ural objects of the citizens and the
populace. And when religion and decorum were more respected in their
theatres, they were more advanced in this species of poetry, and merited
not a little praise, above their neighbouring nations. But more than the
English and the French (to speak according to pure and bare truth) have
the Italians signalised themselves." A sly, insinuating criticism! But,
as on the whole, for reasons which I cannot account for, Father Quadrio
seems to have relished our English comedy, we must value his candour.
He praises our comedy; "per il bello ed il buono;" but, as he is a
methodical Aristotelian, he will not allow us that liberty in the
theatre which we are supposed to possess in parliament--by delivering
whatever we conceive to the purpose. His criticism is a specimen of the
irrefragable. "We must not abandon legitimate rules _to give mere
pleasure thereby_; because pleasure is produced by, and flows from, the
_beautiful_; and the beautiful is chiefly drawn from the good order and
unity in which it consists!"

Quadrio succeeded in discovering the name of one of our greatest comic
geniuses; for, alluding to our diversity of action in comedy, he
mentions in his fifth volume, page 148,--"Il celebre _Benjanson_, nella
sua commedia intitolato _Bartolommeo Foicere_, e in quella altra
commedia intitolato _Ipsum Veetz_." The reader may decipher the poet's
name with his _Fair_; but it required the critical sagacity of Mr. Douce
to discover that by _Ipsum Veetz_ we are to understand Shadwell's comedy
of _Epsom Wells_. The Italian critic had transcribed what he and his
Italian printer could not spell. We have further discovered the source
of his intelligence in St. Evremond, who had classed Shadwell's comedy
with Ben Jonson's. To such shifts is the writer of an universal history
_d' ogni Poesia_ miserably reduced!

Towards the close of the fifth volume we at last find the sacred muse of
Milton,--but, unluckily, he was a man "di pochissima religione," and
spoke of Christ like an Arian. Quadrio quotes Ramsay for Milton's
vomiting forth abuse on the Roman Church. His figures are said to be
often mean, unworthy of the majesty of his subject; but in a later
place, excepting his religion, our poet, it is decided on, is worthy "di
molti laudi."

Thus much for the information the curious may obtain on English poetry
from its universal history. Quadrio unquestionably writes with more
ignorance than prejudice a