That the author of this comedy should have written no less than twenty-eight plays, seventeen of which are in print,² and yet have no more than this one which holds possession of the stage—is a subject of much surprise! For that "A New Way to pay Old Debts" is the production of a man of genius, scarce any reader could doubt, though the name of Massinger were not affixed to the work: but, notwithstanding it is a very admirable play, it is not altogether a pleasing one. With excellent dialogue, and some most able characters, the fable does not excite interest; and the description of many passions, incident to human nature, in which the poet has been nicely accurate, is, nevertheless, calculated to give pain, rather than gratification.

Both readers and auditors, however they may revere the author for the masterly touches of his pen, in Sir Giles Overreach,³ must yet lament to behold in that character, courage, ambition, and indefatigable industry, united with the most vile, and the most wicked pursuits. Yet the author having made his usurer neither a miser, nor a coward, stamps his originality as a person of the drama, and renders him a still more exact copy of mankind; in whom vice and b 2[Page 4]virtue, the blameable and the laudable qualities, are generally combined.

Deficient as the part of Sir Giles is, in bestowing that kind of entertainment which an audience mostly seek, it is still the only attractive character in the play. The failure of many past dramatists, in the perfection of their art, has chiefly arisen from their bestowing spirit, fire, and every powerful emotion of the soul, upon the wicked, and making all their good people insipid. Such is the case in this comedy.—Lord Lovell, Lady Allworth,⁴ and every amiable character, is a dull one; whilst the amusement of the public is to depend upon the mean and the base.

It is certainly a more difficult task for a writer to give violent exertions of the mind to the good, than to the evil-disposed persons of his drama. The life of the vicious man is one continued round of agitation, whilst the man of virtue has not only fewer turbulent passions, but a higher degree of control over those by which he is assailed; nor can they ever amount, in his breast, to those grand exhibitions for a theatre—remorse, or despair.

But, as the virtuous are the most placid, the higher skill of an author is shown, in depicting these characters under sensations which awaken interest, and yet do not impair their moral disposition. This can only be effected by the creation of events. Bold and unlooked for occurrences, will raise conflicts in the most peaceful bosom; and the best, among human kind, be surprised, by sudden temptation, into the path of evil. But thus to incite tumultuous eager-[Page 5]ness in the tranquil mind, or draw, by casualty, the good to the commission of ill, requires such a fertile invention, the production of such a variety of cross or untoward accidents, such a number of perplexing or happy coincidences—that the modern author has too frequently failed in pursuing this excellent design, and lost his credit in the venturous enterprise.

To atone for the faults in this comedy, the reader will find, that, from the ingratitude of Tapwell⁵ in the first scene, to the feebleness of Sir Giles in the last, every circumstance that occurs is a highly finished moral, and almost every speech bestows some valuable instruction.

The enjoyment which Overreach professes to take in his own "dark and crooked ways,"⁶ might be an objection to the above remarks, if there were more than his own word in evidence of this criminal delight; but granting that he is not urged by pride to this boasting of his happiness, the time arrives which makes this very happiness a more sublime example.

Philip Massinger, the author of this play, was born in 1584,⁷ at the time of Queen Elizabeth's reign.—He was entered a fellow commoner of St. Alban's Hall, Oxford, where he remained several years: but his inclination having prompted him to the study of poetry and polite literature, in preference to logic and philosophy, he quitted the University without taking any degree;⁸ and, coming to London, immediately employed himself in writing for the stage.

The plays of Massinger were so warmly received b 3[Page 6]by the town, that his reputation as a dramatic poet, soon became very high, and yet never inclined him to think so proudly of his abilities, as to take from his demeanour and sentiments a peculiar modesty and diffidence, which rendered him admired and beloved even by his rival dramatists.

This author is placed, by some critics, as second only to Shakspeare; of course, in the same rank with Beaumont, Fletcher, and Ben Jonson: and, however, in some branches of dramatic science, Massinger may be inferior to those celebrated men, in purity of style, and delicacy of manners, he has surpassed them all.