THE MAID OF HONOUR.] This tragi-comedy, which was first printed in 1632, was, as the old title-page informs us, very frequently acted "at the Phoenix in Drury-lane, by the Queen's Majesty's servants." It was a great favourite, and with justice, for it has a thousand claims to admiration, and is of the higher order of Massinger's plays. It will not, indeed, be very easy to find in any writer a subject more animated, or characters more variously and pointedly drawn. There is no delay in introducing the business of the drama; and nothing is allowed to interfere with its progress. Indeed this is by far too rapid; and event is precipitated upon event without regard to time or place. But Massinger acts with a liberty which it would be absurd to criticise. Thebes and Athens, Palermo and Sienna, are alike to him; and he must be allowed to transport his agents and their concerns from one to another, as often as the exigencies of his ambulatory plan may require. It is observable, that in this play Massinger has attempted the more difficult part of dramatic writing. He is not content with describing different qualities in his characters; but lays before the reader several differences of the same qualities. The courage of Gonzaga, though by no means inferior to it, is not that of Bertoldo. In the former, it is a fixed and habitual principle, the honourable business of his life. In the latter, it is an irresistible impulse, the instantaneous result of a fiery temper. There is still another remove; and these branches of real courage differ from the poor and forced approaches to valour in Gasparo and Antonio. A broader distinction is used with his two courtiers; and the cold interest of Astutio is fully contrasted with the dazzling and imprudent assumption of Fulgentio. But Camiola herself is the great object that reigns throughout the piece. Every where she animates us with her spirit, and instructs us with her sense. Yet this superiority takes nothing from her softer feelings. Her tears flow with a mingled fondness and regret; and she is swayed by a passion which is only quelled by her greater resolution. The influence of her character is also heightened through the different manner of her lovers; through the mad impatience of the uncontrolled Bertoldo, the glittering pretensions of Fulgentio, and the humble and sincere attachment of Adorni, who nourishes secret desires of a happiness too exalted for him, faithfully performs commands prejudicial to his own views, through the force of an affection which ensures his obedience, and, amidst so much service, scarcely presumes to hint the passion which consumes him. I know not if even signior Sylli is wholly useless here; he serves at least to show her good-humoured toleration of a being hardly important enough for her contempt.