There is one point in which I consider both Tragedy and Comedy, in modern days, to be at fault, and that is in the constant introduction of love on our stage. We cannot frequent the theatre without being sickened by the repetition of some nauseous courtship and love-making, the particulars of which, even in real life, can be agreeable to none but the parties themselves. This blemish is said to have arisen during the earlier periods of the drama, from the vanity of the female sex; who, however much they were kept under control, and their opinions disregarded in ancient days, have amply made up for that restriction now, by taking matters of taste entirely under their direction. It is said, that when modern play-writing first came in fashion, the ladies refused to honour the theatre with their presence, unless their inclinations were more attended to, and love was made the burthen of the song. Accordingly, we find even the pure taste of Addison giving in to this demand, and the otherwise beautiful tragedy of _Cato_ (for even the unities are preserved in it) is spoiled by two stupid love plots, that not only disfigure it, but throw a complete weariness over the whole. With the ancients it was very different, and amongst all those splendid Greek compositions which are regarded as models for the drama, we find none of them, with the exception of Hippolitus, in which there is any of this trifling with love affairs. Before I close these observations, let me add, that in looking at this question, we must consent to throw off our national prejudices; and in drawing the comparison, not to regard English plays, whether tragic or comic, as the standards of perfection. English Comedy is not only considered inferior to that of most nations, but it is in many respects bad in its tendency, and may almost be looked upon as a school for vanity. To conclude, instead of regarding the drama as it is, I have rather endeavoured to consider it as it should be. F. * * * * * THE PUBLIC JOURNALS. * * * * * REAL CHARACTER OF LOUIS XIV.