The virtue which the world wants is a healthful virtue, not a valetudinarian virtue, a virtue which can expose itself to the risks inseparable from all spirited exertion, not a virtue which keeps out of the common air for fear of infection, and eschews the common food as too stimulating. It would be indeed absurd to attempt to keep men from acquiring those qualifications which fit them to play their part in life with honor to themselves and advantage to their country, for the sake of preserving a delicacy which cannot be preserved, a delicacy which a walk from Westminster to the Temple is sufficient to destroy.

But we should be justly chargeable with gross inconsistency if, while we defend the policy which invites the youth of our country to study such writers as Theocritus and Catullus, we were to set up a cry against a new edition of the Country Wife or the Way of the World. The immoral English writers of the seventeenth century are indeed much less excusable than those of Greece and Rome. But the worst English writings of the seventeenth century are decent, compared with much that has been bequeathed to us by Greece and Rome. Plato, we have little doubt, was a much better man than Sir George Etherege. But Plato has written things at which Sir George Etherege would have shuddered. Buckhurst and Sedley, even in those wild orgies at the Cock in Bow Street for which they were pelted by the rabble and fined by the Court of King's Bench, would never have dared to hold such discourse as passed between Socrates and Phaedrus on that fine summer day under the plane tree, while the fountain warbled at their feet, and the cicadas chirped overhead. If it be, as we think it is, desirable that an English gentleman should be well informed touching the government and the manners of little commonwealths which both in place and time are far removed from us, whose independence has been more than two thousand years extinguished, whose language has not been spoken for ages, and whose ancient magnificence is attested only by a few broken columns and friezes, much more must it be desirable that he should be intimately acquainted with the history of the public mind of his own country, and with the causes, the nature, and the extent of those revolutions of opinion and feeling which, during the last two centuries, have alternately raised and depressed the standard of our national morality. And knowledge of this sort is to be very sparingly gleaned from parliamentary debates, from state papers, and from the works of grave historians. It must either not be acquired at all, or it must be acquired by the perusal of the light literature which has at various periods been fashionable. We are therefore by no means disposed to condemn this publication, though we certainly cannot recommend the handsome volume before us as an appropriate Christmas present for young ladies.

We have said that we think the present publication perfectly justifiable. But we can by no means agree with Mr. Leigh Hunt, who seems to hold that there is little or no ground for the charge of immorality so often brought against the literature of the Restoration. We do not blame him for not bringing to the judgment-seat the merciless rigor of Lord Angelo; but we really think that such flagitious and impudent offenders as those who are now at the bar deserved at least the gentle rebuke of Escalus. Mr. Leigh Hunt treats the whole matter a little too much in the easy style of Lucio; and perhaps his exceeding lenity disposes us to be somewhat too severe.

And yet it is not easy to be too severe. For in truth this part of our literature is a disgrace to our language and our national character. It is clever, indeed, and very entertaining; but it is, in the most emphatic sense of the words, "earthly, sensual, devilish." Its indecency, though perpetually such as is condemned not less by the rules of good taste than by those of morality, is not, in our opinion, so disgraceful a fault as its singularly inhuman spirit. We have here Belial, not as when he inspired Ovid and Ariosto, "graceful and humane," but with the iron eye and cruel sneer of Mephistopheles. We find ourselves in a world, in which the ladies are like very profligate, impudent, and unfeeling men, and in which the men are too bad for any place but Pandaemonium or Norfolk Island. We are surrounded by foreheads of bronze, hearts like the nether millstone, and tongues set on fire of hell.

Dryden defended or excused his own offences and those of his contemporaries by pleading the example of the earlier English dramatists; and Mr. Leigh Hunt seems to think that there is force in the plea. We altogether differ from this opinion. The crime charged is not mere coarseness of expression. The terms which are delicate in one age become gross in the next. The diction of the English version of the Pentateuch is sometimes such as Addison would not have ventured to imitate; and Addison, the standard of moral purity in his own age, used many phrases which are now proscribed. Whether a thing shall be designated by a plain noun substantive or by a circumlocution is mere matter of fashion. Morality is not at all interested in the question. But morality is deeply interested in this, that what is immoral shall not be presented to the imagination of the young and susceptible in constant connection with what is attractive. For every person who has observed the operation of the law of association in his own mind and in the minds of others knows that whatever is constantly presented to the imagination in connection with what is attractive will itself become attractive. There is undoubtedly a great deal of indelicate writing in Fletcher and Massinger, and more than might be wished even in Ben Jonson and Shakespeare, who are comparatively pure. But it is impossible to trace in their plays any systematic attempt to associate vice with those things which men value most and desire most, and virtue with everything ridiculous and degrading. And such a systematic attempt we find in the whole dramatic literature of the generation which followed the return of Charles the Second. We will take as an instance of what we mean, a single subject of the highest importance to the happiness of mankind, conjugal fidelity. We can at present hardly call to mind a single English play, written before the Civil War, in which the character of a seducer of married women is represented in a favorable light. We remember many plays in which such persons are baffled, exposed, covered with derision, and insulted by triumphant husbands. Such is the fate of Falstaff, with all his wit and knowledge of the world. Such is the fate of Brisac in Fletcher's Elder Brother, and of Ricardo and Ubaldo in Massinger's Picture. Sometimes, as in the Fatal Dowry and Love's Cruelty, the outraged honor of families is repaired by a bloody revenge. If now and then the lover is represented as an accomplished man, and the husband as a person of weak or odious character, this only makes the triumph of female virtue the more signal, as in Jonson's Celia and Mrs. Fitzdottrel, and in Fletcher's Maria. In general we will venture to say that the dramatists of the age of Elizabeth and James the First either treat the breach of the marriage vow as a serious crime, or, if they treat it as matter for laughter, turn the laugh against the gallant.

On the contrary, during the forty years which followed the Restoration, the whole body of the dramatists invariably represent adultery, we do not say as a peccadillo, we do not say as an error which the violence of passion may excuse, but as the calling of a fine gentleman, as a grace without which his character would be imperfect. It is as essential to his breeding and to his place in society that he should make love to the wives of his neighbors as that he should know French, or that he should have a sword at his side. In all this there is no passion, and scarcely anything that can be called preference. The hero intrigues just as he wears a wig; because, if he did not, he would be a queer fellow, a city prig, perhaps a Puritan. All the agreeable qualities are always given to the gallant. All the contempt and aversion are the portion of the unfortunate husband. Take Dryden for example; and compare Woodall with Brainsick, or Lorenzo with Gomez. Take Wycherley; and compare Horner with Pinchwife. Take Vanbrugh; and compare Constant with Sir John Brute. Take Farquhar; and compare Archer with Squire Sullen. Take Congreve; and compare Bellmour with Fondlewife, Careless with Sir Paul Plyant, or Scandal with Foresight. In all these cases, and in many more which might be named, the dramatist evidently does his best to make the person who commits the injury graceful, sensible, and spirited, and the person who suffers it a fool, or a tyrant, or both.

Mr. Charles Lamb, indeed, attempted to set up a defence for this way of writing. The dramatists of the latter part of the seventeenth century are not, according to him, to be tried by the standard of morality which exists, and ought to exist, in real life. Their world is a conventional world. Their heroes and heroines belong, not to England, not to Christendom, but to an Utopia of gallantry, to a Fairyland, where the Bible and Burn's Justice are unknown, where a prank which on this earth would be rewarded with the pillory is merely matter for a peal of elvish laughter. A real Horner, a real Careless, would, it is admitted, be exceedingly bad men. But to predicate morality or immorality of the Horner of Wycherley and the Careless of Congreve is as absurd as it would be to arraign a sleeper for his dreams. "They belong to the regions of pure comedy, where no cold moral reigns. When we are among them we are among a chaotic people. We are not to judge them by our usages. No reverend institutions are insulted by their proceedings, for they have none among them. No peace of families is violated, for no family ties exist among them. There is neither right nor wrong, gratitude or its opposite, claim or duty, paternity or sonship."

This is, we believe, a fair summary of Mr. Lamb's doctrine. We are sure that we do not wish to represent him unfairly. For we admire his genius; we love the kind nature which appears in all his writings; and we cherish his memory as much as if we had known him personally. But we must plainly say that his argument, though ingenious, is altogether sophistical.

