all its parts as this manager's comedy. Miss Farren had succeeded to Mrs. Abington in Lady teazle; and Smith, the original Oha^les, had retired when t first saw it. The rest of the cWacters, with very slight exceptiona, remained. I remember it was then the fashion to cry down John Kemble, who took the part of Charles after Smith ; but, I thought, very unjustly. Smith, I fancy, was more airy, and took the eye with «. certain gaiety of petson. He brought with him ho sombre recollections of tragedy. He had not to expiate the fault of having pleased beforehand in lofty declamation. He had no sins of Hamlet or of Richard to atone for. His failure in these parts was a passport to success in one of so opposite a tendency. But, as far as I could judge, the weighty sense of Kemble made up for more personal incapacity than he had to answer for. His harshest tones in this part came steeped and dulcified in good-humour. He made his defects a grace^ His exact declamatory manner, as he managed it, only served to convey the points of his dialogue with more precision. It seemed to head the shafts to carry them deeper. Not one of his sparkling sentences was lost. I remember minutely how he delivered each in succession, and cannot by any eflfort imagine how any of them could be altered for the better. No man could deliver brilliant dialogue — the dialogue of Congreve or of Wycherley — because none understood it — half so well as John Kemble. His Valenti/ne, in " Love for Love," was, to my recollection, faultless. He flagged sometimes in the intervals of tragic passion. He would slumber over the level parts of an heroic character. His Macbeth has been known to nod. But he always seemed to me to be particulio-ly alive to pointed and witty dialogue. The relaxing levities of tragedy liave not been touched by any since him — the playful court-bred spirit in which he condescended to the players in " Hamlet ' — the sportive relief which he threw into the darker shades of Richa/rd — disappeared with him. He had his sluggish moods, his torpors — but they were the halting-stonea and resting-place of his tragedy — politic savings and fetclies of the breath— husbandry of the lungs, where nature pointed him to be an economist- — rather, I think, than errors of the judgment. They were, at worst less painful than the eternal tormenting una/ipeasable vigilance, — the " lidless dragon eyes," of present fashionable tragedy. Exquisite as tvcry word here is, (a style pickled and preserved out of the delicatest rarities of the brain,) and well calculated as it is to " give pause " to another writer of any modesty, we confess we cannot agree with the main point of it, any more than with some of the judgments about the actors. FAEQUHAE. Lxbc The main object we heartily agree with ; namely, the vindication of the writers from the whole,9ale charges made against them by some feeble people, of immorality and peruiciousness. Equally profound and good-natured ia Mr. Lamb in whatever he says at all times on the like subjects, as far as regards general spirit and tendency, however we may differ with him as to the conclusions ho sometimes draws respecting a fact of time and place. And we confess we think him mistaken both as to the entire fancifulness of the states of society described by Congreve and others, and to the supposition that the sort of critical spirit he objects to is peculiar to the present day, or indeed existing to the full extent of that peculiarity at any time. Mr. Lamb, though a wide and subtle observer, was a sequestered liver. He was also one of an ultra-sensitive temperament, and so anxious to believe the best of everything, on more scores even than such as were healthy, that admitting as he did the utility and even joviality of some graver-looking perplexities in morals, which he was unable to be blind to, yet whenever he could not find what he thought a healthy or harmonious final reason for anything that was not so exactly within the limits of his experience, he was inclined either to doubt it altogether, or, for want of personal sympathy with the gaiety and robustness mixed up with it, and its possible convertibility into something better, to write as if he did. Perhaps he thought (surely not out of any presumption, but because his wisdom was of th^ best and most child-like sort itself,) that he could even play his readers a child's trick, and persuade them that Congreve's fine ladies and gentlemen, and the rakes of Vanbrugh and Farquhar, were doinf nothing but " making as if." Most assuredly he was mistaken ; and yet, with as equal certaintj, most assuredly he need not have cared if he was. Nor would he, had the fact pressed itself upoa him ; even though he was without the additional comfort of such moralists as see a constant workiig and progression of society towards improvement. He could reconcile himself, some way or other, d anything which Nature in her energies brought about, or chose to go through. He hated to obje t to anything, except to objection ; and to that too, when however passionate, it had a generosity ai 1 a health in it. But his idiosyncracies, and the possibilities of knowledge consequent upon then, were confined, though his heart was not ; and even what he knew, he would not always choose p remember. Thus he speaks of