However, as I before said, my quarrel is not with those who condemn indiscriminately all theatrical exhibitions; they may be right: at all events, so sweeping a sentence betrays no inconsistency. But what are we to say to individuals, or audiences, who turn with affected disgust from the sallies of Bizarre and Beatrice, and who applaud and laugh, and are delighted, at the gross immorality of such plays as the Wonder, and Rule a Wife and have a Wife; the latter particularly, in which the immorality and indecency are not those of expression only, but of conception, and mingle in the whole construction of the piece, in which not one character appears whose motives of action are not most unworthy, and whose language is not as full of coarseness, as devoid of every generous, elevated, or refined sentiment. (The tirades of Leon are no exception; for in the mouth of a man who marries such a woman as Marguerita, by such means, and for such an end, they are mere mockeries.) I confess that my surprise was excited when I was told that an American audience would not endure that portion of Beatrice's wit which the London censors have spared, and that Othello was all but a proscribed play; but it was infinitely more so, when I found that the same audience tolerated, or rather encouraged with their presence and applause, the coarse productions of Mrs. Centlivre and Beaumont and Fletcher. With regard to the Inconstant, it is by far the most moral of Farquhar's plays; that, perhaps, is little praise, for the Recruiting Officer, and the Beaux' Stratagem, are decidedly the reverse. But in spite of the licentiousness of the writing, in many parts, the construction, the motive, the action of the play is not licentious; the characters are far from being utterly debased in their conception, or depraved in the sentiments they utter (excepting, of course, the companions of poor Mirable's last revel); the women, those surest criterions, by whose principles and conduct may be formed the truest opinion of the purity of the social atmosphere, the women, though free in their manners and language (it was the fashion of their times, and of the times before them, when words did not pass for deeds, either good or bad), are essentially honest women; and Bizarre, coarse as her expressions may appear, has yet more _real_ delicacy than poor Oriana, whose womanly love causes her too far to forget her womanly pride. Of the catastrophe of this play, and its frightfully-pointed moral, little need be said to prove that its effect is likely to be far more wholesome, because far more homely, than that of most theatrical inventions; invention, indeed, it is not, and its greatest interest, as perhaps its chief utility, is drawn from the circumstance of its being a faithful representation of a situation of unequalled horror, in which the author himself was placed, and from which he was rescued precisely as he extricates his hero. Of the truth and satirical power of the