This, too, is the moral of the New way to pay Old Debts, so strikingly pointed out by Massinger : "Here is a precedent to teach wicked men, “That when they quit religion and turn atheists, And, finally, this is inculcated by Butler in the quatrain already given, and which its shrewdness and applicability, will justify me in giving once more: “But when he'd got himself a name "For fraud and tricks, he spoil'd his game; "To shew his play at Fast-and-Loose." Mr. Cumberland allows sir Politick to be "a delightful fellow," and will not, therefore, hear of his exclusion. But could he find nothing to say for his lady, the most finished, and amusing female pedant which the stage ever produced?-Through her, sir Politick is, in some measure, connected with the plot; and both are occasionally subservient to the poet's main design. With regard to "the breach of character, in making one of the judges conceive the idea of matching his daughter with Mosca," Mr. Cumberland himself admits that the objection is confined to the "compass of two lines spoken aside." But in justice to this learned personage, let it be further remarked that his determination is founded upon the actual demise of Volpone, in which case, as he justly concludes, the parasite is freed from all suspicions of fraud and imposture. It seems to have escaped Mr. Cumberland's recollection that Mosca is not the servant, but the humble friend of Volpone; and it is quite certain that he has not penetrated into the author's views in this part of the scene. Mr. Cumberland pronounces the Fox, "indubitably the best production of its author," and this appears to be the prevailing opinion. I venture, however, to declare my dissent, and to place that prodigy of human intellect, the ALCHEMIST, at the head of Jonson's labours. The opinion of Mr. Cumberland may be candidly accounted for, from his more intimate acquaint. ance with the illustrious originals which furnished much of the strength and beauty of the Fox, than with the obscure and humble sources, from which this mighty genius derived the rude materials of the Alchemist. With respect to the popular decision on this subject, it has no better foundation, perhaps, than the accidental collocation of his plays in the homely couplet so often repeated: "The Fox, the Alchemist, and Silent Woman, "Done by Ben Jonson, and outdone by no man." But it is time to draw to a conclusion. I shall therefore only subjoin a few lines from Hurd, (a man seldom just to Jonson, never friendly,) and leave the reader to wonder at the perversity which could maintain that the author of the FOX had stalked for two centuries on the stilts of artificial reputation." "Later writers for the stage have, no doubt, avoided these defects (the sporting with Corbaccio's deafness, &c. p. 192) of the exactest of our old dramatists. But do they reach his excellencies? Posterity, I am afraid, will judge otherwise, whatever may be now thought of some fashionable comedies. And if they do not, neither the state of general manners, nor the turn of public taste appears to be such as countenances the expectation of greater improvements.”—Martı nanwy!" To those who are not over sanguine in their hopes, our forefathers will perhaps be thought to have furnished (what, in nature, seemed linked together) the fairest example of dramatic, as of real manners." Hor. vol. ii. p. 244. EPICŒENE. This Comedy was first acted in 1609, not, as Mr. Whalley says, "by the King's Majesty's servants," but by "the children of her Majesty's Revels." It would seem from the list of performers, that a great change had taken place among the "children" since the appearance of the Poetaster, for, with the exception of Field, the names are altogether different from those subjoined to that drama. Salathiel Pavy, the poet's favourite, was dead; of the rest, some perhaps had ripened into men, and joined other companies, and some left the "quality" altogether. 66 Barksted," better known as a poet than an actor, Carie, Attawel, and Pen," are among the principal performers in Beaumont and Fletcher's plays, and were undoubtedly of some eminence in their profession. Of "Smith, Allin, and Blaney," who complete the list, I can say nothing. 66 The Silent Woman was printed in quarto with this motto: Ut sis tu similis Cali, Byrrhique latronum, Non ego sim Capri, neque Sulci. Cur metuas me? and went through several editions. I have one dated 1620. The Companion to the Playhouse mentions another, printed in 1609, (as does Whalley, in the margin of his copy,) which I have not been able to discover; the earliest which has fallen in my way, bearing date 1612. All these are exclusive of the folio, 1616. In a word, this has always been the most popular of Jonson's dramas. It was revived immediately after the Restoration, with great applause, and continued on the stage to the middle of the last century. Notwithstanding the current opinion in its favour, Mr. Malone has discovered that the Silent Woman was 66 "unfavourably received, for" -I intreat the reader's attention-" for Mr. Drummond of Hawthornden, Jonson's friend, informs us, that when it was first acted there were found verses on the stage, concluding that that play was well named the Silent Woman, BECAUSE there was never one man to say plaudite to it"! The story is highly worthy of the hypocrite who picked it up; and not at all discreditable to the loads of malignant trash which the reporter has so industriously heaped together to fling at Jonson. After Cibber's retirement, and the death of Wilks, Booth, Mills, Jonson, &c., who often delighted the town in this comedy, it was laid aside till 1776, when it was revived, with a few unimportant alterations, by Mr. Colman. It failed of success from a singular circumstance: the managers most injudiciously gave the part of Epicone to a woman; so that when she threw off her female attire in the last act, and appeared as |