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Egregiam verò laudem, et spolia ampla refertis,
Una dolo Divúm si fæmina victa duorum est.

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PLAUTUS, the venerable father of Roman comedy, who flourished during the second Punic war, left us a play on the subject of Amphitryon, which has had the honour to be deemed worthy of imitation by Moliere and Dryden. It cannot be expected, that the plain, blunt, and inartificial stile of so rude an age should bear any comparison with that of authors who enjoyed the highest advantages of the polished times, to which they were an ornament. But the merit of having devised and embodied most of the comic distresses, which have excited laughter throughout so many ages, is to be attributed to the ancient bard, upon whose original con ception of the plot his successors have made few and inconsiderable improvements. It is true, that, instead of a formal Prologus, who stepped forth, in the character of Mercury, and gravely detailed to the audience the plot of the play, Moliere and Dryden have introduced it in the modern more artificial method, by the dialogue of the actors in the first scene. It is true, also, that with great contempt of one of the unities, afterwards deemed so indispensible by the ancients, Plautus introduces the birth of Hercules into a play, founded upon the intrigue which occasioned that event. Yet with all these disadvantages, and that of the rude flatness of his dialogue, resting frequently, for wit, upon the most miserable. puns, the comic device of the two Sosias; the errors into which the malice of Mercury plunges his unlucky original; the quarrel of Alcmena with her real husband, and her reconciliation with Jupiter in his stead; the final confronting of the two Amphitryos; and the astonishment of the unfortunate general, at finding every proof of his identity exhibited by his rival,- -are all, however rudely sketched, the inventions of the Roman poet. In one respect it would seem, that the jeu de theatre, necessary to render the piece probable upon the stage, was better managed in the time of Plautus than in that of Dryden and Moliere. Upon a modern stage it is evidently difficult to introduce two pair of characters, so ex

tremely alike as to make it at all probable, or even possible, that the mistakes, depending upon their extreme resemblance, could take place. But, favoured by the masks and costume of the ancient theatre, Plautus contrived to render Jupiter and Mercury so exactly like Amphitryon and Sosia, that they were obliged to retain certain marks, supposed to be invisible to the other persons of the drama, by which the audience themselves might be enabled to distinguish the gods from the mortals, whose forms they had assumed *.

The modern poets have treated the subject, which they had from Plautus, each according to the fashion of his country; and so far did the correctness of the French stage exceed ours at that period, that the palm of the comic writing must be, at once, awarded to Moliere. For, though Dryden had the advantage of the French author's labours, from which, and from Plautus, he has translated liberally, the wretched taste of the age has induced him to lard the piece with gratuitous indelicacy. He is, in general, coarse and vulgar, where Moliere is witty; and where the Frenchman ventures upon a double meaning, the Englishman always contrives to make it a single one. Yet although inferior to Moliere, and accommodated to the gross taste of the seventeenth century, phitryon" is one of the happiest effusions of Dryden's comic muse. He has enriched the plot by the intrigue of Mercury and Phædra; and the petulant interested" Queen of Gipsies," as her lover terms her, is no bad paramour for the God of Thieves.


In the scenes of a higher cast, Dryden far outstrips both the French and Roman poet. The sensation to be expressed is not that of sentimental affection, which the good father of Olympus was not capable of feeling; but love, of that grosser and subordinate kind which prompted Jupiter in his intrigues, has been by none of the ancient poets expressed in more beautiful verse than that in which Dryden has clothed it, in the scenes between Jupiter and Alcmena. Even Milbourne, who afterwards attacked our author with such malignant asperity, was so sensible of the merit of" Amphitryon," that he addressed to the publisher the following letter and copy of verses, which Mr Malone's industry recovered from among Mr Tonson's papers.

This caution is given by Mercury in the prologue.

"Nunc internosse ut vos possitis facilius,
Ego has habebo hic usque in petaso pinnulas,
Tum meo patri autem torulus incrit aureus
Sub petaso: Id signum Amphitruoni non erit.
Ea signa neino horumce familiarium
Videri poterit; verum vos videbitis."

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