The father inquires after his daughter's improvement, and again insists on seeing her dance, a mock performance this time actually ensuing. And again, in another scene, the lovers, similarly interrupted, have recourse to a similar method of diverting Don Diego's suspicions. In these few incidents, and in the name of Don Diego, which our author has employed as the adopted appellation of his Spain-loving Englishman, are to be found the only points of resemblance between the two plays. The merits of the one lie in a direction totally diverse from that in which the excellencies of the other are to be sought. Wycherley's play is fairly overflowing with wit and mirth, qualities in which the Spanish drama is somewhat deficient. On the other hand, the English play affords no counterpart to the high moral tone and exalted passion which are distinguishing characteristics of Calderon's comedy. _The Gentleman Dancing-Master_ is constructed with greater simplicity and unity of action than _Love in a Wood_, and, although less powerfully written than _The Country Wife_, it is also far less exceptionable, and more uniformly pleasing. PROLOGUE TO THE CITY NEWLY AFTER THE REMOVAL OF THE DUKE'S COMPANY FROM LINCOLN'S-INN-FIELDS TO THEIR NEW THEATRE NEAR SALISBURY-COURT. Our author (like us) finding 'twould scarce do At t'other end o' th' town, is come to you; And, since 'tis his last trial, has that wit To throw himself on a substantial pit; Where needy wit or critic dare not come, Lest neighbour i' the cloak, with looks so grum, Should prove a dun; Where punk in vizor dare not rant and tear To put us out, since Bridewell is so near: In short, we shall be heard, be understood, If not, shall be admired, and that's as good. For you to senseless plays have still been kind, Nay, where no sense was, you a jest would find: And never was it heard of, that the city Did ever take occasion to be witty Upon dull poet, or stiff player's action, But still with claps opposed the hissing faction. But if you hissed, 'twas at the pit, not stage; So, with the poet, damned the damning age, And still, we know, are ready to engage Against the flouting, ticking gentry, who Citizen, player, poet, would undo:-- The poet! no, unless by commendation, For on the 'Change wits have no reputation: And rather than be branded for a wit, He with you able men would credit get. DRAMATIS PERSONÆ Mr. GERRARD, Mr. MARTIN, Young Gentlemen of the town, and friends. Mr. PARIS, or Monsieur de PARIS, a vain coxcomb, and rich city heir, newly returned from France, and mightily affected with the French language and fashions. Mr. JAMES FORMAL, or Don DIEGO, an old rich Spanish merchant, newly returned home, much affected with the habit and customs of Spain, and Uncle to PARIS. A little Blackamoor, Lackey to FORMAL. A Parson. A French Scullion. HIPPOLITA, FORMAL'S Daughter.