friend may have it almost as warm as yourself. If it have time to cool, it is the most tasteless of all cold meats. I have often smiled at a conceit of the late Lord C. It seems that travelling somewhere about Geneva, he came to some pretty green spot, or nook, where a willow, or something, hung so fantastically and invitingly over a stream-was it?-or a rock?-no matter-but the stiilness and the repose, after a weary journey 'tis likely, in a languid moment of his lordship's hot restless life, so took his fancy, that he could imagine no place so proper, in the event of his death, to lay his bones in. This was all very natural and excusable as a sentiment, and shows his character in a very pleasing light. But when from a passing sentiment it came to be an act; and when, by a positive testamentary disposal, his remains were actually carried all that way from England; who was there, some desperate sentimentalists excepted, that did not ask the question, Why could not his lordship have found a spot as solitary, a nook as romantic, a tree as green and pendant, with a stream as emblematic to his purpose, in Surrey, in Dorset, or in Devon? Conceive the sentiment boarded up, freighted, entered at the Custom House (startling the tide-waiters with the novelty), hoisted into a ship. Conceive it pawed about and handled between the rude jests of tarpaulin ruffians-a thing of its delicate texture-the salt bilge wetting it till it became as vapid as a damaged lustring. Suppose it in material danger (mariners have some superstition about sentiments) of being tossed over in a fresh gale to some propitiatory shark (spirit of St. Gothard, save us from a quietus so foreign to the deviser's purpose !) but it has happily evaded a fishy consummation. Trace it then to its lucky landing-at Lyons shall we say?—I have not the map before me-jostled upon four men's shoulders-baiting at this town-stopping to refresh at t'other village--waiting a passport here, a licence there; the sanction of the magistracy in this district, the concurrence of the ecclesiastics in that canton; till at length it arrives at its destination, tired out and jaded, from a brisk sentiment, into a feature of silly pride or tawdry, senseless affectation. How few sentiments, my dear F., I am afraid we can set down, in the sailor's phrase, as quite seaworthy.

Lastly, as to the agreeable levities, which, though contemptible in bulk, are the twinkling corpuscula which should irradiate a right friendly epistle-your puns and small jests are, I apprehend, extremely circumscribed in their sphere of action. They are so far from a capacity of being packed up and sent beyond sea, they will scarce endure to be transported by hand from this room to the next. Their vigour is as the instant of their birth. Their nutriment for their brief existence is the intellectual atmosphere of the bystanders: or this last, is the fine slime of Nilus-the melior lutus,-whose maternal recipiency is as necessary as the sol pater to their equivocal generation. A pun hath a hearty kind of present ear-kissing smack with it; you can no more transmit it in its pristine flavour, than you can send a kiss.-Have you not tried in some instances to palm off a yesterday's pun upon a gentleman, and has it answered? Not but it was new to his hearing, but it did not seem to come new from you. It did not hitch in. It was like picking up at a village ale-house a two days' old newspaper. You have not seen it before, but you resent the stale thing as an affront. This sort of merchandise above all requires a quick return. A pun, and its recognitory laugh, must be co-instantaneous. The one is the brisk lightning, the other the fierce thunder. A moment's interval, and the link is snapped. A pun is reflected from a friend's face as from a mirror. Who would consult his sweet visnomy, if the polished surface were two or three minutes (not to speak of twelve months, my dear F.) in giving back its copy?

