If Wycherley is the satirist of Restoration comedy, Congreve is its wit; but at the same time he betrays a vein of much deeper feeling than Wycherley, and, notwithstanding the contrary opinion of Hazlitt, his characters appear to us more easily appreciated and more readily remembered. His insight into women in particular is so considerable that it is a real loss that he never attempted to paint a noble one, who would indeed have looked strangely amid the crowd of his heartless, or frivolous, or absurd people, but whom he might have rendered a true dramatic success. Both _The Double Dealer_ and _The Way of the World_ border upon tragedy, and suggest how much finer things Congreve might have written had the taste of his time allowed of tragedy in prose; or if, by treating ordinary domestic life in a serious spirit, even though in verse, he could have taken the step that was afterwards taken by Lillo. He evidently felt conscious of innate tragic power, and essayed heroic tragedy in _The Mourning Bride_, where, hampered by the conventionalities he dared not transgress, he broke down with a romantic plot, romantic characters, and stilted blank verse, all things most repugnant to his genius. Johnson's praise of a passage in this play as 'the most poetical paragraph in the whole mass of English poetry,' and which is actually fine enough to survive such extravagant laudation, is well known. It will be instructive to set it side by side with a still finer passage in a modern tragedy, as examples of the classic and romantic schools of composition. It is the strength and weakness of Congreve that his thoughts are such as would naturally have occurred to any one in the situation of his personages, and that his sole part is to afford them dignified expression; while Beddoes' thoughts are the thoughts of a poet, and as such might well appear fantastic and overstrained to an average audience: '_Almeria._ It is a fancied noise, for all is hushed. _Leonora._ It bore the accent of a human voice. _Almeria._ It was thy fear, or else some transient wind Whistling through hollows of this vaulted aisle. We'll listen. _Leonora._ Hark! _Almeria._ No, all is hushed and still as death. 'Tis dreadful. How reverend is the face of this tall pile, Whose ancient pillars rear their marble heads To bear aloft its arched and ponderous roof, By its own weight made steadfast and immovable, Looking tranquillity! It strikes an awe And terror on my aching sight; the tombs And monumental caves of death look cold, And shoot a chillness to my trembling heart. Give me thy hand! Oh, speak to me! nay, speak! and let me hear Thy voice; my own affrights me with its echoes.' _Mourning Bride_, act ii., sc. 3.