The earnestness with which she entreats Percy to leave her, "I do conjure thee, go," and the manner in which she repeats to his "Farewell! farewell!" the words "For ever!" give a pang to every heart of sensibility that witnesses her efforts. The conflict between Percy and Douglas is also a scene of deep interest, and the anxiety displayed by Elwina for the life of Percy is noble and pathetic, especially when she says, "It blazes brighter! Douglas was only brave-he now is gen'rous!" The scene between Douglas and Elwina, on presenting the bloody scarf, displays the most digni fied grief that ever was exhibited, when she says, in a low broken voice, Douglas-think not I faint because thou se'st The pale and bloodless cheek of wan despair. Fail me not yet, my spirits; thou cold heart, Cherish thy freezing current one short moment, And bear thy mighty load a little longer." The solemnity also with which she pronounces "No; The sorrow's weak that wastes itself in words, Mine is substantial anguish-deep, not loud; I do not rave.. -Resentment's the return Of common souls for common injuries, Light grief is proud of state, and courts compassion! A sullen grandeur which disdains complaint. Rage is for little wrongs-Despair is dumb. The last scene of the madness winds up the catastrophe, and is performed by Miss O'Neill with equal ability as in the other similar situations in which we have witnessed her powers. The tragedy of Percy is an interesting one in point of incidents, but it wants that ease of dialogue and those fine touches of nature so highly captivating in the standard pieces we have hitherto criticised. MONIMIA. The next character which has added to the eclat of Miss O'Neill's dramatic powers, is the Monimia of Otway in his Orphan. This tragedy was an early production of Otway's muse, and was first brought out in 1680. Since that time it has remained a standard piece, though in many parts licentious beyond the bounds of decency, and painting a crime too horrid for the feelings to dwell on. It is written however, with such powers of language, with such force of passion, and with those strong and characteristic traits of the heart in the warm expression of its feelings, which take a deep hold of an audience, and interest them in the highest degree. founded, as we have noticed, on a crime at which It is human nature revolts with horror; yet so much is felt for the parties, that the extent and nature of the guilt is forgot in the pity which their trying and unmerited situations excite. It is one of those plays where as much depends on the other principal characters as the heroine, and it is difficult on that account often to fill it up as it ought. It partakes in many of its parts, as already noticed, of the licentiousness of the age in which it was written; when, in the words of Johnson," intrigue was plot, obscenity was wit." Those parts, however, are very happily supprest in the representation by the more correct judgment of the present day, and the play as now exhibited presents all its beauties without its blemishes. The character of Monimia is particularly interesting as an orphan and dependent. She feels all the ties of gratitude and affection as the child of adoption in the family where she resides, and betwixt respect for her protector, the friend of her father, and attachment to his youngest son, she has a difficult conflict to maintain. As happens in all cases, where the female character is concerned, passion predominates over every other consideration. Her love for Castalio leads her to deceive his brother, and in so doing, the revenge of the latter produces that catastrophe which finishes the scene of distress. It would seem as if Southerne and Otway, both poets of the same age, had formed two tragedies to resemble each other. In both a female is the preSoutherne has given his Isa dominant character. bella two husbands, and Otway his Monimia two lovers. Some of the beautiful passages in both plays also nearly resemble each other; particularly the fine simile of the garden as put into the mouth of Chamont, by Otway, in beautiful detail; but more concisely introduced by Southerne in the affecting scene of Isabella and her father. The character of Monimia is not one of very high elevation. She is a young lady of virtue and honour, and in other respects not much is to be said. It therefore only calls for extraordinary exertions towards the conclusion of the catastrophe. The character of Monimia is drawn by herself, "Why was I made with all my sex's softness, |