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And then with such sweet bashfulness, as if She were venturing on crack'd ice, and takes delight To step into the print your foot hath made, And will follow you whole fields; so she will drive Tediousness out of time, with her sweet character. Notwithstanding all this excellence, Abstemia has the misfortune to incur the unmerited jealousy of her husband.
They are from the old play of Thomas Davenport, published in 1661, entitled "The City Night-Cap;" in which is drawn out and exemplified, in the part of Abstemia, the character of a patient and faithful wife, which, I think, might vie with that of the renowned Griselda.
In the transports of his repentance, he calls to mind all her feminine excellence; her gentle, uncomplaining, womanly fortitude under wrongs and sorrows: Oh, Abstemia!
It is but doing right by the reader, if interested in the fate of Abstemia by the preceding extracts, to say, that she was restored to the arms and affections of her husband, rendered fonder than ever, by that disposition in every good heart, to atone for past injustice, by an overflowing measure of returning kindness: Thou wealth, worth more than kingdoms; I am now Confirmed past all suspicion; thou art far Sweeter in thy sincere truth than a sacrifice Deck'd up for death with garlands.
The Indian winds That blow from off the coast and cheer the sailor With the sweet savour of their spices, want The delight flows in thee. I have been more affected and interested by this little dramatic picture, than by many a popular love tale; though, as I said before, I do not think it likely either Abstemia or patient Grizzle stand much chance of being taken for a model.
Another such is Robert Davenport's Abstemia, so warmly admired by Washington Irving; another is the heroine of that singularly powerful and humorous tragi-comedy, labelled to How to Choose a Good Wife from a Bad, which in its central situation anticipates that of Leigh Hunt's beautiful Legend of Florence; while Decker has revived, in one of our sweetest and most graceful examples of dramatic romance, the original incarnation of that somewhat pitiful ideal which even in a ruder and more Russian century of painful European progress out of night and winter could only be made credible, acceptable, or endurable, by the yet unequalled genius of Chaucer and Boccaccio.
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