Of course we perfectly understand that it is possible for a writer to create a conventional world in which things forbidden by the Decalogue and the Statute Book shall be lawful, and yet that the exhibition may be harmless, or even edifying. For example, we suppose, that the most austere critics would not accuse Fenelon of impiety and immorality on account of his Telemachus and his Dialogues of the Dead. In Telemachus and the Dialogues of the Dead we have a false religion, and consequently a morality which is in some points incorrect. We have a right and a wrong differing from the right and the wrong of real life. It is represented as the first duty of men to pay honor to Jove and Minerva. Philocles, who employs his leisure in making graven images of these deities, is extolled for his piety in a way which contrasts singularly with the expressions of Isaiah on the same subject. The dead are judged by Minos, and rewarded with lasting happiness for actions which Fenelon would have been the first to pronounce splendid sins. The same may be said of Mr. Southey's Mahommedan and Hindoo heroes and heroines. In Thalaba, to speak in derogation of the Arabian impostor is blasphemy; to drink wine is a crime; to perform ablutions and to pay honor to the holy cities are works of merit. In the Curse of Kehama, Kailyal is commended for her devotion to the statue of Mariataly, the goddess of the poor. But certainly no person will accuse Mr. Southey of having promoted or intended to promote either Islamism or Brahminism.

It is easy to see why the conventional worlds of Fenelon and Mr. Southey are unobjectionable. In the first place, they are utterly unlike the real world in which we live. The state of society, the laws even of the physical world, are so different from those with which we are familiar, that we cannot be shocked at finding the morality also very different. But in truth the morality of these conventional worlds differs from the morality of the real world only in points where there is no danger that the real world will ever go wrong. The generosity and docility of Telemachus, the fortitude, the modesty, the filial tenderness of Kailyal, are virtues of all ages and nations. And there was very little danger that the Dauphin would worship Minerva, or that an English damsel would dance, with a bucket on her head, before the statue of Mariataly.

The case is widely different with what Mr. Charles Lamb calls the conventional world of Wycherley and Congreve. Here the garb, the manners, the topics of conversation, are those of the real town and of the passing day. The hero is in all superficial accomplishments exactly the fine gentleman whom every youth in the pit would gladly resemble. The heroine is the fine lady whom every youth in the pit would gladly marry. The scene is laid in some place which is as well known to the audience as their own houses, in St. James's Park, or Hyde Park, or Westminster Hall. The lawyer bustles about with his bag, between the Common Pleas and the Exchequer. The Peer calls for his carriage to go to the House of Lords on a private bill. A hundred little touches are employed to make the fictitious world appear like the actual world. And the immorality is of a sort which never can be out of date, and which all the force of religion, law, and public opinion united can but imperfectly restrain.

In the name of art, as well as in the name of virtue, we protest against the principle that the world of pure comedy is one into which no moral enters. If comedy be an imitation, under whatever conventions, of real life, how is it possible that it can have no reference to the great rule which directs life, and to feelings which are called forth by every incident of life? If what Mr. Charles Lamb says were correct, the inference would be that these dramatists did not in the least understand the very first principles of their craft. Pure landscape-painting into which no light or shade enters, pure portrait-painting into which no expression enters, are phrases less at variance with sound criticism than pure comedy into which no moral enters.

But it is not the fact that the world of these dramatists is a world into which no moral enters. Morality constantly enters into that world, a sound morality and an unsound morality: the sound morality to be insulted, derided, associated with everything mean and hateful; the unsound morality to be set off to every advantage, and inculcated by all methods, direct and indirect. It is not the fact that none of the inhabitants of this conventional world feel reverence for sacred institutions and family ties. Fondlewife, Pinchwife, every person in short of narrow understanding and disgusting manners, expresses that reverence strongly. The heroes and heroines, too, have a moral code of their own, an exceedingly bad one, but not, as Mr. Charles Lamb seems to think, a code existing only in the imagination of dramatists. It is, on the contrary, a code actually received and obeyed by great numbers of people. We need not go to Utopia or Fairyland to find them. They are near at hand. Every night some of them cheat at the hells in the Quadrant, and others pace the Piazza in Covent Garden. Without flying to Nephelococcygia or to the Court of Queen Mab, we can meet with sharpers, bullies, hardhearted impudent debauchees, and women worthy of such paramours. The morality of the Country Wife and the Old Bachelor is the morality, not, as Mr. Charles Lamb maintains, of an unreal world, but of a world which is a great deal too real. It is the morality, not of a chaotic people, but of low town-rakes, and of those ladies whom the newspapers call "dashing Cyprians." And the question is simply this, whether a man of genius who constantly and systematically endeavors to make this sort of character attractive, by uniting it with beauty, grace, dignity, spirit, a high social position, popularity, literature, wit, taste, knowledge of the world, brilliant success in every undertaking, does or does not make an ill use of his powers. We own that we are unable to understand how this question can be answered in any way but one.

It must, indeed, be acknowledged, in justice to the writers of whom we have spoken thus severely, that they were, to a great extent, the creatures of their age. And if it be asked why that age encouraged immorality which no other age would have tolerated, we have no hesitation in answering that this great depravation of the national taste was the effect of the prevalence of Puritanism under the Commonwealth.

To punish public outrages on morals and religion is unquestionably within the competence of rulers. But when a government, not content with requiring decency, requires sanctity, it oversteps the bounds which mark its proper functions. And it may be laid down as a universal rule that a government which attempts more than it ought will reform less. A lawgiver who, in order to protect distressed borrowers, limits the rate of interest, either makes it impossible for the objects of his care to borrow at all, or places them at the mercy of the worst class of usurers. A lawgiver who, from tenderness for laboring men, fixes the hours of their work and the amount of their wages, is certain to make them far more wretched than he found them. And so a government which, not content with repressing scandalous excesses, demands from its subjects fervent and austere piety, will soon discover that, while attempting to render an impossible service to the cause of virtue, it has in truth only promoted vice.

For what are the means by which a government can effect its ends? Two only, reward and punishment; powerful means, indeed, for influencing the exterior act, but altogether impotent for the purpose of touching the heart. A public functionary who is told that he will be promoted if he is a devout Catholic, and turned out of his place if he is not, will probably go to mass every morning, exclude meat from his table on Fridays, shrive himself regularly, and perhaps let his superiors know that he wears a hair shirt next his skin. Under a Puritan government, a person who is apprised that piety is essential to thriving in the world will be strict in the observance of the Sunday, or, as he will call it, Sabbath, and will avoid a theatre as if it were plague-stricken. Such a show of religion as this the hope of gain and the fear of loss will produce, at a week's notice, in any abundance which a government may require. But under this show, sensuality, ambition, avarice, and hatred retain unimpaired power, and the seeming convert has only added to the vices of a man of the world all the still darker vices which are engendered by the constant practice of dissimulation. The truth cannot be long concealed. The public discovers that the grave persons who are proposed to it as patterns are more utterly destitute of moral principle and of moral sensibility than avowed libertines. It sees that these Pharisees are farther removed from real goodness than publicans and harlots. And, as usual, it rushes to the extreme opposite to that which it quits. It considers a high religious profession as a sure mark of meanness and depravity. On the very first day on which the restraint of fear is taken away, and on which men can venture to say what they think, a frightful peal of blasphemy and ribaldry proclaims that the short-sighted policy which aimed at making a nation of saints has made a nation of scoffers.

It was thus in France about the beginning of the eighteenth century. Louis the Fourteenth in his old age became religious: he determined that his subjects should be religious, too: he shrugged his shoulders and knitted his brows if he observed at his levee or near his dinner-table any gentleman who neglected the duties enjoined by the Church, and rewarded piety with blue ribbons, invitations to Marli, governments, pensions, and regiments. Forthwith Versailles became, in everything but dress, a convent. The pulpits and confessionals were surrounded by swords and embroidery. The Marshals of France were much in prayer; and there was hardly one among the Dukes and Peers who did not carry good little books in his pocket, fast during Lent, and communicate at Easter. Madame de Maintenon, who had a great share in the blessed work, boasted that devotion had become quite the fashion. A fashion indeed it was; and like a fashion it passed away. No sooner had the old king been carried to St. Denis than the whole court unmasked. Every man hastened to indemnify himself, by the excess of licentiousness and impudence, for years of mortification. The same persons who, a few months before, with meek voices and demure looks, had consulted divines about the state of their souls now surrounded the midnight table, where, amidst the bounding of champagne corks, a drunken prince, enthroned between Dubois and Madame de Parabere, hiccoughed out atheistical arguments and obscene jests. The early part of the reign of Louis the Fourteenth had been a time of license; but the most dissolute men of that generation would have blushed at the orgies of the Regency.

It was the same with our fathers in the time of the Great Civil War. We are by no means unmindful of the great debt which mankind owes to the Puritans of that time, the deliverers of England, the founders of the American commonwealths. But in the day of their power, those men committed one great fault, which left deep and lasting traces in the national character and manners. They mistook the end and overrated the force of government. They determined, not merely to protect religion and public morals from insult,—an object for which the civil sword, in discreet hands, may be beneficially employed,—but to make the people committed to their rule truly devout. Yet, if they had only reflected on events which they had themselves witnessed and in which they had themselves borne a great part, they would have seen what was likely to be the result of their enterprise. They had lived under a government which, during a long course of years, did all that could be done, by lavish bounty and by rigorous punishment, to enforce conformity to the doctrine and discipline of the Church of England. No person suspected of hostility to that church had the smallest chance of obtaining favor at the court of Charles. Avowed dissent was punished by imprisonment, by ignominious exposure, by cruel mutilations, and by ruinous fines. And the event had been that the Church had fallen, and had, in its fall, dragged down with it a monarchy which had stood six hundred years. The Puritan might have learned, if from nothing else, yet from his own recent victory, that governments which attempt things beyond their reach are likely not merely to fail, but to produce an effect directly the opposite of that which they contemplate as desirable.

