Oroonoko. So fate must be by this.

[Going to stab her, he stops short; she lays her hand

on his, in order to give the blow.

Imoinda. Nay, then I must assist you.

And since it is the common cause of both,

'Tis just that both should be employed in it.

Thus thus! 'tis finish'd! and I bless my fate, [Stabs herself. That, where I liv'd, I die, in these lov'd arms! [Dies.

THE INCONSTANT; OR, THE WAY TO WIN HIM:

A COMEDY, BY GEORGE FARQUHAR.

It was admitted by the author of this drama in his Preface, and by Rowe in his Epilogue, that the hint of it's plot was taken from The Wild Goose Chase of Beaumont and Fletcher. The truth is, however, that not only it's distinguishing features were adopted from thence, but that several of the names of the characters were copied ; with the language of whole scenes, altered only from blank-verse into prose, and the fashionable conversation and follies of the middle of the seventeenth century, modernised into those of the eighteenth. In particular the opening scene will be found most closely imitated, together with that of the heroine's feigned madness, Act iv. Scene 3. Oriana and Mirabell also retain their names, Dugard is substituted for the original De Gard, and that of Petit the servant, was probably suggested by the same character in the old Comedy being a boy. The catastrophe of the last Act, however, where Young Mirabell is in danger of being murdered at the house of Lamorce, and is delivered by Oriana in the disguise of his page,-belongs to the present piece only; and is said to have been derived from a similar circumstance which had happened to Farquhar himself when he was on military duty abroad. The scene of both the old and modern drama is laid in Paris.

The Inconstant was the fourth of the plays written by Farquhar, and was originally produced at Drury-Lane about May, 1702; but though it's intrinsic merit is far superior to that of his Sir Henry Wildair, which was brought out in the year previous, it's success was not by any means equal. At the time of it's appearance the country was inundated with foreign entertainments of music, singing, dancing, &c. which appeared to swallow up all taste for native productions, to prevent their encouragement, and to cause their total neglect; to which the failure of this Comedy is attributed.

The performance of The Inconstant has frequently been supported by very considerable comic talent, and those of Mrs. Jordan in Bisarre, and John Bannister in Duretête, will long be remembered with delight by all who were acquainted with them. William Smith, usually called "Gentleman Smith," was one of the best performers of Young Mirabel; though in the well-bred vivacity of the part, Mr. C. Kemble has probably never been exceeded. An alteration of this Comedy was produced for his benefit at Covent-Garden, June 6th, and at the Haymarket, July 19th, 1820, under the title of Wine does Wonders; and in January, 1825, the original was revived for a short time at Covent-Garden.

Mirabel. I scorn to beg my life; but to be butchered thus! [Knocking.] Oh! there's the wine!this moment for my life or death!

Oriana. No, holy father: who can be miser in another's wealth, that's prodigal of his own? His heart was open, shared to all he knew; and what, alas ! must then become of mine? but the same eyes that drew this passion in, shall send it out in tears, to which now hear my vow

Mirabel, [Discovering himself.] No, my fair angel, but let me repent; here, on my knees, behold the criminal that vows repentance his.

Act 4. Sc. 2.

As the author of this very popular drama had revised all the plays of Massinger, and was engaged, even to the very last year of his life, in preparing an edition of them for publication,-it is not surprising that he should have drawn from them some of his own materials. At all events, it is admitted that the present piece was taken from The Fatal Dowry; and the relative merits of both were excellently discussed in 1785 by Cumberland, in Nos. 77, 78, and 79 of The Observer. In those papers it is considered that the latter Tragedy has the advantage in a wider compass of fable; in the superiority of Charalois, to Rowe's parallel character of Altamont; and in the catastrophe, where Massinger's heroine is suddenly stabbed by her injured husband, instead of being persuaded to suicide by her father. It is allowed, however, that Rowe has far exceeded his original in the striking part of Lothario, and, occasionally, in the glowing language in which some of the speeches are clothed; but though Massinger be less elegant, he has certainly not less regard to decency than his imitator. The whole of The Fair Penitent has received a very high commendation from Dr. Johnson; since he says of it that "it is one of the most pleasing tragedies on the stage, where it still keeps it's turns of appearing, and, probably, will long keep them, since there is scarcely any work of any poet, at once so interesting in the fable, and so delightful in the language."

This drama seems to have been produced at Drury-lane early in 1703, though Chetwood, the Prompter, who is known to have been neither faithful nor accurate, refers it to 1699: but the first edition of it was published in 4to. in the former year, the copy in the British Museum having a manuscript date of March 27th; the music composed for it in four parts by Lenton, appeared on March 29th, 1703; and an advertisement for the benefit of Mrs. Prince, on the following June 7th, announces "the last new tragedy, called The Fair Penitent." The scene is laid in Genoa, in Sciolto's mansion and garden, and part of the adjoining street; and the action comprises about two or three days, commencing with Act iii. of Massinger's Tragedy. The most eminent performers of Lothario, have been Powell, the original, Garrick, and Barry, and, at the present time, Mr. C. Kemble; Betterton was the first Horatio, and Verbruggen the first Altamont; and the part of Calista has been excellently sustained by Mrs. Oldfield, Mrs. Barry, Mrs. Siddons, in October, 1782; and, lastly, by Miss Fanny Kemble, who first performed it at Covent-Garden, December 8th, 1830.

333333"

What paper's this? [Opening it. [Reading.

Ha! To Lothario!-Sdeath! Calista's name!

Your cruelty has at length determined me; and I have resolved this morning to yield a perfect obedience to my father, and to give my hand to Altamont, in spite of my weakness for the false Lothario. I could almost wish I had that heart and that honour to bestow with it, which you have robbed me of;

Damnation! To the rest

[Reading.

But, Oh! I fear, could I retrieve them, I should again be undone by the too faithless, yet too lovely Lothario. This is the last weakness of my pen, and to-morrow shall be the last in which I will indulge my eyes. Lucilla shall conduct you, if you are kind enough to let me see you; it shall be the last trouble you shall meet with from the lost

CALISTA.

Act 1. Sc. 1.