the concern, on the terms of his producing them a play annually, with the very liberal proviso, making it subject to his health permitting. This most convenient clause was very fortunate, for his next performance did not make its appearance till 1697. This was his only tragic piece, "The Mourning Bride," the immense success of which was considered sufficient to cover his delinquency. It was not merely his greatest triumph, but placed him foremost among the tragic writers of the time, as he had previously been of those of comedy. Indeed, a passage in the beginning of it, describing the ruins of a temple, has been extolled by Johnson, who was no partial critic of Congreve generally, as finer than anything almost in the range of the drama; but in this case his praise, though just, is certainly overcharged.

As his productions seem to have been fated to alternately great triumphs and comparative failures, his next piece, The Way of the World," which appeared in 1700, was his least successful effort, though deserving of a better fate; and this, combined with another circumstance which occurred at this time, induced him to relinquish dramatic pursuits in disgust. The event alluded to was the appearance of Collier's strictures on the stage two years previously. Having been already noticed in connexion with the other dramatic predecessors of Steele, it need not here be further referred to than to say, that Congreve's chagrin must have been greatly aggravated by his having made such a mistake as to take up the controversy, for which his talents were unfitted, and in which no talents could have made him successful, though a different treatment might have mitigated the measure of his defeat. As it was, even the

voice of the green-room and the clubs was forced to yield the triumph to his opponent.

From a letter of Congreve's which is extant, it appears that he and Steele, who now took up the pen which the other had just laid down, though in a very different spirit, were at this time on very friendly terms. It was natural that such should have been the case. In addition to being a brother wit and dramatist, he was half his fellow-countryman; and though not a man of warm affections like Steele, he was very friendly in using the high social influence he possessed in favour of the brotherhood, and it was to him that Addison owed his introduction to the statesmen who so efficiently patronised him.

At the age of thirty, Congreve found himself, by the general voice of his contemporaries, foremost in two fields of literature, the successful cultivation of which is not often found united in the same person-a rare and giddy elevation. He afterwards interested himself in the theatre established by Vanbrugh and Betterton on the site of the Opera-house in the Haymarket; but only to the extent of writing some prologues and epilogues, and soon withdrew from the concern.

In 1710 he published his collected works. His miscellaneous pieces are of small account, though his "Doris," the description of a gay lady of quality, was immensely admired by his contemporaries. In a prose piece, he was the first to refer particularly to the humorous element as characteristic of the national literature. It is remarkable, and to be regretted, that he did not unite more with Steele and Addison in their periodical papers. At the suggestion of Swift, he contributed one paper to the spurious.

Tatler, which the former aided in setting up for the benefit of his protégé Harrison.

In 1714, Congreve was made a Commissioner of Wine Licences, and shortly after, Secretary for Jamaica. In the same year Steele dedicated to him his "Poetic Miscellanies," where, after alluding to his literary eminence, he says, "I chose rather, as one who has passed many happy hours with you, to celebrate that easy condescension of mind and command of a pleasant imagination, which give you the uncommon praise of a man of wit,-always to please, and never to offend. No one, after a joyful evening, can reflect upon an expression of Mr Congreve's that dwells upon him with pain." After the death of Addison, Steele also appealed to him against the injustice of Tickell, as literary executor of his friend, in an epistle dedicatory to "The Drummer." Congreve also received the honour of Pope's dedication of his Homer, probably from uniting with his literary fame the respect and good-will of men of all parties. This good fortune, joined to the friendly offices of Swift, as well as Harley's appreciation of men of genius, preserved him from the loss of office during the Tory administration, though afflicted with a cataract which rendered him nearly blind.

The latter years of his life were passed in ease and retirement, solaced by an eminence of fame seldom so early won, or so little pursued, and the general laudation of his contemporaries. In the year following the appearance of "The Old Bachelor," he had received the tribute of praise from Addison in his verses on the English poets. Speaking of Dryden,

"Grown old in rhyme, but charming e'en in years,"