All this was overlooked. The saints were to inherit the earth. The theatres were closed. The fine arts were placed under absurd restraints. Vices which had never before been even misdemeanors were made capital felonies. It was solemnly resolved by Parliament "that no person shall be employed but such as the House shall be satisfied of his real godliness." The pious assembly had a Bible lying on the table for reference. If they had consulted it they might have learned that the wheat and the tares grow together inseparably, and must either be spared together or rooted up together. To know whether a man was really godly was impossible. But it was easy to know whether he had a plain dress, lank hair, no starch in his linen, no gay furniture in his house; whether he talked through his nose, and showed the whites of his eyes; whether he named his children Assurance, Tribulation, and Maher-shalal-hash-baz; whether he avoided Spring Garden when in town, and abstained from hunting and hawking when in the country; whether he expounded hard scriptures to his troop of dragoons, and talked in a committee of ways and means about seeking the Lord. These were tests which could easily be applied. The misfortune was that they were tests which proved nothing. Such as they were, they were employed by the dominant party. And the consequence was that a crowd of impostors, in every walk of life, began to mimic and to caricature what were then regarded as the outward signs of sanctity. The nation was not duped. The restraints of that gloomy time were such as would have been impatiently borne, if imposed by men who were universally believed to be saints. Those restraints became altogether insupportable when they were known to be kept up for the profit of hypocrites. It is quite certain that, even if the royal family had never returned, even if Richard Cromwell or Henry Cromwell had been at the head of the administration, there would have been a great relaxation of manners. Before the Restoration many signs indicated that a period of license was at hand. The Restoration crushed for a time the Puritan party, and placed supreme power in the hands of a libertine. The political counter-revolution assisted the moral counter-revolution, and was in turn assisted by it. A period of wild and desperate dissoluteness followed. Even in remote manor-houses and hamlets the change was in some degree felt; but in London the outbreak of debauchery was appalling; and in London the places most deeply infected were the Palace, the quarters inhabited by the aristocracy, and the Inns of Court. It was on the support of these parts of the town that the playhouses depended. The character of the drama became conformed to the character of its patrons. The comic poet was the mouthpiece of the most deeply corrupted part of a corrupted society. And in the plays before us we find, distilled and condensed, the essential spirit of the fashionable world during the anti-Puritan reaction.

The Puritan had affected formality; the comic poet laughed at decorum. The Puritan had frowned at innocent diversions; the comic poet took under his patronage the most flagitious excesses. The Puritan had canted; the comic poet blasphemed. The Puritan had made an affair of gallantry felony without benefit of clergy; the comic poet represented it as an honorable distinction. The Puritan spoke with disdain of the low standard of popular morality; his life was regulated by a far more rigid code; his virtue was sustained by motives unknown to men of the world. Unhappily it had been amply proved in many cases, and might well be suspected in many more, that these high pretensions were unfounded. Accordingly, the fashionable circles, and the comic poets who were the spokesmen of those circles, took up the notion that all professions of piety and integrity were to be construed by the rule of contrary; that it might well be doubted whether there was such a thing as virtue in the world; but that, at all events, a person who affected to be better than his neighbors was sure to be a knave.

In the old drama there had been much that was reprehensible. But whoever compares even the least decorous plays of Fletcher with those contained in the volume before us will see how much the profligacy which follows a period of overstrained austerity goes beyond the profligacy which precedes such a period. The nation resembled the demoniac in the New Testament. The Puritans boasted that the unclean spirit was cast out. The house was empty, swept, and garnished; and for a time the expelled tenant wandered through dry places seeking rest and finding none. But the force of the exorcism was spent. The fiend returned to his abode; and returned not alone. He took to him seven other spirits more wicked than himself. They entered in, and dwelt together: and the second possession was worse than the first.

We will now, as far as our limits will permit, pass in review the writers to whom Mr. Leigh Hunt has introduced us. Of the four, Wycherley stands, we think, last in literary merit, but first in order of time, and first, beyond all doubt, in immorality.

William Wycherley was born in 1640. He was the son of a Shropshire gentleman of old family, and of what was then accounted a good estate. The property was estimated at six hundred a year, a fortune which, among the fortunes at that time, probably ranked as a fortune of two thousand a year would rank in our days.

William was an infant when the Civil War broke out: and while he was still in his rudiments, a Presbyterian hierarchy and a republican government were established on the ruins of the ancient church and throne. Old Mr. Wycherley was attached to the royal cause, and was not disposed to entrust the education of his heir to the solemn Puritans who now ruled the universities and public schools. Accordingly the young gentleman was sent at fifteen to France. He resided some time in the neighborhood of the Duke of Montausier, chief of one of the noblest families of Touraine. The Duke's wife, a daughter of the house of Rambouillet, was a finished specimen of those talents and accomplishments for which her race was celebrated. The young foreigner was introduced to the splendid circle which surrounded the duchess, and there he appears to have learned some good and some evil. In a few years he returned to his country a fine gentleman and a Papist. His conversion, it may safely be affirmed, was the effect, not of any strong impression on his understanding or feelings, but partly of intercourse with an agreeable society in which the Church of Rome was the fashion, and partly of that aversion to Calvinistic austerities which was then almost universal among young Englishmen of parts and spirit, and which, at one time, seemed likely to make one half of them Catholics and the other half Atheists.

But the Restoration came. The universities were again in loyal hands; and there was reason to hope that there would be again a national church fit for a gentleman. Wycherley became a member of Queen's College, Oxford, and abjured the errors of the Church of Rome. The somewhat equivocal glory of turning, for a short time, a good-for-nothing Papist into a good-for-nothing Protestant is ascribed to Bishop Barlow.

Wycherley left Oxford without taking a degree, and entered at the Temple, where he lived gayly for some years, observing the humors of the town, enjoying its pleasures, and picking up just as much law as was necessary to make the character of a pettifogging attorney or of a litigious client entertaining in a comedy.

From an early age he had been in the habit of amusing himself by writing. Some wretched lines of his on the Restoration are still extant. Had he devoted himself to the making of verses, he would have been nearly as far below Tate and Blackmore as Tate and Blackmore are below Dryden. His only chance for renown would have been that he might have occupied a niche in a satire, between Flecknoe and Settle. There was, however, another kind of composition in which his talents and acquirements qualified him to succeed; and to that he judiciously betook himself.

In his old age he used to say that he wrote Love in a Wood at nineteen, the Gentleman Dancing-Master at twenty-one, the Plain Dealer at twenty-five, and the Country Wife at one or two and thirty. We are incredulous, we own, as to the truth of this story. Nothing that we know of Wycherley leads us to think him incapable of sacrificing truth to vanity. And his memory in the decline of his life played him such strange tricks that we might question the correctness of his assertion without throwing any imputation on his veracity. It is certain that none of his plays was acted till 1672, when he gave Love in a Wood to the public. It seems improbable that he should resolve on so important an occasion as that of a first appearance before the world, to run his chance with a feeble piece, written before his talents were ripe, before his style was formed, before he had looked abroad into the world; and this when he had actually in his desk two highly finished plays, the fruit of his matured powers. When we look minutely at the pieces themselves, we find in every part of them reason to suspect the accuracy of Wycherley's statement. In the first scene of Love in a Wood, to go no further, we find many passages which he could not have written when he was nineteen. There is an allusion to gentlemen's periwigs, which first came into fashion in 1663; an allusion to guineas, which were first struck in 1663; an allusion to the vests which Charles ordered to be worn at court in 1666; an allusion to the fire of 1666; and several political allusions which must be assigned to times later than the year of the Restoration, to times when the government and the city were opposed to each other, and when the Presbyterian ministers had been driven from the parish churches to the conventicles. But it is needless to dwell on particular expressions. The whole air and spirit of the piece belong to a period subsequent to that mentioned by Wycherley. As to the Plain Dealer, which is said to have been written when he was twenty-five, it contains one scene unquestionably written after 1675, several which are later than 1668, and scarcely a line which can have been composed before the end of 1666.

