Young Oscar.

Colona.

Morven.

Harold.

Nico.

Miza.

Malvina.

Allanda.

Dorcas.

Emma.

To this strange medley of nomenclature is appended a memorandum-- "_Vide_ Petrarch for names."

The first scene represents the numerous lovers of Malvina rejoicing at her return, and celebrating it by a chorus; after which Oscar, her father, holds the following dialogue with one of them:--

"_Osc._ I thought, son, you would have been among the first and most eager to see Malvina upon her return.

"_Colin._ Oh, father, I would give half my flock to think that my presence would be welcome to her.

"_Osc._ I am sure you have never seen her prefer any one else.

"_Col._ There's the torment of it--were I but once sure that she loved another better, I think I should be content--at least she should not know but that I was so. My love is not of that jealous sort that I should pine to see her happy with another--nay, I could even regard the man that would make her so.

"_Osc._ Haven't you spoke with her since her return?

"_Col._ Yes, and I think she is colder to me than ever. My professions of love used formerly to make her laugh, but now they make her weep--formerly she seemed wholly insensible; now, alas, she seems to feel--but as if addressed by the wrong person," &c. &c.

In a following scene are introduced two brothers, both equally enamored of the fair Malvina, yet preserving their affection unaltered towards each other. With the recollection of Sheridan's own story fresh in our minds, we might suppose that he meant some reference to it in this incident, were it not for the exceeding _niaiserie_ that he has thrown into the dialogue. For instance:--

"_Osc._ But we are interrupted--here are two more of her lovers-- brothers, and rivals, but friends.

"_Enter_ NICO _and_ LUBIN.

"So, Nico--how comes it you are so late in your inquiries after your mistress?

"_Nico._ I should have been sooner; but Lubin would stay to make himself fine--though he knows that he has no chance of appearing so to Malvina.

"_Lubin._ No, in truth--Nico says right--I have no more chance than himself.

"_Osc._ However, I am glad to see you reconciled, and that you live together, as brothers should do.

"_Nico._ Yes, ever since we found your daughter cared for neither of us, we grew to care for one another. There is a fellowship in adversity that is consoling; and it is something to think that Lubin is as unfortunate as myself.

"_Lub._ Yes, we are well matched--I think Malvina dislikes him, if possible, more than me, and that's a great comfort.

"_Nico._ We often sit together, and play such woeful tunes on our pipes, that the very sheep are moved at it.

"_Osc._ But why don't you rouse yourselves, and, since you can meet with no requital of your pa.s.sion, return the proud maid scorn for scorn?

"_Nico._ Oh mercy, no--we find a great comfort in our sorrow--don't we, Lubin?

"_Lubin._ Yes, if I meet no crosses, I shall be undone in another twelve-month--I let all go to wreck and ruin.

"_Osc._ But suppose Malvina should be brought to give you encouragement.

"_Nico._ Heaven forbid! that would spoil all.

"_Lubin._ Truly I was almost a.s.sured within this fortnight that she was going to relax.

"_Nico._ Ay, I shall never forget how alarmed we were at the appearance of a smile one day," &c. &c.

Of the poetical part of this opera, the only specimens he has left are a skeleton of a chorus, beginning "Bold Foresters we are," and the following song, which, for grace and tenderness, is not unworthy of the hand that produced the Duenna:--

"We two, each other's only pride, Each other's bliss, each other's guide, Far from the world's unhallow'd noise, Its coa.r.s.e delights and tainted joys, Through wilds will roam and deserts rude-- For, Love, thy home is solitude.

"There shall no vain pretender be, To court thy smile and torture me, No proud superior there be seen, But nature's voice shall hail thee, queen.

"With fond respect and tender awe, I will receive thy gentle law, Obey thy looks, and serve thee still, Prevent thy wish, foresee thy will, And, added to a lover's care, Be all that friends and parents are."

But, of all Mr. Sheridan's unfinished designs, the Comedy which he meditated on the subject of Affectation is that of which the abandonment is most to be regretted. To a satirist, who would not confine his ridicule to the mere outward demonstrations of this folly, but would follow and detect it through all its windings and disguises, there could hardly perhaps be a more fertile theme. Affectation, merely of _manner_, being itself a sort of acting, does not easily admit of any additional coloring on the stage, without degenerating into farce; and, accordingly, fops and fine ladies--with very few exceptions--are about as silly and tiresome in representation as in reality. But the aim of the dramatist, in this comedy, would have been far more important and extensive;--and how anxious he was to keep before his mind's eye the whole wide horizon of folly which his subject opened upon him, will appear from the following list of the various species of Affectation, which I have found written by him, exactly as I give it, on the inside cover of the memorandum-book, that contains the only remaining vestiges of this play:--

"An Affectation of Business.

of Accomplishments, of Love of Letters and "Wit Music.

of Intrigue.

of Sensibility.

of Vivacity.

of Silence and Importance.

of Modesty.

of Profligacy.

of Moroseness."

In this projected comedy he does not seem to have advanced as far as even the invention of the plot or the composition of a single scene. The memorandum-book alluded to--on the first leaf of which he had written in his neatest hand (as if to encourage himself to begin) "Affectation"-- contains, besides the names of three of the intended personages, Sir Babble Bore, Sir Peregrine Paradox, and Feignwit, nothing but unembodied sketches of character, and scattered particles of wit, which seem waiting, like the imperfect forms and seeds in chaos, for the brooding of genius to nurse them into system and beauty.

The reader will not, I think, be displeased at seeing some of these curious materials here. They will show that in this work, as well as in the School for Scandal, he was desirous of making the vintage of his wit as rich as possible, by distilling into it every drop that the collected fruits of his thought and fancy could supply. Some of the jests are far- fetched, and others, perhaps, abortive--but it is pleasant to track him in his pursuit of a point, even when he misses. The very failures of a man of real wit are often more delightful than the best successes of others--the quick-silver, even in escaping from his grasp, shines; "it still eludes him, but it glitters still."

I shall give the memorandums as I find them, with no other difference, than that of cla.s.sing together those that have relation to the same thought or subject.

"_Character_--Mr. BUSTLE.

"A man who delights in hurry and interruption--will take any one's business for them--leaves word where all his plagues may follow him-- governor of all hospitals, &c.--share in Ranelagh--speaker every where, from the Vestry to the House of Commons--'I am not at home--gad, now he heard me and I must be at home.'--'Here am I so plagued, and there is nothing I love so much as retirement and quiet.'--'You never sent after me.'--Let servants call in to him such a message as 'Tis nothing but the window tax,' he hiding in a room that communicates.--A young man tells him some important business in the middle of fifty trivial interruptions, and the calling in of idlers; such as fidlers, wild-beast men, foreigners with recommendatory letters, &c.--answers notes on his knee, 'and so your uncle died?--for your obliging inquiries--and left you an orphan--to cards in the evening.'