Not long before this Time the _Italian_ Opera began first to steal into _England_,[357] but in as rude a disguise and unlike it self as possible; in a lame, hobling Translation into our own Language, with false Quantities, or Metre out of Measure to its original Notes, sung by our own unskilful Voices, with Graces misapply'd to almost every Sentiment, and with Action lifeless and unmeaning through every Character: The first _Italian_ Performer that made any distinguish'd Figure in it was _Valentini_, a true sensible Singer at that time, but of a Throat too weak to sustain those melodious Warblings for which the fairer Sex have since idoliz'd his Successors. However, this Defect was so well supply'd by his Action, that his Hearers bore with the Absurdity of his singing his first Part of _Turnus_ in _Camilla_ all in _Italian_, while every other Character was sung and recited to him in _English_.[358] This I have mention'd to shew not only our Tramontane Taste, but that the crowded Audiences which follow'd it to _Drury-Lane_ might be another Occasion of their growing thinner in _Lincolns-Inn-Fields_.
To strike in, therefore, with this prevailing Novelty, Sir _John Vanbrugh_ and Mr. _Congreve_ open'd their new _Hay-Market Theatre_ with a translated Opera to _Italian_ Musick, called the _Triumph of Love_, but this not having in it the Charms of _Camilla_, either from the Inequality of the Musick or Voices, had but a cold Reception, being perform'd but three Days, and those not crowded. Immediately upon the Failure of this _Opera_, Sir _John Vanbrugh_ produced his Comedy call'd the _Confederacy_,[359] taken (but greatly improv'd) from the _Bourgeois à la mode_ of _Dancour_: Though the Fate of this Play was something better, yet I thought it was not equal to its Merit:[360] For it is written with an uncommon Vein of Wit and Humour; which confirms me in my former Observation, that the difficulty of hearing distinctly in that then wide Theatre was no small Impediment to the Applause that might have followed the same Actors in it upon every other Stage; and indeed every Play acted there before the House was alter'd seemed to suffer from the same Inconvenience: In a Word, the Prospect of Profits from this Theatre was so very barren, that Mr. _Congreve_ in a few Months gave up his Share and Interest in the Government of it wholly to Sir _John Vanbrugh_.[361] But Sir _John_, being sole Proprietor of the House, was at all Events oblig'd to do his utmost to support it. As he had a happier Talent of throwing the _English_ Spirit into his Translation of _French_ Plays than any former Author who had borrowed from them, he in the same Season gave the Publick three more of that kind, call'd the _Cuckold in Conceit_, from the _Cocu imaginaire_ of _Moliere_;[362] _Squire Trelooby_, from his _Monsieur de Pourceaugnac_, and the _Mistake_, from the _Dépit Amoureux_ of the same Author.[363] Yet all these, however well executed, came to the Ear in the same undistinguish'd Utterance by which almost all their Plays had equally suffered: For what few could plainly hear, it was not likely a great many could applaud.