Whatever may have been the age at which Wycherley composed his plays, it is certain that he did not bring them before the public till he was upwards of thirty. In 1672 Love in a Wood was acted with more success than it deserved, and this event produced a great change in the fortunes of the author. The Duchess of Cleveland cast her eyes upon him, and was pleased with his appearance. This abandoned woman, not content with her complaisant husband and her royal keeper, lavished her fondness on a crowd of paramours of all ranks, from dukes to rope-dancers. In the time of the Commonwealth she commenced her career of gallantry, and terminated it under Anne, by marrying, when a great-grandmother, that worthless fop, Beau Fielding. It is not strange that she should have regarded Wycherley with favor. His figure was commanding, his countenance strikingly handsome, his look and deportment full of grace and dignity. He had, as Pope said long after, "the true nobleman look," the look which seems to indicate superiority, and a not unbecoming consciousness of superiority. His hair indeed, as he says in one of his poems, was prematurely gray. But in that age of periwigs this misfortune was of little importance. The Duchess admired him, and proceeded to make love to him, after the fashion of the coarse-minded and shameless circle to which she belonged. In the Ring, when the crowd of beauties and fine gentlemen was thickest, she put her head out of her coach-window, and bawled to him, "Sir, you are a rascal; you are a villain;" and, if she is not belied, she added another phrase of abuse which we will not quote, but of which we may say that it might most justly have been applied to her own children. Wycherley called on her Grace the next day, and with great humility begged to know in what way he had been so unfortunate as to disoblige her. Thus began an intimacy from which the poet probably expected wealth and honors. Nor were such expectations unreasonable. A handsome young fellow about the court, known by the name of Jack Churchill, was, about the same time, so lucky as to become the object of a short-lived fancy of the Duchess. She had presented him with five thousand pounds, the price, in all probability, of some title or pardon. The prudent youth had lent the money on high interest and on landed security; and this-judicious investment was the beginning of the most splendid private fortune in Europe. Wycherley was not so lucky. The partiality with which the great lady regarded him was indeed the talk of the whole town; and sixty years later old men who remembered those days told Voltaire that she often stole from the court to her lover's chambers in the Temple, disguised like a country girl, with a straw hat on her head, pattens on her feet, and a basket in her hand. The poet was indeed too happy and proud to be discreet. He dedicated to the Duchess the play which had led to their acquaintance, and in the dedication expressed himself in terms which could not but confirm the reports which had gone abroad. But at Whitehall such an affair was regarded in no serious light. The lady was not afraid to bring Wycherley to court, and to introduce him to a splendid society with which, as far as appears, he had never before mixed. The easy king, who allowed to his mistresses the same liberty which he claimed for himself, was pleased with the conversation and manners of his new rival. So high did Wycherley stand in the royal favor that once, when he was confined by a fever to his lodgings in Bow Street, Charles, who, with all his faults, was certainly a man of social and affable disposition, called on him, sat by his bed, advised him to try change of air, and gave him a handsome sum of money to defray the expense of a journey. Buckingham, then Master of the Horse, and one of that infamous ministry known by the name of the Cabal, had been one of the Duchess's innumerable paramours. He at first showed some symptoms of jealousy; but he soon, after his fashion, veered round from anger to fondness, and gave Wycherley a commission in his own regiment and a place in the royal household.

It would be unjust to Wycherley's memory not to mention here the only good action, as far as we know, of his whole life. He is said to have made great exertions to obtain the patronage of Buckingham for the illustrious author of Hudibras, who was now sinking into an obscure grave, neglected by a nation proud of his genius, and by a court which he had served too well. His Grace consented to see poor Butler; and an appointment was made. But unhappily two pretty women passed by; the volatile Duke ran after them; the opportunity was lost, and could never be regained.

The second Dutch war, the most disgraceful war in the whole history of England, was now raging. It was not in that age considered as by any means necessary that a naval officer should receive a professional education. Young men of rank, who were hardly able to keep their feet in a breeze, served on board of the King's ships, sometimes with commissions, and sometimes as volunteers. Mulgrave, Dorset, Rochester, and many others, left the playhouses and the Mall for hammocks and salt pork, and, ignorant as they were of the rudiments of naval service, showed, at least, on the day of battle, the courage which is seldom wanting in an English gentleman. All good judges of maritime affairs complained that, under this system, the ships were grossly mismanaged, and that the tarpaulins contracted the vices, without acquiring the graces, of the court. But on this subject, as on every other where the interests or whims of favorites were concerned, the government of Charles was deaf to all remonstrances. Wycherley did not choose to be out of the fashion. He embarked, was present at a battle, and celebrated it, on his return, in a copy of verses too bad for the bellman.[3]

About the same time, he brought on the stage his second piece, the Gentleman Dancing-Master. The biographers say nothing, as far as we remember, about the fate of this play. There is, however, reason to believe that, though certainly far superior to Love in a Wood, it was not equally successful. It was first tried at the west end of the town, and, as the poet confessed, "would scarce do there." It was then performed in Salisbury Court, but, as it should seem, with no better event. For, in the prologue to the Country Wife, Wycherley described himself as "the late so baffled scribbler."

In 1675 the Country Wife was performed with brilliant success, which, in a literary point of view, was not wholly unmerited. For, though one of the most profligate and heartless of human compositions, it is the elaborate production of a mind, not indeed rich, original, or imaginative, but ingenious, observant, quick to seize hints, and patient of the toil of polishing.

The Plain Dealer, equally immoral and equally well written, appeared in 1677. At first this piece pleased the people less than the critics; but after a time its unquestionable merits and the zealous support of Lord Dorset, whose influence in literary and fashionable society was unbounded, established it in the public favor.

The fortune of Wycherley was now in the zenith, and began to decline. A long life was still before him. But it was destined to be filled with nothing but shame and wretchedness, domestic dissensions, literary failures, and pecuniary embarrassments.

The King, who was looking about for an accomplished man to conduct the education of his natural son, the young Duke of Richmond, at length fixed on Wycherley. The poet, exulting in his good luck, went down to amuse himself at Tunbridge Wells, looked into a bookseller's shop on the Pantiles, and, to his great delight, heard a handsome woman ask for the Plain Dealer, which had just been published. He made acquaintance with the lady, who proved to be the Countess of Drogheda, a gay young widow, with an ample jointure. She was charmed with his person and his wit, and, after a short flirtation, agreed to become his wife. Wycherley seems to have been apprehensive that this connection might not suit well with the King's plans respecting the Duke of Richmond. He accordingly prevailed on the lady to consent to a private marriage. All came out. Charles thought the conduct of Wycherley both disrespectful and disingenuous. Other causes probably assisted to alienate the sovereign from the subject who had lately been so highly favored. Buckingham was now in opposition, and had been committed to the Tower; not, as Mr. Leigh Hunt supposes, on a charge of treason, but by an order of the House of Lords for some expressions which he had used in debate. Wycherley wrote some bad lines in praise of his imprisoned patron, which, if they came to the knowledge of the King, would certainly have made His Majesty very angry. The favor of the court was completely withdrawn from the poet. An amiable woman with a large fortune might indeed have been an ample compensation for the loss. But Lady Drogheda was ill-tempered, imperious, and extravagantly jealous. She had herself been a maid of honor at Whitehall. She well knew in what estimation conjugal fidelity was held among the fine gentlemen there, and watched her town husband as assiduously as Mr. Pinchwife watched his country wife. The unfortunate wit was, indeed, allowed to meet his friends at a tavern opposite to his own house. But on such occasions the windows were always open, in order that her Ladyship, who was posted on the other side of the street, might be satisfied that no woman was of the party.

The death of Lady Drogheda released the poet from this distress; but a series of disasters, in rapid succession, broke down his health, his spirits, and his fortune. His wife meant to leave him a good property, and left him only a lawsuit. His father could not or would not assist him. Wycherley was at length thrown into the Fleet, and languished there during seven years, utterly forgotten, as it should seem, by the gay and lively circle of which he had been a distinguished ornament. In the extremity of his distress he implored the publisher who had been enriched by the sale of his works to lend him twenty pounds, and was refused. His comedies, however, still kept possession of the stage, and drew great audiences which troubled themselves little about the situation of the author. At length James the Second, who had now succeeded to the throne, happened to go to the theatre on an evening when the Plain Dealer was acted. He was pleased by the performance, and touched by the fate of the writer, whom he probably remembered as one of the gayest and handsomest of his brother's courtiers. The King determined to pay Wycherley's debts, and to settle on the unfortunate poet a pension of two hundred pounds a year. This munificence on the part of a prince who was little in the habit of rewarding literary merit, and whose whole soul was devoted to the interests of his church, raises in us a surmise which Mr. Leigh Hunt will, we fear, pronounce very uncharitable. We cannot help suspecting that it was at this time that Wycherley returned to the communion of the Church of Rome. That he did return to the communion of the Church of Rome is certain. The date of his reconversion, as far as we know, has never been mentioned by any biographer. We believe that, if we place it at this time, we do no injustice to the character either of Wycherley or James.

