inclinations were more attended to, and love was made the burthen of the
song. Accordingly, we find even the pure taste of Addison giving in to
this demand, and the otherwise beautiful tragedy of _Cato_ (for even the
unities are preserved in it) is spoiled by two stupid love plots, that
not only disfigure it, but throw a complete weariness over the whole.
With the ancients it was very different, and amongst all those splendid
Greek compositions which are regarded as models for the drama, we find
none of them, with the exception of Hippolitus, in which there is any of
this trifling with love affairs.

Before I close these observations, let me add, that in looking at this
question, we must consent to throw off our national prejudices; and in
drawing the comparison, not to regard English plays, whether tragic or
comic, as the standards of perfection. English Comedy is not only
considered inferior to that of most nations, but it is in many respects
bad in its tendency, and may almost be looked upon as a school for
vanity. To conclude, instead of regarding the drama as it is, I have
rather endeavoured to consider it as it should be.

F.

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THE PUBLIC JOURNALS.


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