modifying their expressions of passion and feeling, that they might not exceed the decorum necessary in the august presence of the Grand Monarque. A more effectual mode of freezing the dialogue of the drama could hardly have been devised, than by introducing into the theatre the etiquette of the drawingroom. That etiquette also, during the reign of Louis XIV., was of a kind peculiarly forced and unnatural. The romances of Calprenede and Scuderi, those ponderous and unmerciful folios now consigned to utter oblivion, were in that reign not only universally read and admired, but supposed to furnish the most perfect models of gallantry and heroism; although, in the words of an elegant female author, these celebrated writings are justly described as containing only "unnatural representations of the passions, false sentiments, false precepts, false wit, false honour, and false modesty, with a strange heap of improbable, unnatural incidents, mixed up with true history, and fastened upon some of the great names of antiquity." upon the model of such works were framed the court manners of the reign of Louis, and, in imitation of them, the French tragedy, in which every king was by prescriptive right a hero, every female a goddess, every tyrant a fire-breathing chimera, and every soldier an irresistible Amadis; in which,

Yet

Haud inexperta loquitur. "I have," she continues, "(and yet I am still alive,) drudged through Le Grand Cyrus, in twelve huge volumes; Cleopatra, in eight or ten; Polexander, Ibraham, Clelie, and some others, whose names, as well as all the rest of them, I have forgotten."-Letter of Mrs Chapone to Mrs Carter.

when perfected, we find lofty sentiments, splendid imagery, eloquent expression, sound morality, every thing but the language of human passion and human character. In the hands of Corneille, and still more in those of Racine, much of the absurdity of the original model was cleared away, and much that was valuable substituted in its stead; but the plan being fundamentally wrong, the high talents of those authors unfortunately only tended to reconcile their countrymen to a style of writing, which must otherwise have fallen into contempt. Such as it was, it rose into high favour at the court of Louis XIV., and was by Charles introduced upon the English stage. "The favour which heroic plays have lately found upon our theatres," says our author himself, "has been wholly derived to them from the countenance and approbation they have received at court."

The French comedy, although Moliere was in the zenith of his reputation, appears not to have possessed equal charms for the English monarch. The same restraint of decorum, which prevented the expression of natural passion in tragedy, prohibited all indelicate license in comedy. Charles, probably, was secretly pleased with a system, which cramped the effusions of a tragic muse, and forbade, as indecorous, those bursts of rapturous enthusiasm, which might sometimes contain matter unpleasing to a royal ear.2 But the merry monarch

1 Dedication to the "Indian Emperor," vol. ii., p. 259. 2 In this particular, a watch was kept over the stage. The "Maid's Tragedy," which turns upon the seduction of Evadne

saw no good reason why the muse of comedy should be compelled to "dwell in decencies for ever," and did not feel at all degraded when enjoying a gross pleasantry, or profane witticism, in company with the mixed mass of a popular audience. The stage, therefore, resumed more than its original license under his auspices. Most of our early plays, being written in a coarse age, and designed for the amusement of a promiscuous and vulgar audience, were dishonoured by scenes of coarse and naked indelicacy. The positive enactments of James, and the grave manners of his son, in some degree repressed this disgraceful scurrility; and, in the common course of events, the English stage would have been gradually delivered from this reproach, by the increasing influence of decency and taste.1 But Charles II., during his exile, had lived upon a footing of equality with his banished nobles, and partaken freely and promiscuously in the pleasure and frolics by which they had endeavoured to sweeten adversity. To such a court

by a licentious and profligate king, was prohibited during the reign of Charles II., as admitting certain unfavourable applications. The moral was not consolatory,

-" on lustful kings,

Unlooked-for sudden deaths from heaven are sent."

See CIBBER'S Apology, p. 199. Waller, in compliment to the court, wrote a 5th Act, in which that admired drama is terminated less tragically.

1 It was a part of the duty of the master of the revels to read such plays as were to be brought forward, and to correct their improprieties. Several instances occur, in Sir Henry Herbert's Office-book, of the exercise of his authority in this point.-See MALONE'S History of the Stage.

the amusements of the drama would have appeared insipid, unless seasoned with the libertine spirit which governed their lives, and which was encouraged by the example of the monarch. Thus it is acutely argued by Dennis, in reply to Collier, that the depravity of the theatre, when revived, was owing to that very suppression, which had prevented its gradual reformation. And just so a muddy stream, if allowed its free course, will gradually purify itself; but, if dammed up for a season, and let loose at once, its first torrent cannot fail to be impregnated with every impurity. The license of a rude age was thus revived by a corrupted one; and even those plays which were translated from the French and Spanish, were carefully seasoned with as much indelicacy, and double entendre, as was necessary to fit them for the ear of the wittiest and most profligate of monarchs.1

Another remarkable feature in the comedies which succeeded the Restoration, is the structure of their plot, which was not, like that of the tragedies, formed upon the Parisian model. The English audience had not patience for the regular

1 ["The wits of Charles found easier ways to fame,
Nor wish'd for Jonson's art, or Shakspeare's flame.
Themselves they studied, as they felt they writ;
Intrigue was plot, obscenity was wit.

Vice always found a sympathetic friend,
They pleas'd their age, and did not aim to mend.
Yet bards like these aspir'd to lasting praise,
And proudly hoped to pimp in future days.

Their cause was gen'ral, their supports were strong,
Their slaves were willing, and their reign was long;
Till Shame regain'd the post that Sense betray'd,
And Virtue call'd Oblivion to her aid."

JOHNSON.]

comedy of their neighbours, depending upon delicate turns of expression, and nicer delineation of character. The Spanish comedy, with its bustle, machinery, disguise, and complicated intrigue, was much more agreeable to their taste.

This prefer

ence did not arise entirely from what the French term the phlegm of our national character, which cannot be affected but by powerful stimulants. It is indeed certain, that an Englishman expects his eye, as well as his ear, to be diverted by theatrical exhibition; but the thirst of novelty was another and separate reason, which affected the style of the revived drama. The number of new plays represented every season was incredible; and the authors were compelled to have recourse to that mode of composition which was most easily executed. Laboured accuracy of expression, and fine traits of character, joined to an arrangement of action, which should be at once pleasing, interesting, and probable, requires sedulous study, deep reflection, and long and repeated correction and revision. But these were not to be expected from a playwright, by whom three dramas were to be produced in one season; and in their place were substituted adventures, surprises, rencounters, mistakes, disguises, and escapes, all easily accomplished by the intervention of sliding panels, closets, veils, masques, large cloaks, and dark lanterns. If the dramatist was at a loss for employing these convenient implements, the fifteen hundred plays of Lope de Vega were at hand for his instruction; presenting that rapid succession of events, and