Not long after, old Mr. Wycherley died; and his son, now past the middle of life, came to the family estate. Still, however, he was not at his ease. His embarrassments were great; his property was strictly tied up; and he was on very bad terms with the heir-at-law. He appears to have led, during a long course of years, that most wretched life, the life of a vicious old boy about town. Expensive tastes with little money, and licentious appetites with declining vigor, were the just penance for his early irregularities. A severe illness had produced a singular effect on his intellect. His memory played him pranks stranger than almost any that are to be found in the history of that strange faculty. It seemed to be at once preternaturally strong and preternaturally weak. If a book was read to him before he went to bed, he would wake the next morning with his mind full of the thoughts and expressions which he had heard overnight; and he would write them down, without in the least suspecting that they were not his own. In his verses the same ideas, and even the same words, came over and over again several times in a short composition. His fine person bore the marks of age, sickness, and sorrow; and he mourned for his departed beauty with an effeminate regret. He could not look without a sigh at the portrait which Lely had painted of him when he was only twenty-eight, and often murmured, Quantum mutatus ab illo. He was still nervously anxious about his literary reputation, and not content with the fame which he still possessed as a dramatist, was determined to be renowned as a satirist and an amatory poet. In 1704, after twenty-seven years of silence, he again appeared as an author. He put forth a large folio of miscellaneous verses, which, we believe, has never been reprinted. Some of these pieces had probably circulated through the town in manuscript. For, before the volume appeared, the critics at the coffee-houses very confidently predicted that it would be utterly worthless, and were in consequence bitterly reviled by the poet in an ill-written, foolish, and egotistical preface. The book amply vindicated the most unfavorable prophecies that had been hazarded. The style and versification are beneath criticism; the morals are those of Rochester. For Rochester, indeed, there was some excuse. When his offences against decorum were committed, he was a very young man, misled by a prevailing fashion. Wycherley was sixty-four. He had long outlived the times when libertinism was regarded as essential to the character of a wit and a gentleman. Most of the rising poets, Addison, for example, John Philips, and Rowe, were studious of decency. We can hardly conceive anything more miserable than the figure which the ribald old man makes in the midst of so many sober and well-conducted youths.

In the very year in which this bulky volume of obscene doggerel was published, Wycherley formed an acquaintance of a very singular kind. A little, pale, crooked, sickly, bright-eyed urchin, just turned of sixteen, had written some copies of verses in which discerning judges could detect the promise of future eminence. There was, indeed, as yet nothing very striking or original in the conceptions of the young poet. But he was already skilled in the art of metrical composition. His diction and his music were not those of the great old masters; but that which his ablest contemporaries were laboring to do he already did best. His style was not richly poetical; but it was always neat, compact, and pointed. His verse wanted variety of pause, of swell, and of cadence, but never grated harshly on the ear, or disappointed it by a feeble close. The youth was already free of the company of wits, and was greatly elated at being introduced to the author of the Plain Dealer and the Country Wife.

It is curious to trace the history of the intercourse which took place between Wycherley and Pope, between the representative of the age that was going out and the representative of the age that was coming in, between the friend of Rochester and Buckingham and the friend of Lyttelton and Mansfield. At first the boy was enchanted by the kindness and condescension of so eminent a writer, haunted his door, and followed him about like a spaniel from coffee-house to coffee-house. Letters full of affection, humility, and fulsome flattery were interchanged between the friends. But the first ardor of affection could not last. Pope, though at no time scrupulously delicate in his writings or fastidious as to the morals of his associates, was shocked by the indecency of a rake who, at seventy, was still the representative of the monstrous profligacy of the Restoration. As the youth grew older, as his mind expanded and his fame rose, he appreciated both himself and Wycherley more correctly. He felt a just contempt for the old gentleman's verses, and was at no great pains to conceal his opinion. Wycherley, on the other hand, though blinded by self-love to the imperfections of what he called his poetry, could not but see that there was an immense difference between his young companion's rhymes and his own. He was divided between two feelings. He wished to have the assistance of so skilful a hand to polish his lines; and yet he shrank from the humiliation of being beholden for literary assistance to a lad who might have been his grandson. Pope was willing to give assistance, but was by no means disposed to give assistance and flattery too. He took the trouble to retouch whole reams of feeble stumbling verses, and inserted many vigorous lines which the least skilful reader will distinguish in an instant. But he thought that by these services he acquired a right to express himself in terms which would not, under ordinary circumstances, become one who was addressing a man of four times his age. In one letter, he tells Wycherley that "the worst pieces are such as, to render them very good, would require almost the entire new writing of them." In another, he gives the following account of his corrections: "Though the whole be as short again as at first, there is not one thought omitted but what is a repetition of something in your first volume, or in this very paper; and the versification throughout is, I believe, such as nobody can be shocked at. The repeated permission you give me of dealing freely with you will, I hope, excuse what I have done; for, if I have not spared you when I thought severity would do you a kindness, I have not mangled you where I thought there was no absolute need of amputation." Wycherley continued to return thanks for all this hacking and hewing, which was, indeed, of inestimable service to his compositions. But at last his thanks began to sound very like reproaches. In private, he is said to have described Pope as a person who could not cut out a suit, but who had some skill in turning old coats. In his letters to Pope, while he acknowledged that the versification of the poems had been greatly improved, he spoke of the whole art of versification with scorn, and sneered at those who preferred sound to sense. Pope revenged himself for this outbreak of spleen by return of post. He had in his hands a volume of Wycherley's rhymes, and he wrote to say that this volume was so full of faults that he could not correct it without completely defacing the manuscript. "I am," he said, "equally afraid of sparing you, and of offending you by too impudent a correction." This was more than flesh and blood could bear. Wycherley reclaimed his papers, in a letter in which resentment shows itself plainly through the thin disguise of civility. Pope, glad to be rid of a troublesome and inglorious task, sent back the deposit, and, by way of a parting courtesy, advised the old man to turn his poetry into prose, and assured him that the public would like his thoughts much better without his versification. Thus ended this memorable correspondence.

Wycherley lived some years after the termination of the strange friendship which we have described. The last scene of his life was, perhaps, the most scandalous. Ten days before his death, at seventy-five, he married a young girl merely in order to injure his nephew, an act which proves that neither years, nor adversity, nor what he called his philosophy, nor either of the religions which he had at different times professed, had taught him the rudiments of morality. He died in December, 1715, and lies in the vault under the church of St. Paul in Covent Garden.

His bride soon after married a Captain Shrimpton, who thus became possessed of a large collection of manuscripts. These were sold to a bookseller. They were so full of erasures and interlineations that no printer could decipher them. It was necessary to call in the aid of a professed critic; and Theobald, the editor of Shakespeare, and the hero of the first Dunciad, was employed to ascertain the true reading. In this way a volume of miscellanies in verse and prose was got up for the market. The collection derives all its value from the traces of Pope's hand, which are everywhere discernible.

Of the moral character of Wycherley it can hardly be necessary for us to say more. His fame as a writer rests wholly on his comedies, and chiefly on the last two. Even as a comic writer, he was neither of the best school, nor highest in his school. He was in truth a worse Congreve. His chief merit, like Congreve's, lies in the style of his dialogue. But the wit which lights up the Plain Dealer and the Country Wife is pale and flickering, when compared with the gorgeous blaze which dazzles us almost to blindness in Love for Love and the Way of the World. Like Congreve, and, indeed, even more than Congreve, Wycherley is ready to sacrifice dramatic propriety to the liveliness of his dialogue. The poet speaks out of the mouths of all his dunces and coxcombs, and makes them describe themselves with a good sense and acuteness which puts them on a level with the wits and heroes. We will give two instances, the first which occur to us, from the Country Wife. There are in the world fools who find the society of old friends insipid, and who are always running after new companions. Such a character is a fair subject for comedy. But nothing can be more absurd than to introduce a man of this sort saying to his comrade, "I can deny you nothing: for though I have known thee a great while, never go if I do not love thee as well as a new acquaintance." That town wits, again, have always been rather a heartless class, is true. But none of them, we will answer for it, ever said to a young lady to whom he was making love, "We wits rail and make love often, but to show our parts: as we have no affections, so we have no malice."

Wycherley's plays are said to have been the produce of long and patient labor. The epithet of "slow" was early given to him by Rochester, and was frequently repeated. In truth his mind, unless we are greatly mistaken, was naturally a very meagre soil, and was forced only by great labor and outlay to bear fruit which, after all, was not of the highest flavor. He has scarcely more claim to originality than Terence. It is not too much to say that there is hardly anything of the least value in his plays of which the hint is not to be found elsewhere. The best scenes in the Gentleman Dancing-Master were suggested by Calderon's Maestro de Danzar, not by any means one of the happiest comedies of the great Castilian poet. The Country Wife is borrowed from the Ecole des Maris and the Ecole des Femmes. The groundwork of the Plain Dealer is taken from the Misanthrope of Moliere. One whole scene is almost translated from the Critique de l'Ecole des Femmes. Fidelia is Shakespeare's Viola stolen, and marred in the stealing; and the Widow Blackacre, beyond comparison Wycherley's best comic character, is the Countess in Racine's Plaideurs, talking the jargon of English instead of that of French chicane.

The only thing original about Wycherley, the only thing which he could furnish from his own mind in inexhaustible abundance, was profligacy. It is curious to observe how everything that he touched, however pure and noble, took in an instant the color of his own mind. Compare the Ecole des Femmes with the Country Wife. Agnes is a simple and amiable girl, whose heart is indeed full of love, but of love sanctioned by honor, morality, and religion. Her natural talents are great. They have been hidden, and, as it might appear, destroyed by an education elaborately bad. But they are called forth into full energy by a virtuous passion. Her lover, while he adores her beauty, is too honest a man to abuse the confiding tenderness of a creature so charming and inexperienced. Wycherley takes this plot into his hands; and forthwith this sweet and graceful courtship becomes a licentious intrigue of the lowest and least sentimental kind, between an impudent London rake and the idiot wife of a country squire. We will not go into details. In truth, Wycherley's indecency is protected against the critics as a skunk is protected against the hunters. It is safe, because it is too filthy to handle, and too noisome even to approach.

It is the same with the Plain Dealer. How careful has Shakespeare been in Twelfth Night to preserve the dignity and delicacy of Viola under her disguise! Even when wearing a page's doublet and hose, she is never mixed up with any transaction which the most fastidious mind could regard as leaving a stain on her. She is employed by the Duke on an embassy of love to Olivia, but on an embassy of the most honorable kind. Wycherley borrows Viola; and Viola forthwith becomes a pandar of the basest sort. But the character of Manly is the best illustration of our meaning. Moliere exhibited in his misanthrope a pure and noble mind, which had been sorely vexed by the sight of perfidy and malevolence, disguised under the forms of politeness. As every extreme naturally generates its contrary, Alceste adopts a standard of good and evil directly opposed to that of the society which surrounds him. Courtesy seems to him a vice; and those stern virtues which are neglected by the fops and coquettes of Paris become too exclusively the objects of his veneration. He is often to blame; he is often ridiculous; but he is always a good man; and the feeling which he inspires is regret that a person so estimable should be so unamiable. Wycherley borrowed Alceste, and turned him—we quote the words of so lenient a critic as Mr. Leigh Hunt—into "a ferocious sensualist, who believed himself as great a rascal as he thought everybody else." The surliness of Moliere's hero is copied and caricatured. But the most nauseous libertinism and the most dastardly fraud are substituted for the purity and integrity of the original. And, to make the whole complete, Wycherley does not seem to have been aware that he was not drawing the portrait of an eminently honest man. So depraved was his moral taste that, while he firmly believed that he was producing a picture of virtue too exalted for the commerce of this world, he was really delineating the greatest rascal that is to be found, even in his own writings.

We pass a very severe censure on Wycherley, when we say that it is a relief to turn from him to Congreve. Congreve's writings, indeed, are by no means pure; nor was he, as far as we are able to judge, a warm-hearted or high-minded man. Yet, in coming to him, we feel that the worst is over, that we are one remove further from the Restoration, that we are past the Nadir of national taste and morality.

William Congreve was born in 1670, at Bardsey, in the neighborhood of Leeds. His father, a younger son of a very ancient Staffordshire family, had distinguished himself among the Cavaliers in the Civil War, was set down after the Restoration for the Order of the Royal Oak, and subsequently settled in Ireland, under the patronage of the Earl of Burlington.

Congreve passed his childhood and youth in Ireland. He was sent to school at Kilkenny, and thence went to the University of Dublin. His learning does great honor to his instructors. From his writings it appears, not only that he was well acquainted with Latin literature, but that his knowledge of the Greek poets was such as was not, in his time, common even in a college.

When he had completed his academical studies, he was sent to London to study the law, and was entered of the Middle Temple. He troubled himself, however, very little about pleading or conveyancing, and gave himself up to literature and society. Two kinds of ambition early took possession of his mind, and often pulled it in opposite directions. He was conscious of great fertility of thought and power of ingenious combination. His lively conversation, his polished manners, and his highly respectable connections had obtained for him ready access to the best company. He longed to be a great writer. He longed to be a man of fashion. Either object was within his reach. But could he secure both? Was there not something vulgar in letters, something inconsistent with the easy apathetic graces of a man of the mode? Was it aristocratical to be confounded with creatures who lived in the cocklofts of Grub Street, to bargain with publishers, to hurry printers' devils and be hurried by them, to squabble with managers, to be applauded or hissed by pit, boxes, and galleries? Could he forego the renown of being the first wit of his age? Could he attain that renown without sullying what he valued quite as much, his character for gentility? The history of his life is the history of a conflict between these two impulses. In his youth the desire of literary fame had the mastery; but soon the meaner ambition overpowered the higher, and obtained supreme dominion over his mind.

His first work, a novel of no great value, he published under the assumed name of Cleophil. His second was the Old Bachelor, acted in 1693, a play inferior indeed to his other comedies, but, in its own line, inferior to them alone. The plot is equally destitute of interest and of probability. The characters are either not distinguishable, or are distinguished only by peculiarities of the most glaring kind. But the dialogue is resplendent with wit and eloquence, which indeed are so abundant that the fool comes in for an ample share, and yet preserves a certain colloquial air, a certain indescribable ease, of which Wycherley had given no example, and which Sheridan in vain attempted to imitate. The author, divided between pride and shame,—pride at having written a good play, and shame at having done an ungentlemanlike thing,—pretended that he had merely scribbled a few scenes for his own amusement, and affected to yield unwillingly to the importunities of those who pressed him to try his fortune on the stage. The Old Bachelor was seen in manuscript by Dryden, one of whose best qualities was a hearty and generous admiration for the talents of others. He declared that he had never read such a first play, and lent his services to bring it into a form fit for representation. Nothing was wanting to the success of the piece. It was so cast as to bring into play all the comic talent, and to exhibit on the boards in one view all the beauty, which Drury-Lane Theatre, then the only theatre in London, could assemble. The result was a complete triumph; and the author was gratified with rewards more substantial than the applauses of the pit. Montagu, then a lord of the treasury, immediately gave him a place, and, in a short time, added the reversion of another place of much greater value, which, however, did not become vacant till many years had elapsed.

In 1694 Congreve brought out the Double Dealer, a comedy in which all the powers which had produced the Old Bachelor showed themselves, matured by time and improved by exercise. But the audience was shocked by the characters of Maskwell and Lady Touchwood. And, indeed, there is something strangely revolting in the way in which a group that seems to belong to the house of Laius or of Pelops is introduced into the midst of the Brisks, Froths, Carelesses, and Plyants. The play was unfavorably received. Yet, if the praise of distinguished men could compensate an author for the disapprobation of the multitude, Congreve had no reason to repine. Dryden, in one of the most ingenious, magnificent, and pathetic pieces that he ever wrote, extolled the author of the Double Dealer in terms which now appear extravagantly hyperbolical. Till Congreve came forth,—so ran this exquisite flattery,—the superiority of the poets who preceded the civil wars was acknowledged:—

"Theirs was the giant race before the flood."

Since the return of the Royal house, much art and ability had been exerted, but the old masters had been still unrivalled:—

"Our builders were with want of genius curst. The second temple was not like the first."

At length a writer had arisen who, just emerging from boyhood, had surpassed the authors of the Knight of the Burning Pestle and of the Silent Woman, and who had only one rival left to contend with:—

"Heaven, that but once was prodigal before, To Shakespeare gave as much, she could not give him more."

Some lines near the end of the poem are singularly graceful and touching, and sank deep into the heart of Congreve:—

"Already am I worn with cares and age, And just abandoning the ungrateful stage; But you, whom every Muse and Grace adorn, Whom I foresee to better fortune horn, Be kind to my remains; and, oh, defend Against your judgment your departed friend. Let not the insulting foe my fame pursue, But guard those laurels which descend to you."

The crowd, as usual, gradually came over to the opinion of the men of note; and the Double Dealer was before long quite as much admired, though perhaps never so much liked, as the Old Bachelor.

