Sect. IX.] Drama. 41 



this increase in the taste and demand for theatri- 

 cal representations some notice will be taken here- 

 after^ 



Though the specimens of KngUsJi Tragedy^ 

 which belong to the period under review, are nu- 

 merous, yet few of them are entitled to the praise 

 of first-rate excellence. After the Mourning Bride 

 of Congreve, which properly belongs to the pre- 

 ceding age, the Fair Penitent^ and the Jane Shore, 

 of Rowe *, with respect to time, hold the first 

 place. These, though of different relative merit, 

 yet, both on account of their plot and language, 

 have deservedly continued to be favourites to the 

 present day f . If Rowe paint the passions with 

 less force and conformity to nature than Shak- 

 speare and Otway, he is free from the barbarisms 

 of the former, and the licentiousness of the latter. 

 The Cafo of Addison is generally known ; and 

 the public seem now to be agreed in the opinion, 

 that, notwithstanding all the loftiness of sentiment 

 and beauty of diction with which it abounds, as a 



* Nicholas Rowe was born in Bedfordshire in 1673. He held 

 peveral places under government, and upon the accession of 

 George I was made poet-laureat. He died in 1718. His best 

 productions are his translation o( Lucarii and the two Tragedies 

 abovementioned. 



-j- In these and the following remarks on dramatic poetry, the 

 author takes for granted, that no reader w ill consider him as ex- 

 pressing an opinion favourable to theatrical amusements. He is 

 persuaded, that the general character and tendency of such amuse- 

 inents are highly immoral; but in this place, and always when 

 he employs favourable expressions concerning certain dramas, he 

 begs to be understood as merely delivering opinions of a literary- 

 kind. 



