The first Englishman to write a really sane tragic piece, elegant from beginning to end, was the illustrious Mr. Addison. His "Cato in Utica" is a masterpiece in diction and in beauty of verse. Cato himself seems to me the finest character in any drama; but the others are far inferior to him, and the piece is disfigured by a most unconvincing love-intrigue which inflicts a weariness that kills the play. The custom of dragging in a superfluous love-affair came from Paris to London, along with our ribbons and our wigs, about 1660. The ladies who adorn the theatres with their presence insist upon hearing of nothing but love. The wise Addison was weak enough to bend the severity of his nature in compliance with the manners of his time; he spoilt a masterpiece through simple desire to please.
Since "Cato," dramas have become more regular, audiences more exacting, authors more correct and less daring. I have seen some new plays that are judicious, but uninspiring. It would seem that the English, so far, have only been meant to produce irregular beauties. The brilliant monstrosities of Shakespeare please a thousand times more than discreet modern productions. The poetic genius of the English, up to now, resembles a gnarled tree planted by nature, casting out branches right and left, growing unequally and forcefully; seek to shape it into the trim likeness of the trees of the garden at Marly, and it perishes.
The man who has carried farthest the glory of the English comic stage is Mr. Congreve. He has written few pieces, but all excellent of their kind. The rules are carefully observed, and the plays are full of characters shaded with extreme delicacy. Mr. Congreve was infirm and almost dying when I met him. He had one fault—that of looking down upon the profession which had brought him fame and fortune. He spoke of his works to me as trifles beneath his notice, and asked me to regard him simply as a private gentleman who lived very plainly. I replied that if he had had the misfortune to be merely a private gentleman like anybody else, I should never have gone to see him. His ill-placed vanity disgusted me.
His comedies, however, are the neatest and choicest on the English stage; Vanbrugh's are the liveliest, and Wycherley's the most vigorous.
Do not ask me to give details of these English comedies that I admire so keenly; laughter cannot be communicated in a translation. If you wish to know English comedy, there is nothing for it but to go to London for three years, learn English thoroughly, and see a comedy every day.
It is otherwise with tragedy; tragedy is concerned with great passions and heroic follies consecrated by ancient errors in fable and history. Electra belongs to the Spaniards, to the English, and to ourselves as much as to the Greeks; but comedy is the living portraiture of a nation's absurdities, and unless you know the nation through and through, it is not for you to judge the portraits.