UNKNOWN AUTHORS.

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MPHITRYON, Epidicus, and Rudens, made English from Plautus, with Critical Remarks upon each Play. This Tranflation is fuppofed to be done by a Divine of the Church of England; bnt fince he has not thought fit to put his Name to it, I fhall not prefume to do it. 'Tis dedicated to Sir Charles Sidley, Baronet.

The Fatal Difcovery; or, Love in Ruines, a Tragedy, as it is acted by his Majesty's Servants, at the Theatre Royal, 1698. The Au ther of this Play is unknown, 'tis ufher'd into the World by a Preface under Mr. Powel's Name, in Answer to a Copy of Verses writ by Mr. Dryden, in which there was fome Reflections on that Theatre. The Story is originally a Cafe of Conscience put by St. Aufin; and after that mentioned in fome of our English Divines, It feems to be taken from the hint of the old Story of Oedipus; but 'tis more improbable, and scarce poffible to happen, and therefore of no Ufe, as incapable of affording any Moral.

The Pindar of Wakefield, a Comedy, 4to. 1633. This Play was through mistake, omitted in transcribing the Copy for the Prefs. Terence, this Latin Poet is tranflated by the Translator of the former, in Conjunction with two other Divines of Cambridge. I'm fenfible the Tranflators understood the Original very well, but their altering the Terminations of the Proper Names, would make some think that they had taken it only from the French of Madam Dacier.

The Unnatural Mother; the Scene in the Kingdom of Siam, as it is now acted at the new Theatre in Lincolns-Inn-Fields, by his Majesty's Servants; written by a young Lady, 4to. 1698. This Play is an Argument of the Strange Chance of Plays, when fo indigefted a heap could be tollerably received; and I think 'tis a great Argument against thofe judges who receive and permit the Plays to be acted: For I am unwilling that the Nakedness of our Country fhould be difcover'd; that is, that an Audience cou'd bear fuch as this, and fome other of a Modern Date. The WriEters now (I mean all that attempt Writing) think if they can make a horrid Character or two in a Play, and fome bloody and barbarous Incidents, they can presently write a Tragedy, never reflectin

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that a Poet is not to be a Hangman, he is not to rival Jack Ketch in his Office, and rob the publick Executioners of their Bufinefs, by ending a Criminal privately, who ought to have a Publick and moft infamous Execution. Where the Laws condemn a Villain to the Gibbet, the Poet has nothing to do, fuch Characters are below the Stage, and ought to appear no where but on the Cart, and in the Ordinary's Paper. The Poets Court of Juftice is more fublime, he examines and punishes Crimes that the Political Courts overlook. He is not to make Characters more deprav'd than Experience ever fhew'd us; for I'm confident Callapeia never had her Fellow, on this fide the Line at least, and for the Vices of those of the other, I know nothing that we have to do with them, (having Stock enough of our own) and 'tis with abundance of Reafon, call'd, The Unnatural Mother; for fure there never was such an one in Nature. Bebbemeah's being put on the Couch with a Black Slave, and there found afleep, is borrowed from Mr. Settle's Incident of Cleomira, and Oirantes, in the Princess of Perfia.

FINI S.

Cambyfes, K. of Perfia 113,122 Combat of Love and Friendship