his scene with such "humours" as Maiden, "a Nice Fellow that values
himself upon all Effeminacies;" Squib, a bogus captain; Mrs. Goodfellow,
"a Lady that loves her Bottle;" her niece Penelope, "an Heroic Trapes;"
and Woodcock, the Yeoman, a rich, sharp, forthright, crusty old fellow
with a pretty daughter, Belinda, whom he is determined never to marry
but to a substantial farmer of her own class: her suitor, a clever
ne'er-do-well named Reynard, of course tricks the old gentleman by an
intrigue and a disguise. It is Reynard's sister Hillaria, however, "a
Railing, Mimicking Lady" with no money and no admitted scruples, but
enough beauty and wit to match when and with whom she chooses, who
dominates the play; and though Loveworth, whom she finally permits to win
her, is rather substantial than gay, she is gay enough for them both. The
action, though somewhat farcical, has verve throughout, and the dialogue
crackles. And, as regards the nature of comedy, Baker now knows where he
stands. There is no character who could possibly be taken as an "example."
On the contrary, whenever a pathetic or "exemplary" effect seems imminent
Hillaria or Woodcock is always there to knock it on the head. Thus when
Belinda goes into blank verse to lament the paternal tyranny which was
threatening to separate her from Reynard,

What Noise and Discord sordid Interest breeds!
Oh! that I had shar'd a levell'd State of Life,
With quiet humble Maids, exempt from Pride,
And Thoughts of Worldly Dross that marr their Joys,
In Any Sphere, but a Distinguished Heiress,
To raise me Envy, and oppose my Love.
Fortune, Fortune, Why did you give me Wealth to make me wretched!

Hillaria comes in: