128 EJfay on Majfmger. 



elegant and lefs interefting, by the plagiary's 

 indifcretion ; the lively, facetious Durazzo of 

 Maflinger is transformed into a naufeous buffoon, 

 in the charafter of Old Mirabel. 



The art and judgment with which our poet 

 conducts his incidents are every where admi- 

 rable. In the Duke of Milan, our pity for 

 Marcelia would infpire a deteftation of all the 

 other charafters, if fhe did not facilitate her 

 ruin by the indulgence of an exceflive pride. 

 In the Bondman, Cleora would be defpicable 

 when fhe changes her lover, if Leofthenes had 

 not rendered himfelf unworthy of her, by a 

 mean jealoufy. The violence of Almira's paflion, 

 in the Very Woman, prepares us for its decay. 

 Many detached fcenes in thefe pieces poffefs 

 uncommon beauties of incident and fiiuation. 

 Of this kind, are the interview between Charles V. 

 and Sforza*, which, though notorioufly con- 

 trary to true hiftory, and very deficient in the 

 reprefentation of the Emperor, arrefls our atten- 

 tion, and awakens our feelings in the flrongeft 

 mannerj the conference of Matthias and Baptifta, 

 when Sophia's virtue becomes fufpeftedfj the 

 pleadings in the Fatal Dowry, refpecting the 

 funeral rites of Charoloisj the interview between 

 Don John, difguifed as a flave, and his miflrefs, 



* Duke of Milan, Aft II. f Pi<^ure. 



to 



