218 Poetry. 



brated; and the moral dramas of Mouval and 

 BouiLLY have also a high reputation. 



Besides the French comic writers above men- 

 tioned, several others have attained distinction, 

 though in an inferior degree. Among these, Reg- 

 nard, La Motte, Marivaux, Marmontel, Se- 

 daine, and Saint Foix, deserve particular notice. 

 It is to be lamented that purity of moral character 

 cannot be generally ascribed to their productions. 



Though the best English comedies of the eigh- 

 teenth century are far superior to those of the 

 same language which were produced in the pre- 

 ceding age, we cannot consider the same improve- 

 ment as belonging to modern French comedy. 

 Moliere, who died towards the close of the seven- 

 teenth century, in the combined excellences of 

 wit, humour, plot, and character, has never been 

 equalled by any of his successors. It may be 

 questioned, indeed, whether he was ever equalled, 

 in all these respects, by any writer, ancient or 

 modern. His plays have supplied materials for 

 plunder to all other comic writers since his time. 



The dramatic works of Italy, during the period 

 6f this retrospect, were many in number, and some 

 of them highly valued as efforts of genius/ In 

 Italian Tragedy, the various works of Martelli, 

 which appeared early in the century, hold an 

 honourable place. His Perselide, Ifigenia, and 

 Alceste, are generally enumerated among the best 

 productions of his pen. To Martelli is ascribed 

 the honour of having adopted a structure of poetry 

 w T hich had never before been used in Italy. The 

 tragedies of Marchesi have also a high character 

 among the critics of that country. Those under 

 the titles of Crispo and Polissena have particularly 

 attained general celebrity. The Merope, of Maf- 



j See "Walker's HittorUal Memoir on Italian Tragedy, 4to. I799. 