I cannot imagine to myself whereabout you are. When I try to fix it, Peter Wilkins's island comes across me. Sometimes you seem to be in the Hades of Thieves. I see Diogenes prying among you with his perpetual fruitless lantern. What must you be willing by this time to give for the sight of an

honest man! You must almost have forgotten how we look. And tell me, what your Sydneyites do? are they th**v*ng all day long? Merciful heaven! what property can stand against such a depredation! The kangaroos-your Aborigines-do they keep their primitive simplicity un-Europe-tainted, with those little short fore-puds, looking like a lesson framed by nature to the pickpocket! Marry, for diving into fobs they are rather lamely provided à priori; but if the hue and cry were once up, they would show as fair a pair of hindshifters as the expertest loco-motor in the colony.-We hear the most improbable tales at this distance. Pray, is it true that the young Spartans among you are born with six fingers, which spoils their scanning?-It must look very odd; but use reconciles. For their scansion, it is less to be regretted, for if they take it into their heads to be poets, it is odds but they turn out, the greater part of them, vile plagiarists.-Is there much difference to see to between the son of a th**f, and the grandson? or where does the taint stop? Do you bleach in three or in four generations ?-I have many questions to put, but ten Delphic voyages can be made in a shorter time than it will take to satisfy my scruples. Do you grow your own hemp !-What is your staple trade, exclusive of the national profession, I mean? Your lock-smiths, I take it, are some of your great capitalists.

I am insensibly chattering to you as familiarly as when we used to exchange good-morrows out of our old contiguous windows, in pump-famed Hare Court in the Temple. Why did you ever leave that quiet corner?—Why did I ?— with its complement of four poor elms, from whose smoke-dried barks, the theme of jesting ruralists, I picked my first lady-birds! My heart is as dry as that spring sometimes proves in a thirsty August, when I revert to the space that is between us; a length of passage enough to render obsolete the phrases of our English letters before they can reach you. But while I talk, I think you hear me,-thoughts dallying with vain surmise

Ay me! while thee the seas and sounding shores
Hold far away.

Come back, before I am grown into a very old man, so as you shall hardly know me. Come, before Bridget walks on crutches. Girls whom you left children have become sage matrons, while you are tarrying there. The blooming Miss W -r (you remember Sally W- -r) called upon us yesterday, an aged crone. Folks, whom you knew, die off every year. Formerly, I thought that death was wearing out, I stood ramparted about with so many healthy friends. The departure of J. W., two springs back, corrected my delusion. Since then the old divorcer has been busy. If you do not make haste to return, there will be little left to greet you, of me, or mine.

[Something of home matters I could add; but that, with certain remembrances never to be omitted, I reserve for the grave postscript to this light epistle; which postscript, for weighty reasons, justifactory in any court of feeling, I think better omitted in this first edition. London, March 1st, 1822. Elia.]

On the Artificial Comedy of the Last Century.

(The London Magazine, April, 1822.)

[As originally published, this essay formed the second instalment of the article on "The Old Actors." "M." is understood to have been Mr. Marshall, an old intimate of William Godwin. "Rs," was probably Reynolds the Dramatist, not Frederick Reynolds, but John Hamilton Reynolds, one of the regular staff of contributors to the London Magazine.]

