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the plot.

Wycherley and Vanbrugh could not have spared the dresses of Vandyke. These strange fancy-dresses, perverse disguises, and counterfeit shapes, gave an agreeable scope to the imagination. “That sevenfold fence" was a sort of foil to the lusciousness of the dialogue, and a barrier against the sly encroachments of double entendre. The greedy eye and bold hand of indiscretion were repressed, which gave a greater license to the tongue. The senses were not to be gratified in an instant. Love was entangled in the folds of the swelling handkerchief, and the desires might wander for ever round the circumference of a quilted petticoat, or find a rich lodging in the flowers of a damnask stomacher. There was room for years of patient contrivance, for a thousand thoughts, schemes, conjectures, hopes, fears, and wishes. There seemed no end of obstacles and delays; to overcome so many difficulties was the work of ages. A mistress was an angel, concealed behind whalebone, flounces, and brocade. What an undertaking to penetrate through the disguise! What an impulse must it give to the blood, what a keenness to the invention, what a volubility to the tongue !

“ Mr. Smirk, you are a brisk man," was then the most significant commendation; but now-a-days-a woman can be but undressed ! --Again, the character of the fine gentleman is at

present a little obscured on the stage, nor do we immediately recognise it elsewhere, for want of the formidable insignia of a bag-wig and sword. Without these outward credentials, the public must not only be unable to distinguish this character intuitively, but it must be “almost afraid to know itself.” The present simple disguise of a gentleman is like the incognito of kings. The opinion of others affects our opinion of ourselves ; and we can hardly expect from a modern man of fashion that air of dignity and superior gracefulness of carriage, which those must have assumed who were conscious that all eyes were upon them, and that their lofty pretensions continually exposed them either to public scorn or challenged public admiration. A lord who should take the wall of the plebeian passengers without a sword by his side, would hardly have his claim of precedence acknowledged; nor could he be supposed to have that obsolete air of self-importance about him, which should alone clear the pavement at his approach. It is curious how an ingenious actor of the present day (Mr. Farren) should play Lord Ogleby so well as he does, having never seen any thing of the sort in reality. A nobleman in full costume, and in broad day, would be a phenomenon like the lord mayor's coach. The attempt at getting up genteel comedy at present is a sort of Galvanic experiment, a revival of the dead*.

* I have only to add, by way of explanation on this subject, the following passage from the Characters of Shakpeare's Plays: “ There is a certain stage of society in which people become conscious of their peculiarities and absurdities, affect to disguise what they are, and set up pretensions to what they are not. This gives rise to a corresponding style of comedy, the object of which is to detect the disguises of self-love, and to make reprisals on these preposterous assumptions of vanity, by marking the contrast between the real and the affected character as severely as possible, and denying to those, who would impose on us for what they are not, even the merit which they have. This is the comedy of artificial life, of wit and satire, such as we see it in Congreve, Wycherley, Vanbrugh, &c. To this succeeds a state of society from which the same sort of affectation and pretence are banished by a greater knowledge of the world, or by their successful exposure on the stage ; and which by neutralizing the materials of comic character, both natural and artificial, leaves no comedy at all—but the sentimental. Such is our modern comedy. There is a period in the progress of manners anterior to both these, in which the foibles and follies of individuals are of nature's planting, not the growth of art or study; in which they are therefore unconscious of them themselves, or care not who knows them, if they can but have their whim out; and in which, as there is no attempt at imposition, the spectators rather receive pleasure from humouring the inclinations of the persons they laugh at, than wish to give them pain by exposing their absurdity. This

may be called the comedy of nature, and it is the comedy which we generally find in Shakspeare." P. 256.

I have observed in a former Lecture, that the most spirited æra of our comic drama was that which reflected the conversation, tone, and manners of the profligate, but witty age of Charles II. With the graver and more business-like turn which the Revolution probably gave to our minds, comedy stooped from her bolder and more fantastic flights; and the ferocious attack made by the nonjuring divine, Jeremy Collier, on the immorality and profaneness of the plays then chiefly in vogue, nearly frightened those unwarrantable liberties of wit and humour from the stage, which were no longer countenanced at court nor copied in the city. Almost the last of our writers who ventured to hold out in the prohibited track, was a female adventurer, Mrs. Centlivre, who seemed to take advantage of the privilege of her sex, and to set at defiance the cynical denunciations of the angry puritanical reformist. Her plays have a provoking spirit and volatile salt in them, which still preserves them from decay. Congreve is said to have been jealous of their success at the time, and that it was one cause which drove him in disgust from the stage. If so, it was without any good reason: for these plays have great and intrinsic merit in them, which entitled them to their popularity (and it is only spurious and undeserved popularity which should excite a feeling of jealousy in any

well-regulated mind): and besides, their merit was of a kind entirely different from his own. The Wonder and the Busy Body are properly comedies of intrigue Their interest depends chiefly on the intricate involution and artful denouément of the plot, which has a strong tincture of mischief in it, and the wit is seasoned by the archness of the humour and sly allusion to the most delicate points. They are plays evidently written by a very clever woman, but still by a woman: for I hold, in spite of any fanciful theories to the contrary, that there is a distinction discernible in the minds of women as well as in their faces. The Wonder is one of the best of our acting plays. The passion of jealousy in Don Felix is managed in such a way as to give as little offence as possible to the audience, for every appearance combines to excite and confirm his worst suspicions, while we, who are in the secret, laugh at his groundless uneasiness and apprehensions. The ambiguity of the heroine's situation, which is like a continued practical equivoque, gives rise to a quick succession of causeless alarms, subtle exeuses, and the most hair-breadth 'scapes. The scene near the end, in which Don Felix, pretending to be drunk, forces his way out of Don Manuel's house, who wants to keep him a prisoner by producing his marriage-contract in the

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