130 ^ffay on Maffinger. 



whether it be properly concluded. Another 

 reafon, however, may be afligned for the intri- 

 cacy of thofe plots, namely, the prevailing tafte 

 for the manners and writings of Italy. During 

 the whole of the fixteenth, and part of the feven- 

 teenth century, Italy was the feat of elegance 

 and arts, which the other European nations had 

 begun to admire, but not to imitate. From 

 caufes which it would be foreign tjo the pre- 

 fent purpofe to enumerate, the Italian writers 

 abounded in complicated and interefting (lories, 

 which were eagerly feized by a people not well 

 qualified for invention*; but the richnefs, va- 

 riety and diftindtnefs of character which our 

 writers added to thofe tales, conferred beauties 

 on them which charm us at this hour, however 

 difguifed by the alterations of manners and 

 language. 



Exa6l difcrimination and confiftency of cha- 

 rafler appear in all Maflinger's produdtions ; 

 fometimes, indeed, the interefl: of the play fuf- 

 fers by his fcrupulous attention to them. Thus, 

 in the Fatal Dowry, Charolois's fortitude and 

 determined fenie of honour are carried to a moft 

 unfeeling and barbarous degree; and Francifco's 

 villainy, in the Duke of Milan, is cold and con- 



* Cartwright and Congreve, who refemble each other 

 Ilrongly in fome remarkable circumitances, are almoft our 

 only dramatifts who have any claim to originality in their 

 plots. 



fiderate 