We

THE artificial Comedy, or Comedy of manners, is quite extinct on our stage. Congreve and Farquhar show their heads once in seven years only, to be exploded and put down instantly. The times cannot bear them. Is it for a few wild speeches, an occasional licence of dialogue? I think not altogether. (The business of their dramatic characters will not stand the moral test. screw everything up to that. Idle gallantry in a fiction, a dream, the passing pageant of an evening, startles us in the same way as the alarming indications of profligacy in a son or ward in real life should startle a parent or guardian. We have no such middle emotions as dramatic interests left. We see a stage libertine playing his loose pranks of two hours' duration, and of no after-consequence, with the severe eyes which inspect real vices with their bearings upon two worlds. We are spectators to a plot or intrigue (not reducible in life to the point of strict morality) and take it all for truth. We substitute a real for a dramatic person, and judge him accordingly. We try him in our courts, from which there is no appeal to the dramatis persona, his peers. We have been spoiled with-not sentimental comedy-but a tyrant far more pernicious to our pleasures which has succeeded to it, the exclusive and all-devouring drama of common life; where the moral point is everything; where, instead of the fictitious half-believed personages of the stage (the phantoms of old comedy) we recognize ourselves, our brothers, aunts, kinsfolk, allies, patrons, enemies, -the same as in life,-with an interest in what is going on so hearty and substantial, that we cannot afford our moral judgment, in its deepest and most vital results, to compromise or slumber for a moment. What is there transacting, by no modification is made to affect us in any other manner than the same events or characters would do in our relationships of life. We carry our fireside concerns to the theatre with us. We do not go thither, like our ancestors, to escape from the pressure of reality, so much as to confirm our experience of it; to make assurance double, and take a bond of fate. We must live our toilsome lives twice over, as it was the mournful privilege of Ulysses to descend twice to the shades. All that neutral ground of character, which stood between vice and virtue; or which in fact was indifferent to neither, where neither property was called in question; that happy breathing-place from the burthen of a perpetual moral questioning-the sanctuary and quiet Alsatia of hunted casuistry is broken up and disfranchised, as injurious to the interests of society. The privileges of the place are taken away by law. We dare not dally with images, or names, of wrong. We bark like foolish dogs at shadows. We dread infection from the scenic representation of disorder; and fear a painted pustule. In our anxiety that our morality should not take cold, we wrap it up in a great blanket surtout of precaution against the breeze and sunshine.

I confess for myself that (with no great delinquencies to answer for) I am glad for a season to take an airing beyond the diocese of the strict conscience, -not to live always in the precincts of the law courts, -but now and then, for a dream-while or so, to imagine a world with no meddling restrictions-to get into recesses, whither the hunter cannot follow me

-Secret shades

Of woody Ida's inmost grove,

While yet there was no fear of Jove

I come back to my cage and my restraint the fresher and more healthy for it. I wear my shackles more contentedly for having respired the breath of an imaginary freedom. I do not know how it is with others, but I feel the better always for the perusal of one of Congreve's-nay, why should I not add even of Wycherley's-comedies. I am the gayer at least for it; and I could never connect those sports of a witty fancy in any shape with any result to be drawn from them to imitation in real life. They are a world of themselves almost as I much as fairyland. Take one of their characters, male or female (with few exceptions they are alike), and place it in a modern play, and my virtuous indignation shall rise against the profligate wretch as warmly as the Catos of the pit could desire; because in a modern play I am to judge of the right and the wrong. The standard of police is the measure of political justice. The atmosphere will blight it, it cannot live here. It has got into a moral world, where it has no business, from which it must needs fall headlong; as dizzy and incapable of making a stand, as a Swedenborgian bad spirit that has wandered unawares into the sphere of one of his Good Men, or Angels. But in its own world do we feel the creature is so very bad?—The Fainalls and the Mirabels, the Dorimants and the Lady Touchwoods, in their own sphere, do not offend my moral sense; in fact, they do not appeal to it at all. They seem engaged in their proper element. They break through no laws, or conscientious restraints. They know of none. They have got out of Christendom into the land-what shall I call it ?-of cuckoldry-the Utopia of gallantry, where pleasure is duty, and the manners perfect freedom. It is altogether a speculative scene of things, which has no reference whatever to the world that is. No good person can be justly offended as a spectator, because no good person suffers on the stage. Judged morally, every character in these plays-the few exceptions only are mistakes-is alike essentially vain and worthless. The great art of Congreve is especially shown in this, that he has entirely excluded from his scenes,-some little generosities in the part of Angelica perhaps excepted, -not only anything like a faultless character, but any pretensions to goodness or good feelings whatsoever. Whether he did this designedly, or instinctively, the effect is as happy, as the design (if design) was bold. I used to wonder at the strange power which his Way of the World in particular possesses of interesting you all along in the pursuits of characters, for whom you absolutely care nothing-for you neither hate nor love his personagesand I think it is owing to this very indifference for any, that you endure the whole. He has spread a privation of moral light, I will call it, rather than by the ugly name of palpable darkness, over his creations; and his shadows flit before you without distinction or preference. Had he introduced a good character, a single gush of moral feeling, a revulsion of the judgment to actual life and actual duties, the impertinent Goshen would have only lighted to the discovery of deformities, which now are none, because we think them none.

