EJfay on Majfinger, 157 



of life. Our own times, in which the intention 

 of polite education is to produce a general, uni- 

 forjn manner, afford little diverfity of charadler 

 for the ftage. Our dramatifts, therefore, mark 

 the diftin6lions of their characters, by incidents 

 more than by fentiments, and abound more in 

 ftriking fituations than interefting dialogue. In 

 the old comedy, the cataftrophe is occafioned, 

 in general, by a change in the mind of fome 

 principal charadler, artfully prepared, and cau- 

 tioufly conduced; in the modern, the unfolding 

 of the plot is etf^efted by the overturning of a 

 fcreen, the opening of a door, or by fome other 

 equally dignified machine. 



When we compare Maflinger v/ith the other 

 dramatic writers of his age, we cannot long 

 hefitate where to place him. More natural in 

 his characters, and more poetical in his diftion, 

 than Johnfon or Cartwright, more elevated and 

 nervous than Fletcher, the only writers who can 

 be fuppofed to conteft his pre-eminence, Maflin- 

 ger ranks immediately under Shakefpeare him- 

 felf*. 



It mu(t be confefled, that in comedy Maflin- 

 ger falls confiderably beneath Shakefpeare j his 

 wit is lefs brilliant, and his ridicule lefs delicate 



• I omit Mihon, becaufe his Samfon is an exotic, not 

 captivating to the eyes of Englifhmen ; and whatever 

 detached beauties Com us may poffefs, it is incomparably 

 heavy, confidered as a dramatic piece. 



and 



