An Abridgement of Lectures on Rhetoric

As his object was to please, he followed the current of the times, and gave way to indelicacy and licentiousness. His indecency was at times so gross as to occasion a prohibition of his plays on the stage.

After Dryden, flourished Cibber, Vanburgh, Farquhar and Congreve. Cibber has sprightliness and a pert vivacity; but his incidents are so forced and unnatural, that his performances have all sunk into obscurity, excepting the Careless Husband nd the provoked Husband. Of these the first is remarkable for the easy politeness of the dialogue; and it is a tolerable moral in its conduct. The latter, in which Cibber was assisted by Vanburgh, is perhaps the best comedy in the English language; and even to this it may be objected that it has a double plot. Its characters however are natural and it abounds with fine painting and happy strokes of humour.

Wit, spirit, and ease, characterise Sir John Vanburgh; but he is the most indelicate and immoral of all our commedians. Congreve undoubtedly possessed genius. He is witty and sparkling and full of character and action. Indeed he overflows with wit; for it is often introduced unseasonably; and in general there is too much of it for well bred conversation. Farquhar is a light and gay writer: less correct and less brilliant than Congreve; but he has more ease, and much of the vis comica. Like Congreve he is licentious; and modesty must turn from them both with abhorrence. The French boast with justice of the superior decency of their stage, and speak of the English theatre with astonishment. Their philosophical writers ascribe

the profligate manners of London to the indelicacy and corruption of English comedy

Of late years a sensible reformation has taken place in English comedy. Our writers of comedy now appear ashamed of the indecency of their predecessors. They may be inferior to Farquhar and Congreve in spirit, ease, and wit; but they have the merit of being far more innocent and moral.

To the French stage we are much indebted for this reformation. The introduction within a few years of a graver comedy in France, called the serious or tender comedy, has attracted the attention and approbation of our writers. Gaiety and ridicule are not excluded from this species of comedy; but it lays the chief stress on tender and interesting situations It is sentimental and touches the heart. It pleases not so much by the laughter it excites, as by the tears of affection and joy which it draws forth.

This form of comedy was opposed in France, as an unjustifiable innovation. It was objected by critics, that it was not founded on laughter and ridicule; but it is not necessary that all com. edies be formed on one precise model. Some may be gay; some serious and some may partake of both qualities Serious and tender comedy has no right to exclude gaiety and ridicule from the stage. There are materials for both; and the stage is richer for the innovation. In general t may be considered as a mark of increasing politeness and refinement, when those theatrical exhibitions become fashionable which are free from indelicate sentiment and an immoral tendency."

THE END.