except to Mrs. Benn, from whofe Belliardo, in The Emperor of the Moon, he confeffed he drew his Forefight. Notwithstanding this declaration, we can find him making free with Terence, from whose Syrus, in the Self-Tormentor, he has copied his Maskwell, whom, through the whole piece, he has luckily employed, and nobly fupported. Of the Play of the Double Dealer, in which this character is introduced, we may safely say, that none exceeds it in ease, elegance, and spirit of dialogue; force, and variety of natural character that for plot, contrivance, and conduct; for intrigue and catastrophe, it is the facile princeps of all Dramatic Writing. We fhould have mentioned wit, but that is not perhaps the immediate object of Comedy: as to exact purity, the Comic Writers of Congreve's time were no way remarkable for paying it great deference.

CHAP.

F

CH A P. VI.

Of Farce.

ARCE is founded on chimera and im

probability; the events are unnatural, the humour forced, and it is, in the opinion. of Dryden, a compound of extravagancies, fit only to entertain fuch people as are judges of neither men nor manners: it appeals entirely to the fancy; delights with oddity, and unexpected turns: it has in one thing indeed the fame effect as Comedy, viz. it produces laughter; but it is not a laughter founded upon reason, excited by the check given to folly, the reproof to ignorance, or the lash to corruption. Perhaps, if we enquire into the natural cause of the pleasure we feel from Farce, we shall find it to be the fame that leads women to feed on chalk, and make dirt-pies; a vitiated appetite but this is fo common, that he, who writes down to it, stands a better chance of pleasing, than he whofe refined genius excels in painting nature, and exhibiting probability. It is, however, a fpecies of the Drama very difficult to be carried into execution; great nicety being requifite to link improbabilities

probabilities in fuch a manner, that they shall not difguft.

We have but very few petite pieces in our language that can be properly called Farces; the most remarkable are, Duke and No Duke, and The Devil to Pay. The first was originally written under the title of Trappolin, suppofed a Prince, by Sir Afton Cockain, a Derbyshire knight, who lived in the days of wit and Charles the fecond, and borrowed the plot from Italy. Tate brought it on the Stage under the former name; and it ftands a good chance of keeping its place upon any Theatre where Woodward plays, who is excellent in Trappolin; and who has the art of cloathing this character (though in itself improbable) with all the poffible appearances of truth and reality.

The scene of Duke and No Duke is laid in Florence, and its environs; from whence it is fuppofed, that Trappolin, a notorious pimp, is banished by two noblemen, who have the management of public affairs, during the abfence of the Duke. A certain Magician, whom the Duke had diflodged, throws him

felf

of

felf in the way of Trappolin, whofe ridiculous fright is very laughable; and who is, by the power of the Conjurer, transformed into the likeness of the absent Duke, and bade to return to the city, and take upon him the reins government. He does fo; and, you may be fure, the abfurdity of his deportment causes as much furprize as it does confufion; nor is the entertainment that it gives unsatisfactory. The real Duke at length comes home, and fome comical incidents arise from his difference of difpofition: he meets with and collars the impoftor, who throws that duft in his eyes the Father Conjurer had given him, with orders to use it in time of extremity. It gives the Duke the appearance of Trappolin, and he is turned out of court. At length, however, the Conjurer relenting, makes his peace with the Duke; reftores things to their original state; Trappolin promises to live honeft with Flametta; and the Duke forgives

him.

I cannot say that I ever faw this piece without being entertained; yet, on reflection, it will appear to want, every kind of moral and probability.

probability. However, tho' the plot is forced, the humour is well adapted to the characters, which are not improperly sustained, nor are the improbabilities badly linked.

The Devil to Pay is too well known to re quire any comment; the plot is of a fimilar nature with that of Duke and No Duke; it has much less pleasantry in it; but the place is supplied with easy fongs and familiar tunes, which are in every body's mouth. For my own part, I would chufe to leave the Theatre impreffed by that gloomy pleasure which I feel from the fublimity of Shakespeare, or the tenderness of Otway; and not to have it dissipated by Farce yet it is perhaps a diffipation neceffary in this kingdom, where the temperature of the air inclines to gloom and melancholy; a difpofition to which we also owe the speaking of comic Epilogues after Tragedies.

We have indeed a fpecies of Drama, which, though it takes the place of Farce, cannot properly be called fo, because it answers all the ends of Comedy, commixing ufe with entertainment. Such is Garrick's fine piece of Lethe, Foote's Englishman at Paris, and his Englishman