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. 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 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 preference 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 num LIFE OF JOHN DRYDEN. 75 ber 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 play-wright, by whom three dramas were to be produced in one season; and in their place were substituted adventures, surprises, réncountres, mistakes, disguises, and escapes, all easily accomplished by the intervention of sliding pannels, closets, veils, masques, large cloaks, and dark lanthorns. 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 those sudden changes in the situation of the personages, which, according to the noble biographer of the Spanish dramatist, are the charms by which he interests us so forcibly in his plots. These Spanish plays had already been resorted to by the authors of Lord Holland's "Life of Lope de Vega," p. 128. 76 LIFE OF JOHN DRYDEN. the earlier part of the century. But under the auspices of Charles II., who must often have witnessed the originals while abroad, and in some instances by his express command, translations were executed of the best and most lively Spanish comedies. † The favourite comedies, therefore, after the Restoration, were such as depended rather upon the intricacy, than the probability of the plot; rather upon the vivacity and liveliness, than on the natural expression of the dialogue; and, finally, rather upon extravagant and grotesque conception of character, than upon its being pointedly delineated, and accurately supported through the representation. These particulars, in which the comedies of Charles the Second's reign differ from the example set by Shakespeare, Massinger, and Beaumont and Fletcher, seem to have been derived from the Spanish model. But the taste of the age was too cultivated to follow the The "Wild Gallant," which Charles commanded to be performed before him more than once, was of the class of Spánish comedies. The "Maiden Queen," which the witty monarch honoured with the title of his play, is in the same division. Sir Samuel Tuke's "Adventures of Five Hours," and Crowne's "Sir Courtly Nice," were both translated from the Spanish by the king's express recommendation. 7 stage of Madrid, in introducing, or, to speak more accurately, in reviving, the character of the gracioso, or clown, upon that of London.* Some partly extempore. upon our stage. *The gracioso, or buffoon, according to Lord Holland, held an intermediate character between a spectator and a character in the play; interrupting with his remarks, at one time, the performance, of which he forms an essential, but very defective part in another. His part was, I presume, partly written, Something of the kind was certainly known Wilson and Tarleton, in their capacity of clowns, entered freely into a contest of wit with the spectators, which was not at all held inconsistent with their having a share in the performance. Nor was tragedy exempted from their interference. Hall, after telling us of a tragic representation, informs us, "Now least such frightful showes of fortunes fall, And laughes, and grins, and frames his mimick face, Then doth the theatre echo all aloud With gladsome noyse of that applauding croud. A goodly hoch-poch, when vile russetings Are matcht with monarchs and with mighty kings." This extemporal comic part seems to have been held essential to dramatic representation, in most countries in Europe, during the infancy of the art. Something of the same kind is still retained in the lower kinds of popular exhibitions; and the clowns to the shows of tumbling and horsemanship, with my muchrespected friend Mr Punch in a puppet-show, bear a pretty close resemblance to the gracioso of the Spaniards, the arlequino of the Italians, and the clown of the ancient English drama. See Malone's History of the Stage. thing of foreign manners may be traced in the license assumed by valets, and domestics, in the English comedy; a freedom which at no time made a part of our national manners, though something like it may still be traced upon the continent. These seem to be the leading characteristics of the comedies of Charles the Second's reign; in which the rules of the ancients were totally disregarded.. It were to be wished that the authors could have been exculpated from an heavier charge,-that of assisting to corrupt the nation, by nourishing and fomenting their evil passions, as well as by indulging and pandaring to their vices. The theatres, after the Restoration, were limited to two in number; a restriction perhaps necessary, as the exclusive patent expresses it, in regard of the extraordinary licentiousness then used in dramatic representation; but for which no very good reason can be shewn, when they are at least harmless, if not laudable places of amusement. One of these privileged theatres was placed under the direction of Sir William D'Avenant, whose sufferings in the royal cause merited a provision, and whose taste and talents had been directed towards the drama even during its proscription. He is said to have introduced |