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in the mind of a spectator, than many moral cautions, or even, perhaps, than the terrifick examples of tragedy. There are to be found, no doubt, in the works of our best dramatick writers, comick scenes descriptive of the stronger passions, but it is generally the inferiour characters of the piece who are made the subjects of them, very rarely those in whom we are much interested; and consequently the useful effect of such scenes upon the mind is very much weakened. This general appropriation of them has tempted our less-skilful Dramatists to exaggerate, and step, in further quest of the ludicrous, so much beyond the bounds of nature, that the very effect they are so anxious to produce is thereby destroyed, and all useful application of it entirely cut off; for we never apply to ourselves a false representation of nature.

But a complete exhibition of passion, with its varieties and progress in the breast of man has, I believe, scarcely ever been attempted in comedy. Even love, though the chief subject of almost every play, has been pourtrayed in a loose, scattered, and imperfect manner. The story of the lovers is acted over before us, whilst the characteristicks of that passion by which they are actuated, and which is the great master-spring of the whole, are faintly to be discovered. We are generally introduced to a lover after he has