a pedantic morality which finds nothing but evil in these plays, ai i which he represents as having come up in our own didactic times, and no longer enabling such pla; s to be acted. But every age has had a measure of the same kind of criticism, with regard to the 013 that preceded it. Shakspeare's Jew, Shylock, properly displaced (according to Mr. Lamb himsel) the more malignant Jew of Marlowe. He does not complain that the age had found out the morl objection to the latter, or that a morality, no longer pedantic, made progression through the les inhuman nature of Shylock. Thus Dryden, who saw nothing to blame in Etherege, denounced tli indecencies of Beaumont and Fletcher ; while Steele, who recommended Congreve, thought Ethereg not to be endured. Neither is it a fact that the comedies of the last age are no longer played enjoyed. Whenever an actor comes up who is equal to them, — such as Mr. Farren, for instance.— they are always played and enjoyed ; nor do the present audiences of Covent Garden object to then in the least, in the spirit of a pedantic morality. A critic here and there may do so ; but it is neithei the feeling of the press in general, nor of the play-going public ; and if Congreve would not be likec now, neither was he in his own times, for what would now get him coudemfled. "Love for Love" is always liked when players can be got for it : so was the " Old Bachelor," as far as Munden was concerned, even though astrology is gone out ; but the villainous and tragical vices of some of the other of Congreve's plays hurt them in his own day, and were the cause in fact why he quitted the stage. In a word, there is more sympathy with real gaiety and spirits at all times, and greater instinctive allowance for the free drawing of nature and its healthy tendencies, than Mr. Lamb in this instance supposed ; and unless there is a still more delicate inner doctrine in his essay than we seem warranted in supposing from some of the peremptory and final terms in it, we must believe it to be as unfounded in some conclusions, as it is admirable in every other respect, and useful for the enlargement of the understanding. Perhaps, after all, he intended nothing very different from what we do ourselves, though he took a different road for suggesting it. Certainly he intended nothing less innocent, — nor more so. BIOGRAPHICAL ASD CRITICAL NOTICES. We cannot help thinHng that Mr. Hazlitfs almost equally admirable essay on these writers (almost in point of style, and superior in hearty relish), leaves the far truer impression respecting them, as well as contains the best and most detailed criticism on their individual plays. We did not read either of these essays over again, till we had concluded our own remarks (for what we have here eaid of both is an insertion) ; but as we thought it would be an injustice to the reader to withhold from him what he ha,; I cannot bear it ; sir Hairy, I'm affionted. WM. Ha! ha! ha! Afironted! Lmi. Yes, sir ; 'tis an affront to any woman to hear another commended ; and I will resent it. — In short sir Harry, your wife was a — WM. Buz, madam— no detraction. I'll tell you what she was. So much an angel in her conduct, that though I saw another in her arms, I should have thought the devil had raised the phantom, and my more conscious reason had given my eyes the lie. Imre. Very well! Then I a'n't to be believed, it seems. But, d'ye hear, sir? "WM. Nay, madam, do you hear! I tell you, 'tis not in the power of maHce to cast a blot upon her fame ■ and though the vanity of our sex, and the envy of yours, conspired both against her honour, I would not hear a syllable. {.Stoppimg his tars. Lwre. Why then, as I hope to breathe, you shall hear it. The picture 1 the picture ! the picture ! \JBawlmg aZoud. Wild. Ran, tan, tan. A pistol-bullet from ear to ear. Zwre. That picture which you had just now from the French marquis for a thousand pound ; that very picture did your very virtuous wife send to the marquis as a pledge of her very virtuous and dying affection. So that you are both robbed of your honour, and cheated of your money. [Aloud. Wild. Iiouder, louder, madam. Lm-e. I tell you, sir, your wife was a jilt ; I know it, I'll swear it.— She virtuous! she was a devU ! Wild. ISings.'] Tal, al, deral. iwe. Was ever the like seen ! He won't hear me. I hurst with malice, and now he won't mind me ! Won't you hear me yet ? Wild. No, no, madam. itwe Nay then, I can't bear it.— IBwsts out a cryvng.-} Sir, I must say that you re an unworthy person to use a woman of quality at this rate, when she has her heart fuU of malice ; I don't know but it- may make me miscarry. Sir, I say again and again, that she was no better than one of us, and I know it ; I have seen it vrith my eyes, so I have. Wild. Good heavens deUver me, I beseech thee. How shall I 'scape ! iwc. Will you hear me yet ? Dear sir Harry, do but hear me ; I'm longmg to speak. WUd. Oh! I have it.— Hush, hush, hush. jAi/re. Eh! what's the matter? WUd. A mouse ! a mouse 1 a mouse ! ZMre. Where ? where ? where ? „,.,-, -.r.i.jiT Wm Your petticoats, your petticoats, madam.-[i«re«,e« shneh, and rms.^ my head! I was never worsted by a woman before. But I have heard so much to know the marquis to be a villam. fJTnochiml Nay, then, X must run for't.-[i!ms out,