Translated into real life, the characters of his, and his friend Wycherley's dramas, are profligates and strumpets,-the business of their brief existence, the undivided pursuit of lawless gallantry. No other spring of action, or possible motive of conduct, is recognized; principles which, universally acted upon, must reduce this frame of things to a chaos, But we do them wrong in

so translating them. No such effects are produced in their world. When we are among them, we are amongst a chaotic people. We are not to judge them by our usages. No reverend institutions are insulted by their proceedings,for they have none among them. No peace of families is violated,-for no family ties exist among them. No purity of the marriage bed is stained,-for none is supposed to have a being. No deep affections are disquieted, -no holy wedlock bands are snapped asunder,-for affection's depth and wedded faith are not of the growth of that soil. There is neither right nor wrong,gratitude or its opposite,--claim or duty,-paternity or sonship. Of what consequence is it to virtue, or how is she at all concerned about it, whether Sir Simon, or Dapperwit, steal away Miss Martha; or who is the father of Lord Froth's, or Sir Paul Pliant's children?

The whole is a passing pageant, where we should sit as unconcerned at the issues, for life or death, as at a battle of the frogs and mice. But like Don Quixote, we take part against the puppets, and quite as impertinently. We dare not contemplate an Atlantis, a scheme, out of which our coxcombical moral sense is for a little transitory ease excluded. We have not the courage to imagine a state of things for which there is neither reward nor punishment. We cling to the painful necessities of shame and blame. We would indict our very dreams.

Amidst the mortifying circumstances attendant upon growing old, it is something to have seen the School for Scandal in its glory. This comedy grew out of Congreve and Wycherley, but gathered some allays of the sentimental comedy which followed theirs. It is impossible that it should be now acted, though it continues, at long intervals, to be announced in the bills. Its hero, when Palmer played it at least, was Joseph Surface. When I remember the gay boldness, the graceful solemn plausibility, the measured step, the insinuating voice--to express it in a word-the downright acted villany of the part, so different from the pressure of conscious actual wickedness,-the hypocritical assumption of hypocrisy,-which made Jack so deservedly a favourite in that character, I must needs conclude the present generation of playgoers more virtuous than myself, or more dense. I freely confess that he divided the palm with me with his better brother; that, in fact, I liked him quite as well. Not but there are passages,-like that, for instance, where Joseph is made to refuse a pittance to a poor relation,-incongruities which Sheridan was forced upon by the attempt to join the artificial with the sentimental comedy, either of which must destroy the other--but over these obstructions Jack's manner floated him so lightly, that a refusal from him no more shocked you, than the easy compliance of Charles gave you in reality any pleasure; you got over the paltry question as quickly as you could, to get back into the regions of pure comedy, where no cold moral reigns. The highly artificial manner of Palmer in this character counteracted every disagreeable impression which you might have received from the contrast, supposing them real, between the two brothers. You did not believe in Joseph with the same faith with which you believed in Charles. The latter was a pleasant reality, the former a no less pleasant poetical foil to it. The comedy, I have said, is incongruous; a mixture of Congreve with sentimental incompatibilities: the gaiety upon the whole is buoyant; but it required the consummate art of Palmer to reconcile the discordant elements.

A player with Jack's talents, if we had one now, would not dare to do the part in the same manner. He would instinctively avoid every turn which might tend to unrealize, and so to make the character fascinating. He must take his cue from his spectators, who would expect a bad man and a good man as rigidly opposed to each other as the death-beds of those geniuses are contrasted in the prints, which I am sorry to say have disappeared from the windows of my old friend Carrington Bowles, of St. Paul's Church-yard memory