The melancholy man such dreams, For who, though bribed by gain to lie, That superstition mayn't create, To thee, Creator uncreate, Nor runs, with wisdom's sirens caught, On quicksands swallowing shipwreck'd thought: Mute praise, and humble negatives. Who can't be cruel, or unjust, Through life's foul way, like vagrant, pass'd, He'll grant a settlement at last ; And with sweet ease the wearied crown By leave to lay his being down. If doom'd to dance th' eternal round Of life no sooner lost but found, Like spunge, wipes out life's present sum, Thus, thus I steer my bark, and sail I make (may heaven propitious send GEORGE LILLO. [Born, 1693. Died, 1743.] perusal of them. They give us life in a close and dreadful semblance of reality, but not arrayed in the magic illusion of poetry. His strength lies in conception of situations, not in beauty of dialogue, or in the eloquence of the passions. Yet the effect of his plain and homely subjects was so strikingly superior to that of the vapid and heroic productions of the day, as to induce some of his contemporary admirers to pronounce that he had reached the acme of dramatic excellence, and struck into the best and most genuine GEORGE LILLO was the son of a Dutch jeweller, who married an English woman, and settled in London. Our poet was born near Moorfields, was bred to his father's business, and followed it for many years. The story of his dying in distress was a fiction of Hammond, the poet; for he bequeathed a considerable property to his nephew, whom he made his heir. It has been said that this bequest was in consequence of his finding the young man disposed to lend him a sum of money at a time when he thought proper to feign pecuniary distress, in order that he might disco-path of tragedy. George Barnwell, it was obver the sincerity of those calling themselves his friends. Thomas Davies, his biographer and editor, professes to have got this anecdote from a surviving partner of Lillo. It bears, however,jects to a fair test; for the tragedy of Alexander an intrinsic air of improbability. It is not usual for sensible tradesmen to affect being on the verge of bankruptcy, and Lillo's character was that of an uncommonly sensible man. Fielding, his intimate friend, ascribes to him a manly simplicity of mind, that is extremely unlike such a stratagem. Lillo is the tragic poet of middling and familiar life. Instead of heroes from romance and history, he gives the merchant and his apprentice; and the Macbeth of his "Fatal Curiosity" is a private gentleman, who has been reduced by his poverty to dispose of his copy of Seneca for a morsel of bread. The mind will be apt, after reading his works, to suggest to itself the question, how far the graver drama would gain or lose by a more general adoption of this plebeian principle. The cares, it may be said, that are most familiar to our existence, and the distresses of those nearest to ourselves in situation, ought to lay the strongest hold upon our sympathies, and the general mass of society ought to furnish a more express image of man than any detached or elevated portion of the species. Lillo is certainly a master of potent effect in the exhibition of human suffering. His representation of actual or intended murder seems to assume a deeper terror from the familiar circumstances of life with which it is invested. Such indeed is said to have been the effect of a scene in his "Arden of Feversham," that the audience rose up with one accord and interrupted it. The anecdote, whether true or false, must recall to the mind of every one who has perused that piece, the harrowing sympathy which it is calculated to excite. But, notwithstanding the power of Lillo's works, we entirely miss in them that romantic attraction which invites to repeated served, drew more tears than the rants of Alexander. This might be true, but it did not bring the comparison of humble and heroic sub is bad not from its subject, but from the incapa- The peculiar choice of his subjects was happy and commendable as far as it regarded himself, for his talents never succeeded so well when he ventured out of them. But it is another question, whether the familiar cast of those subjects was fitted to constitute a more genuine, or only a subordinate, walk in tragedy. Undoubtedly the genuine delineation of the human heart will please us, from whatever station or circumstances of life it is derived. In the simple pathos of tragedy probably very little difference will be felt from the choice of characters being pitched above or below the line of mediocrity in station. But something more than pathos is required in tragedy; and the very pain that attends our sympathy requires agreeable and romantic associations of the fancy to be blended with its poignancy. Whatever attaches ideas of importance, publicity, and elevation to the object of pity, forms a brightening and alluring medium to the imagination. Athens herself, with all her simplicity and democracy, delighted on the stage to "let gorgeous Tragedy "In sceptred pall come sweeping by." Even situations far depressed beneath the familiar mediocrity of life are more picturesque and poetical than its ordinary level. It is certainly on the virtues of the middling rank of life that the strength and comforts of society chiefly depend, in the same manner as we look for the harvest not on cliffs and precipices, but on the easy slope and the uniform plain. But the painter does not in general fix on level countries for the subjects of his noblest landscapes. There is an analogy, I conceive, to this in the moral painting of tragedy. Disparities of station give it boldness of outline. The commanding situations of life are its mountain scenery-the region where its storm and sunshine may be portrayed in their strongest contrast and colouring. FROM "THE FATAL CURIOSITY." ACT II. SCENE L Persons-Maria, Charlotte, and YOUNG WILMOT. Enter CHARLOTTE, thoughtful; and soon after MARIA from the other side. Mar. MADAM, a stranger in a foreign habit Desires to see you. Char. In a foreign habit 'Tis strange, and unexpected-But admit him. [Exit MARIA. Who can this stranger be? I know no foreigner, Enter YOUNG WILMOT. Nor any man like this. [Going to embrace her. Char. You are rude, sir-Pray forbear, and let me know What business brought you here, or leave the place. Perfidious maid! Am I forgot or scorn'd? knew! Y. Wilm. With what aversion and contempt she views me! My fears are true; some other has her heart: -She's lost-My fatal absence has undone me. [Aside. O! could thy Wilmot have forgot thee, Charlotte? Char. Ha! Wilmot! say! what do your words import ? O gentle stranger! ease my swelling heart That else will burst! Canst thou inform me aught?