Rochfort. Keep from me!-Cou'd not one good
thought rise up

To tell you that she was iny age's comfort,
Begot by a weak man, and born a woman,
And cou'd not therefore but partake of frailty?
Or wherefore did not thankfulness step forth
To urge my many merits, which I may
Object to you, since you prove ungrateful?
Flinty-hearted Charalois!-

Charalois. Nature does prevail above your virtue. What conclusions can I draw from these comparative examples, which every reader would not anticipate? Is there a man, who has any feeling for real nature, dramatic character, moral sentiment, tragic pathos or nervous diction, who can hesitate, even for a moment, where to bestow the palm?

NUMBER LXXX.

I WAS some nights ago much entertained with an excellent representation of Mr. Congreve's comedy of The Double Dealer. When I reflected upon the youth of the author and the merit of the play, I acknowledged the truth of what the late Dr. Samuel Johnson says in his life of this poet, that amongst all the efforts of early genius, which literary history records, I doubt whether any one can be produced that more surpasses the common limits of nature than the plays of Congreve.'

6

The author of this comedy in his dedication informs us, that he designed the moral first, and to that moral invented the fable;' and does not know

that he has borrowed one hint of it any where.'— I made the plot,' says he, as strong as I could; because it was single; and I made it single because I would avoid confusion, and was resolved to preserve the three unities of the drama.' As it is impossible not to give full credit to this assertion, I must consider the resemblance which many circumstances in The Double Dealer bear to those in a comedy of Beaumont and Fletcher, intitled Cupid's Revenge, as a casual coincidence; and I think the learned biographer above quoted has good reason to pronounce of Congreve, that he is an original writer, who borrowed neither the models of his plot, nor the manner of his dialogue.'

Mellafont, the nephew and heir of Lord Touchwood, being engaged to Cynthia, daughter of Sir Paul Pliant, the traversing this match forms the object of the plot, on which this comedy of The Double Dealer is constructed; the intrigue consists in the various artifices employed by Lady Touchwood and her agents for that purpose.

That the object is (as the author himself states it to be) singly this, will appear upon considering, that although the ruin of Mellafont's fortune is for a time effected by these contrivances, that are employed for traversing his marriage, yet it is rather a measure of necessity and self-defence in Lady Touchwood, than of original design; it springs from the artifice of incident, and belongs more properly to the intrigue, than to the object of the plot.

The making or obstructing marriages is the common hinge on which most comic fables are contrived to turn, but in this match of Mellafont's, which the author has taken for the ground-work of his plot, I must observe that it would have been better to have given more interest to an event, which he has made the main object of the play: he has

taken little pains to recommend the parties to his spectators, or to paint their mutual attachment with any warmth of colouring. Who will feel any concern whether Mellafont marries Cynthia or not, if they themselves appear indifferent on the occasion, and upon the eve of their nuptials converse in the following strain?

Mel. You seem thoughtful Cynthia.

Cyn. I am thinking, tho' marriage makes man and wife one flesh, it leaves them still two fools, and they become more conspicuous by setting off one another.

Mel. That's only when two fools meet, and their follies are opposed.

Cyn. Nay I have known two wits meet, and by the opposition of their wit, render themselves as ridiculous as fools. 'Tis an old game we are going to play at; what think you of drawing stakes, and giving over in time?

Mel. No, hang it, that's not endeavouring to win, because it is possible we may lose-&c. &c.

This scene, which proceeds throughout in the same strain, seems to confirm Dr. Johnson's remark, that Congreve formed a peculiar idea of comic excellence, which he supposed to consist in gay remarks and unexpected answers that his scenes exhibit not much of humour, imagery or passion; his personages are a kind of intellectual gladiators; every sentence is to ward or strike; the contest of smartness is never intermitted; and his wit is a meteor playing to and fro with alternate coruscations.'

There is but one more interview between Cynthia and Mellafont, which is the opening of the fourth act, and this is of so flat and insipid a sort, as to be with reason omitted in representation: I think therefore it may be justly observed, that this match, for the prevention of which artifices of so virulent and diabolical a nature are practised by Lady Touchwood and The Double Dealer, is not pressed

upon the feelings of the spectators in so interesting a manner, as it should and might have been.

Having remarked upon the object of the plot, I shall next consider the intrigue; and for this purpose we must methodically trace the conduct of Lady Touchwood, who is the poet's chief engine, and that of her under-agent Maskwell.

The scene lies in Lord Touchwood's house, but whether in town or country does not appear. Sir Paul Pliant, his lady and daughter, are naturally brought thither, upon the day preceding Cynthia's marriage, to adjust the settlement: Lord and Lady Froth, Careless and Brisk, are visitors on the occasion; Mellafont and Maskwell are inmates: this disposition is as happy as can be devised. The incident related by Mellafont to Careless, of the attempt upon him made by Lady Touchwood, artfully prepares us to expect every thing that revenge and passion can suggest for frustrating his happiness; and it is judicious to represent Mellafont incredulous as to the criminality of Maskwell's intercourse with Lady Touchwood; for if he had believed it upon Careless's suggestion, it would have made his blindness to the character of Maskwell not only weak, (which in fact it is) but unnatural and even guilty.

Mask well in the first act makes general promises to Lady Touchwood that he will defeat Mellafont's match-You shall possess and ruin him too.'-The lady presses him to explain particulars; he opens no other resource but that of possessing Lady Pliant with an idea that Mellafont is fond of her- She must be thoroughly persuaded that Mellafont loves her.'So shallow a contrivance as this cannot escape the lady's penetration, and she naturally answers- I don't see what you can propose from so trifling a design; for her first conversing with Mellafont will

convince her of the contrary.' In fact, the author's good sense was well aware how weak this expedient is, and it seems applied to no other purpose than as an incident to help on the underplot, by bringing forward the comic effect of Lady Pliant's character, and that of Sir Paul: Maskwell himself is so fairly gravelled by the observation, that he confesses he does not depend upon it;' but he observes that ' it will prepare something else, and gain him leisure to lay a stronger plot; if I gain a little time, says he, I shall

not want contrivance.'

In the second act this design upon Lady Pliant is played off, and Mask well in an interview with Mellafont avows the plot, and says to tell you the truth, I encouraged it for your diversion.' He proceeds to say, that in order to gain the confidence of Lady Touchwood, he had pretended to have been long secretly in love with Cynthia;' that thereby he had drawn forth the secrets of her heart,' and that if he accomplish'd her designs, she had engaged to put Cynthia with all her fortune into his power:' he then discloses by soliloquy that his motive for double dealing was founded in his passion for Cynthia, and observes that the name of rival cuts all ties asunder and is a general acquittance.' This proceeding is in nature and is good comedy.

The third act opens with a scene between Lord and Lady Touchwood, which is admirably conceived and executed with great spirit; I question if there is any thing of the author superior to this dialogue. The design of alarming the jealousy and resentment of Lord Touchwood now appears to have originated with the lady, although Maskwell was privy to it, and ready for a cue to come in and confirm all, had there been occasion;' he proposes to her to say that he was privy to Mellafont's design, but that he used his utmost endeavours to dissuade him from it;' and on the credit he thinks to