Sect. IX.] DramQ. 47 



with the English drama, and have attained variou^j 

 degrees of respect in the public estimation. 



That kind of dramatic composition which is set 

 to music, and is denominated an Opera^ is well 

 known to be a modern invention. This species of 

 theatrical exhibition was first made in Italy about 

 the beginning of the seventeenth century ; but it 

 was never introduced into England till the begin- 

 ning of the eighteenth : and in order to avoid the 

 absurdity of dramas in an unknown tongue (for 

 the iirst operas performed in Britain were in the 

 Italian language), Mr. Addison wrote and pub- 

 lished his Rosamond. Since that time operas have 

 become more popular in almost every part of 

 Europe, and genetally find a place where the 

 theatre is supporte<ll. The operas of Fontenolle, 

 of Metastasio, and of other celebrated dramatic, 

 writers, are well knov\:n. But they are, after all, 

 a kind of composition too unnatural to hold a 

 very high ])lace in the list of dramatic amuse- 

 ments. The first serious operas were brctf-^ght 01? 

 the English stage by Dr. Arne, who translated 

 some of the operas of Metastasio ; but this kind 

 of theatrical exhibition gained little ground. The 

 first musical piece which commanded any great 

 success on the English stage was the Beggar s 

 Opera of Gay. Since his time the cof7uc opera 

 has been much more popular than the serious. 



It would be a culpable omission to conclude 

 our remarks on this department of British poetry 

 without taking some notice of the unwearied la- 

 bours of literary men, during the age under con- 

 sideration, to illustrate the writings of Siiakspeare, 

 the great father of the English diama. For some 