— What dost thou know of Wilmot ? Y. Wilm. This I know, When all the winds of heaven seem'd to conspire And his last breath press'd t'wards his trembling lips, The neighbouring rocks, that echoed to his moan, Return'd no sound articulate, but Charlotte ! Char. The fatal tempest whose description strikes The hearer with astonishment is ceased; And Wilmot is at rest. The fiercer storm Of swelling passions that o'erwhelms the soul, And rages worse than the mad foaming seas In which he perish'd, ne'er shall vex him more. Y. Wilm. Thou seem'st to think he's dead: enjoy that thought; Persuade yourself that what you wish is true, Forgetting all her vows to him and heaven, died; That centred not in thee, since last we parted; Y. Wilm. Assist me, Heaven! Why dost thou gaze so wildly? Look on me ; Turn thy dear eyes this way; observe me well, Have scorching climates, time, and this strange habit So changed and so disguised thy faithful Wilmot, That nothing in my voice, my face, or mien, Remains to tell my Charlotte I am he? [After viewing him some time, she approaches weeping, and gives him her hand; and then turning towards him, sinks upon his bosom.] Why dost thou weep? Why dost thou tremble thus? Why doth thy panting heart and cautious touch Speak thee but half convinced? Whence are thy fears? Why art thou silent? Canst thou doubt me still? Char. No, Wilmot! no; I'm blind with too much light: O'ercome with wonder and oppress'd with joy; Y. Wilm. Let me know it: They flow for thy misfortunes. I am pierced Y. Wilm. Are no more. Char. You apprehend me wrong. Perhaps you mean to say, the greedy grave To bless my longing eyes-But which, my Charlotte? Y. Wilm. I perforce must hear thee: For I might think 'till death, and not determine, Of two so dear which I could bear to lose. [fears: Char. Afflict yourself no more with groundless Your parents both are living. Their distress, The poverty to which they are reduced, In spite of my weak aid, was what I mourn'd; Y. Wilm. My joy's complete. My parents living, and possess'd of thee !— No more shall cruel want, or proud contempt, Char. "Tis now, O riches, I conceive your worth, You are not base, nor can you be superfluous, But when misplaced in base and sordid hands. Fly, fly, my Wilmot! leave thy happy Charlotte! Thy filial piety, the sighs and tears Of thy lamenting parents call thee hence. Y. Wilm. I have a friend, the partner of my voyage, [me. Who, in the storm last night, was shipwreck'd with Char. Shipwreck'd last night !-O ye immortal pow'rs! What have you suffer'd-How was you preserved? Y. Wilm. Let that, and all my other strange And perilous adventures, be the theme [escapes Of many a happy winter night to come. My present purpose was t' intreat my angel, To know this friend, this other better Wilmot ; And come with him this evening to my father's : I'll send him to thee. Char. I consent with pleasure. Y. Wilm. Heavens, what a night!-How shall I bear my joy! My parents, yours, my friends, all will be mine, If such the early hopes, the vernal bloom, SCENE-A Street in Penryn. Enter RANDAL, [Exeunt. Rand. Poor, poor and friendless; whither shall I wander, And to what point direct my views and hopes ? A menial servant? No. What! shall I live, Here in this land of freedom, live distinguish'd, And mark'd the willing slave of some proud subject, The fair inheritance, of ev'ry Briton That dares put in his claim-My choice is made: [think, Y. Wilm. I doubt it not-But tell me, dost thou And heard my loud reproaches and complaints If it be possible by seeing first My parents as a stranger, to improve Rand. It may indeed Enhance your own, to see from what despair E'er since we learn'd together you excell'd I therefore beg you'll write, in Charlotte's name Rand. Sir, if you desire it Y. Wilm. Nay, no objections-Twill save time, Most precious with me now. For the deception, If doing what my Charlotte will approve, 'Cause done for me and with a good intent, Deserves the name, I'll answer it myself. If this succeeds, I purpose to defer Discov'ring who I am till Charlotte comes, And thou, and all who love me. Ev'ry friend Who witnesses my happiness to-night, Will, by partaking, multiply my joys. Rand. You grow luxurious in your mental plea- Y. Wilm. What canst thou blame in this? I only speak in general: I'm ready Y. Wilm. I am much thy debtor, The floods of transport, the sincere delight SCENE-A Room in Old Wilmot's House. OLD WILMOT and his Wife AGNES. [Exeunt. O. Wilm. Here, take this Seneca, this haughty Who governing the master of mankind, [pedant, And awing power imperial, prates of patience; And praises poverty-possess'd of millions: -Sell him, and buy us bread. The scantiest meal The vilest copy of his book e'er purchased, Will give us more relief in this distress, Than all his boasted precepts.-Nay, no tears; Keep them to move compassion when you beg. Agn. My heart may break, but never stoop to that. O. Wilm. Nor would I live to see it.-But despatch. [Exit AGNES. Where must I charge this length of misery, That gathers force each moment as it rolls, And must at last o'erwhelm me; but on hope, Vain, flattering, delusive, groundless hope; A senseless expectation of relief That has for years deceived me ?-Had I thought |