Elizabeth InchbaldREMARKS [on All in the Wrong].¹
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The author of this excellent comedy was a man of learning, whose propensity to the drama ruined his better prospects. He was called to the bar by the Society of Lincoln's Inn, but practised the law with so little fervency, compared to the ardour with which he pursued dramatic writing, that, when this prevailing taste subsided, and he could no longer excite his Muse to her wonted labour, he found himself suddenly reduced to a state of poverty, which no after discretion could counteract.²

Mr. Murphy's dramatic works are numerous, but they were produced at a period when an author's profits were but small; and though he had no vices to plunge him into indigence, he was habituated to the domestic conveniencies of a gentleman, and he had not strength of mind to yield up the ease and elegance, which affluence alone should bestow, for the content and pride of freedom and independence. But to reproach the present author with a weakness, common to men of letters as well as to the illiterate, would be treating him harshly, according to the rules of custom, though with perfect justice, according to the principles of honour and fortitude.

Amongst his number of dramatic productions, the present play of "All in the Wrong" ranks as one of b 2[Page 4]the best. In his Prologue, or Preface, he acknowledges himself indebted to Moliere for some of his scenes.³ Moliere's genius has been of use to many of our comic dramatists, who, at the time Mr. Murphy wrote, enriched their works with his wit and humour, without calling themselves translators, but merely occasional debtors to his primary invention.

It would be much advantage to English authors of the present time, to have such resource in a neighbouring nation now. Still, it requires no mean talent to dispose of borrowed goods to the advantage of the wearer; and when an incident is formed to ornament one drama, it is difficult to make it fit so nicely as to be an adornment to another.

The dialogue of "All in the Wrong" is of a species so natural, that it never in one sentence soars above the proper standard of elegant life; and the incidents that occur are bold without extravagance or apparent artifice, which is the criterion on which judgment should be formed between comedy and farce.

The last scene in the fourth act is an illustration of this position—its effect is comic to the highest degree, yet having arisen from causes consonant with the general events of life, no particle of burlesque infringes on the rational enjoyment, which an enlightened audience receives from the whimsical coincidence of unlooked-for accidents. A veil should now be substituted in this scene, for that old-fashioned appendage to disguise, a mask.⁴

It was a hardy enterprize of the author to attempt the delineation of six jealous characters in the self-[Page 5]same play; but difficult as the task was, he has succeeded in making an excellent comedy, though not six excellent parts. Clarissa and Young Bellmont are but faint shadows of the other four characters; and Beverley and Belinda are, in dramatic substance, greatly inferior to Sir John and Lady Restless.⁵

When the powers of invention forsook Mr. Murphy,—with great credit to his sober judgment and remaining abilities,—he became the translator of Tacitus.⁶ When all exertion of a writer was fled, Lord Loughborough, his former acquaintance, and then Chancellor of England, gave him a place as Commissioner of Bankrupts;—and, when the infirmity of age bereft him of bodily force to act in this capacity, the King, in his gracious benevolence, allowed him an annuity of three hundred a year, which snatched him from bitter penury, and retarded, whilst it smoothed, his passage to the grave.⁷

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