nate, it is very variable, and time often prevails when arguments have failed.
Queen Mary conferred upon both those plays the honour of her presence; and when she died, soon after, Congreve testified his gratitude by a despicable effusion of elegiac pastoral; a composition in which all is unnatural, and yet nothing is new.
In another year (1695) his prolifick pen produced Love for Love; a comedy of nearer alliance to life, and exhibiting more real manners, than either of the former. The character of Foresight was then common. Dryden calculated nativities; both Cromwell and king William had their lucky days; and Shaftesbury himself, though he had no religion, was said to regard predictions. The Sailor is not accounted very natural, but he is very pleasant.
With this play, was opened the New Theatre, under the direction of Betterton the tragedian; where he exhibited two years afterwards (1697) The Mourning Bride, a tragedy, so written as to shew him sufficiently qualified for either kind of dramatick poetry.
In this play, of which, when he afterwards revised it, he reduced the versification to
