The opportune
return of the father (we are tempted to say the excessively opportune)
stands by itself- has no relation to any other event in the play- does
not appear to arise, in the way of result, from any incident or
incidents that have arisen before. It has the air of a happy chance,
of a God-send, of an ultra-accident, invented by the play-wright by
way of compromise for his lack of invention. Nec Deus intersit,
etc.- but here the God has interposed, and the knot is laughably
unworthy of the God.
The second point concerns the return of the father "laden with
wealth." The lover has abandoned his mistress in her poverty, and,
while yet the words of his proffered reconciliation hang upon his
lips, comes his own servant with the news that the mistress' father
has returned "laden with wealth." Now, so far as regards the audience,
who are behind the scenes and know the fidelity of the lover- so far
as regards the audience, all is right; but the poet had no business to
place his heroine in the sad predicament of being forced, provided she
is not a fool, to suspect both the ignorance and the disinterestedness
of the hero.
The third point has reference to the words- "You are now no more a
Gipsy." The thesis of this drama, as we have already said, is love
disregarding the prejudices of caste, and in the development of this
thesis, the powers of the dramatist have been engaged, or should
have been engaged, during the whole of the three acts of the play.
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