In 1695 appeared Love for Love, superior both in wit and in scenic effect to either of the preceding plays. It was performed at a new theatre which Betterton and some other actors, disgusted by the treatment which they had received in Drury-Lane, had just opened in a tennis-court near Lincoln's Inn. Scarcely any comedy within the memory of the oldest man had been equally successful. The actors were so elated that they gave Congreve a share in their theatre; and he promised in return to furnish them with a play every year, if his health would permit. Two years passed, however, before he produced the Mourning Bride, a play which, paltry as it is when compared, we do not say, with Lear or Macbeth, but with the best dramas of Massinger and Ford, stands very high among the tragedies of the age in which it was written. To find anything so good we must go twelve years back to Venice Preserved, or six years forward to the Fair Penitent. The noble passage which Johnson, both in writing and in conversation, extolled above any other in the English drama, had suffered greatly in the public estimation from the extravagance of his praise. Had he contented himself with saying that it was finer than anything in the tragedies of Dryden, Otway, Lee, Rowe, Southern, Hughes, and Addison, than anything, in short, that had been written for the stage since the days of Charles the First, he would not have been in the wrong.

The success of the Mourning Bride was even greater than that of Love for Love. Congreve was now allowed to be the first tragic as well as the first comic dramatist of his time; and all this at twenty-seven. We believe that no English writer except Lord Byron has, at so early an age, stood so high in the estimation of his contemporaries.

At this time took place an event which deserves, in our opinion, a very different sort of notice from that which has been bestowed on it by Mr. Leigh Hunt. The nation had now nearly recovered from the demoralizing effect of the Puritan austerity. The gloomy follies of the reign of the saints were but faintly remembered. The evils produced by profaneness and debauchery were recent and glaring. The Court, since the Revolution, had ceased to patronize licentiousness. Mary was strictly pious; and the vices of the cold, stern, and silent William were not obtruded on the public eye. Discountenanced by the government, and falling in the favor of the people, the profligacy of the Restoration still maintained its ground in some parts of society. Its strongholds were the places where men of wit and fashion congregated, and above all, the theatres. At this conjuncture arose a great reformer whom, widely as we differ from him in many important points, we can never mention without respect.

Jeremy Collier was a clergyman of the Church of England, bred at Cambridge. His talents and attainments were such as might have been expected to raise him to the highest honors of his profession. He had an extensive knowledge of books; yet he had mingled much with polite society, and is said not to have wanted either grace or vivacity in conversation. There were few branches of literature to which he had not paid some attention. But ecclesiastical antiquity was his favorite study. In religious opinions he belonged to that section of the Church of England which lies furthest from Geneva and nearest to home. His notions touching Episcopal government, holy orders, the efficacy of the sacraments, the authority of the Fathers, the guilt of schism, the importance of vestments, ceremonies, and solemn days, differed little from those which are now held by Dr. Pusey and Mr. Newman. Towards the close of his life, indeed, Collier took some steps which brought him still nearer to Popery, mixed water with the wine in the Eucharist, made the sign of the cross in confirmation, employed oil in the visitation of the sick, and offered up prayers for the dead. His politics were of a piece with his divinity. He was a Tory of the highest sort, such as in the cant of his age was called a Tantivy. Not even the persecution of the bishops and the spoliation of the universities could shake his steady loyalty. While the Convention was sitting, he wrote with vehemence in defence of the fugitive king, and was in consequence arrested. But his dauntless spirit was not to be so tamed. He refused to take the oaths, renounced all his preferments, and, in a succession of pamphlets written with much violence and with some ability, attempted to excite the nation against its new masters. In 1692 he was again arrested on suspicion of having been concerned in a treasonable plot. So unbending were his principles that his friends could hardly persuade him to let them bail him; and he afterwards expressed his remorse for having been induced thus to acknowledge, by implication, the authority of a usurping government. He was soon in trouble again. Sir John Friend and Sir William Parkins were tried and convicted of high treason for planning the murder of King William. Collier administered spiritual consolation to them, attended them to Tyburn, and, just before they were turned off, laid his hands on their heads, and by the authority which he derived from Christ solemnly absolved them. This scene gave indescribable scandal. Tories joined with Whigs in blaming the conduct of the daring priest. Some acts, it was said, which fall under the definition of treason are such that a good man may, in troubled times, be led into them even by his virtues. It may be necessary for the protection of society to punish such a man. But even in punishing him we consider him as legally rather than morally guilty, and hope that his honest error, though it cannot be pardoned here, will not be counted to him for sin hereafter. But such was not the case of Collier's penitents. They were concerned in a plot for waylaying and butchering in an hour of security, one who, whether he were or were not their king, was at all events their fellow creature. Whether the Jacobite theory about the rights of governments and the duties of subjects were or were not well founded, assassination must always be considered as a great crime. It is condemned even by the maxims of worldly honor and morality. Much more must it be an object of abhorrence to the pure Spouse of Christ. The Church cannot surely, without the saddest and most mournful forbodings, see one of her children who has been guilty of this great wickedness pass into eternity without any sign of repentance. That these traitors had given any sign of repentance was not alleged. It might be that they had privately declared their contrition; and, if so, the minister of religion might be justified in privately assuring them of the Divine forgiveness. But a public remission ought to have been preceded by a public atonement. The regret of these men, if expressed at all, had been expressed in secret. The hands of Collier had been laid on them in the presence of thousands. The inference which his enemies drew from his conduct was that he did not consider the conspiracy against the life of William as sinful. But this inference he very vehemently, and, we doubt not, very sincerely denied.

The storm raged. The bishops put forth a solemn censure of the absolution. The Attorney-General brought the matter before the Court of King's Bench. Collier had now made up his mind not to give bail for his appearance before any court which derived its authority from the usurper. He accordingly absconded and was outlawed. He survived these events about thirty years. The prosecution was not pressed; and he was soon suffered to resume his literary pursuits in quiet. At a later period, many attempts were made to shake his perverse integrity by offers of wealth and dignity, but in vain. When he died, towards the end of the reign of George the First, he was still under the ban of the law.

We shall not be suspected of regarding either the politics or the theology of Collier with partiality; but we believe him to have been as honest and courageous a man as ever lived. We will go further, and say that, though passionate and often wrongheaded, he was a singularly fair controversialist, candid, generous, too high-spirited to take mean advantages even in the most exciting disputes, and pure from all taint of personal malevolence. It must also be admitted that his opinions on ecclesiastical and political affairs, though in themselves absurd and pernicious, eminently qualified him to be the reformer of our lighter literature. The libertinism of the press and of the stage was, as we have said, the effect of a reaction against the Puritan strictness. Profligacy was, like the oak leaf on the twenty-ninth of May, the badge of a cavalier and a high churchman. Decency was associated with conventicles and calves' heads. Grave prelates were too much disposed to wink at the excesses of a body of zealous and able allies who covered Roundheads and Presbyterians with ridicule. If a Whig raised his voice against the impiety and licentiousness of the fashionable writers, his mouth was instantly stopped by the retort, You are one of those who groan at a light quotation from Scripture, and raise estates out of the plunder of the Church, who shudder at a double entendre, and chop off the heads of kings. A Baxter, a Burnet, even a Tillotson, would have done little to purify our literature. But when a man fanatical in the cause of episcopacy, and actually under outlawry for his attachment to hereditary right, came forward as the champion of decency, the battle was already half won.

In 1698 Collier published his Short View of the Profaneness and Immorality of the English Stage, a book which threw the whole literary world into commotion, but which is now much less read than it deserves. The faults of the work, indeed, are neither few nor small. The dissertations on the Greek and Latin drama do not at all help the argument, and, whatever may have been thought of them by the generation which fancied that Christ Church had refuted Bentley, are such as, in the present day, a scholar of very humble pretensions may venture to pronounce boyish, or rather babyish. The censures are not sufficiently discriminating. The authors whom Collier accused had been guilty of such gross sins against decency that he was certain to weaken instead of strengthening his case, by introducing into his charge against them any matter about which there could be the smallest dispute. He was, however, so injudicious as to place among the outrageous offences which he justly arraigned some things which are really quite innocent, and some slight instances of levity which, though not perhaps strictly correct, could easily be paralleled from the works of writers who had rendered great services to morality and religion. Thus he blames Congreve, the number and gravity of whose real transgressions made it quite unnecessary to tax him with any that were not real, for using the words "martyr" and "inspiration" in a light sense; as if an archbishop might not say that a speech was inspired by claret, or that an alderman was a martyr to the gout. Sometimes, again, Collier does not sufficiently distinguish between the dramatist and the persons of the drama. Thus he blames Vanbrugh for putting into Lord Foppington's mouth some contemptuous expressions respecting the church service; though it is obvious that Vanbrugh could not better express reverence than by making Lord Foppington express contempt. There is also throughout the Short View too strong a display of professional feeling. Collier is not content with claiming for his order an immunity from indiscriminate scurrility; he will not allow that, in any case, any word or act of a divine can be a proper subject for ridicule: Nor does he confine this benefit of clergy to the ministers of the Established Church. He extends the privilege to Catholic priests, and, what in him is more surprising, to Dissenting preachers. This, however, is a mere trifle. Imaums, Brahmins, priests of Jupiter, priests of Baal, are all to be held sacred. Dryden is blamed for making the Mufti in Don Sebastian talk nonsense. Lee is called to a severe account for his incivility to Tiresias. But the most curious passage is that in which Collier resents some uncivil reflections thrown by Cassandra, in Dryden's Cleomenes, on the calf Apis and his hierophants. The words "grass-eating, foddered god," words which really are much in the style of several passages in the Old Testament, give as much offence to this Christian divine as they could have given to the priests of Memphis.

