PARODIES—REVIEWS—CHILDREN'S POEMS—COMEDIES BY WOMEN—A DRAMATIC TRIFLE—A STRING OF FIRECRACKERS.
It is surprising that we have so few comedies from women. Dr. Doran mentions five Englishwomen who wrote successful comedies. Of these, three are now forgotten; one, Aphra Behn, is remembered only to be despised for her vulgarity. She was an undoubted wit, and was never dull, but so wicked and coarse that she forfeited all right to fame.
Susanna Centlivre left nineteen plays full of vivacity and fun and lively incident. The Bold Stroke for a Wife is now considered her best. The Basset Table is also a superior comedy, especially interesting because it anticipates the modern blue-stocking in Valeria, a philosophical girl who supports vivisection, and has also a prophecy of exclusive colleges for women.
There is nothing worthy of quotation in any of these comedies. Some sentences from Mrs. Centlivre's plays are given in magazine articles to prove her wit, but we say so much brighter things in these days that they must be considered stale platitudes, as:
"You may cheat widows, orphans, and tradesmen without a blush, but a debt of honor, sir, must be paid."
"Quarrels, like mushrooms, spring up in a moment."
"Woman is the greatest sovereign power in the world."
Hans Andersen in his Autobiography mentions a Madame von Weissenthurn, who was a successful actress and dramatist. Her comedies are published in fourteen volumes. In our country several comedies written by women, but published anonymously, have been decided hits. Mrs. Verplanck's Sealed Instructions was a marked success, and years ago Fashion, by Anna Cora Mowatt, had a remarkable run. By the way, those roaring farces, Belles of the Kitchen and Fun in a Fog, were written for the Vokes family by an aunt of theirs. And I must not forget to state that Gilbert's Palace of Truth was cribbed almost bodily from Madame de Genlis's "Tales of an Old Castle." Mrs. Julia Schayer, of Washington, has given us a domestic drama in one act, entitled Struggling Genius.