But, when all deductions have been made, great merit must be allowed to this work. There is hardly any book of that time from which it would be possible to select specimens of writing so excellent and so various. To compare Collier with Pascal would indeed be absurd. Yet we hardly know where, except in the Provincial Letters, we can find mirth so harmoniously and becomingly blended with solemnity as in the Short View. In truth, all the modes of ridicule, from broad fun to polished and antithetical sarcasm, were at Collier's command. On the other hand, he was complete master of the rhetoric of honest indignation. We scarcely know any volume which contains so many bursts of that peculiar eloquence which comes from the heart and goes to the heart. Indeed the spirit of the book is truly heroic. In order fairly to appreciate it, we must remember the situation in which the writer stood. He was under the frown of power. His name was already a mark for the invectives of one half of the writers of the age, when, in the cause of good taste, good sense, and good morals, he gave battle to the other half. Strong as his political prejudices were, he seems on this occasion to have entirely laid them aside. He has forgotten that he is a Jacobite, and remembers only that he is a citizen and a Christian. Some of his sharpest censures are directed against poetry which had been hailed with delight by the Tory party, and had inflicted a deep wound on the Whigs. It is inspiriting to see how gallantly the solitary outlaw advances to attack enemies, formidable separately, and, it might have been thought, irresistible when combined, distributes his swashing blows right and left among Wycherley, Congreve, and Vanbrugh, treads the wretched D'Urfey down in the dirt beneath his feet, and strikes with all his strength full at the towering crest of Dryden.

The effect produced by the Short View was immense. The nation was on the side of Collier. But it could not be doubted that, in the great host which he had defied, some champion would be found to lift the gauntlet. The general belief was that Dryden would take the field; and all the wits anticipated a sharp contest between two well-paired combatants. The great poet had been singled out in the most marked manner. It was well known that he was deeply hurt, that much smaller provocations had formerly roused him to violent resentment, and that there was no literary weapon, offensive or defensive, of which he was not master. But his conscience smote him; he stood abashed, like the fallen archangel at the rebuke of Zephon,—

"And felt how awful goodness is, and saw Virtue in her shape how lovely; saw and pined His loss."

At a later period he mentioned the Short View in the preface to his Fables. He complained, with some asperity, of the harshness with which he had been treated, and urged some matters in mitigation. But, on the whole, he frankly acknowledged that he had been justly reproved. "If," said he, "Mr. Collier be my enemy, let him triumph. If he be my friend, as I have given him no personal occasion to be otherwise, he will be glad of my repentance."

It would have been wise in Congreve to follow his master's example. He was precisely in that situation in which it is madness to attempt a vindication; for his guilt was so clear that no address or eloquence could obtain an acquittal. On the other hand, there were in his case many extenuating circumstances which, if he had acknowledged his error and promised amendment, would have procured his pardon. The most rigid censor could not but make great allowances for the faults into which so young a man had been seduced by evil example, by the luxuriance of a vigorous fancy, and by the inebriating effect of popular applause. The esteem, as well as the admiration, of the public was still within his reach. He might easily have effaced all memory of his transgressions, and have shared with Addison the glory of showing that the most brilliant wit may be the ally of virtue. But, in any case, prudence should have restrained him from encountering Collier. The nonjuror was a man thoroughly fitted by nature, education, and habit for polemical dispute. Congreve's mind, though a mind of no common fertility and vigor, was of a different class. No man understood so well the art of polishing epigrams and repartees into the clearest effulgence, and setting them neatly in easy and familiar dialogue. In this sort of jewelry he attained to a mastery unprecedented and inimitable. But he was altogether rude in the art of controversy; and he had a cause to defend which scarcely any art could have rendered victorious.

The event was such as might have been foreseen. Congreve's answer was a complete failure. He was angry, obscure, and dull. Even the green-room and Will's Coffee-House were compelled to acknowledge that in wit, as well as in argument, the parson had a decided advantage over the poet. Not only was Congreve unable to make any show of a case where he was in the wrong; but he succeeded in putting himself completely in the wrong where he was in the right. Collier had taxed him with profaneness for calling a clergyman Mr. Prig, and for introducing a coachman named Jehu, in allusion to the King of Israel, who was known at a distance by his furious driving. Had there been nothing worse in the Old Bachelor and Double Dealer, Congreve might pass for as pure a writer as Cowper himself, who, in poems revised by so austere a censor as John Newton, calls a fox-hunting squire Nimrod, and gives to a chaplain the disrespectful name of Smug. Congreve might with good effect have appealed to the public whether it might not be fairly presumed that, when such frivolous charges were made, there were no very serious charges to make. Instead of doing this, he pretended that he meant no allusion to the Bible by the name of Jehu, and no reflection by the name of Prig. Strange, that a man of such parts should, in order to defend himself against imputations which nobody could regard as important, tell untruths which it was certain that nobody would believe!

One of the pleas which Congreve set up for himself and his brethren was that, though they might be guilty of a little levity here and there, they were careful to inculcate a moral, packed close into two or three lines, at the end of every play. Had the fact been as he stated it, the defence would be worth very little. For no man acquainted with human nature could think that a sententious couplet would undo all the mischief that five profligate acts had done. But it would have been wise in Congreve to have looked again at his own comedies before he used this argument. Collier did so, and found that the moral of the Old Bachelor, the grave apophthegm which is to be a set-off against all the libertinism of the piece, is contained in the following triplet:—

"What rugged ways attend the noon of life! Our sun declines, and with what anxious strife, What pain, we tug that galling load—a wife."

"Love for Love," says Collier, "may have a somewhat better farewell, but it would do a man little service should he remember it to his dying day:"—

"The miracle to-day is, that we find A lover true, not that a woman's kind."

Collier's reply was severe and triumphant. One of his repartees we will quote, not as a favorable specimen of his manner, but because it was called forth by Congreve's characteristic affectation. The poet spoke of the Old Bachelor as a trifle to which he attached no value, and which had become public by a sort of accident. "I wrote it," he said, "to amuse myself in a slow recovery from a fit of sickness." "What his disease was," replied Collier, "I am not to inquire: but it must be a very ill one to be worse than the remedy."

All that Congreve gained by coming forward on this occasion was that he completely deprived himself of the excuse which he might with justice have pleaded for his early offences. "Why," asked Collier, "should the man laugh at the mischief of the boy, and make the disorders of his nonage his own, by an after approbation?"

Congreve was not Collier's only opponent. Vanbrugh, Dennis, and Settle took the field. And, from a passage in a contemporary satire, we are inclined to think that among the answers to the Short View was one written, or supposed to be written, by Wycherley. The victory remained with Collier. A great and rapid reform in almost all the departments of our lighter literature was the effect of his labors. A new race of wits and poets arose, who generally treated with reverence the great ties which bind society together, and whose very indecencies were decent when compared with those of the school which flourished during the last forty years of the seventeenth century.

This controversy probably prevented Congreve from fulfilling the engagements into which he had entered with the actors. It was not till 1700 that he produced the Way of the World, the most deeply meditated and the most brilliantly written of all his works. It wants, perhaps, the constant movement, the effervescence of animal spirits, which we find in Love for Love. But the hysterical rants of Lady Wishfort, the meeting of Witwould and his brother, the country knight's courtship and his subsequent revel, and, above all, the chase and surrender of Millamant, are superior to anything that is to be found in the whole range of English comedy from the civil war downwards. It is quite inexplicable to us that this play should have failed on the stage. Yet so it was; and the author, already sore with the wounds which Collier had inflicted, was galled past endurance by this new stroke. He resolved never again to expose himself to the rudeness of a tasteless audience, and took leave of the theatre forever.

He lived twenty-eight years longer, without adding to the high literary reputation which he had attained. He read much while he retained his eyesight, and now and then wrote a short essay, or put an idle tale into verse; but he appears never to have planned any considerable work. The miscellaneous pieces which he published in 1710 are of little value, and have long been forgotten.

The stock of fame which he had acquired by his comedies was sufficient, assisted by the graces of his manner and conversation, to secure for him a high place in the estimation of the world. During the winter he lived among the most distinguished and agreeable people in London. His summers were passed at the splendid country-seats of ministers and peers. Literary envy and political faction, which in that age respected nothing else, respected his repose. He professed to be one of the party of which his patron Montagu, now Lord Halifax, was the head. But he had civil words and small good offices for men of every shade of opinion. And men of every shade of opinion spoke well of him in return.