[159]"Here is a sentiment for the virtuous Huncamunca!" says Mr. D—s. And yet, with the leave of this great man, the virtuous Panthea, in Cyrus, hath a heart every whit as ample:"For two I must confess are gods to me,Which is my Abradatus first, and thee."—"Cyrus the Great."Nor is the lady in Love Triumphant more reserved, though not so intelligible:"I am so divided,That I grieve most for both, and love both most."[160]A ridiculous supposition to any one who considers the great and extensive largeness of hell, says a commentator; but not so to those who consider the great expansion of immaterial substance. Mr. Banks makes one soul to be so expanded, that heaven could not contain it."The heavens are all too narrow for her soul."—"Virtue Betrayed."The Persian Princess hath a passage not unlike the author of this:"We will send such shoals of murder'd slaves,Shall glut hell's empty regions."This threatens to fill hell, even though it was empty; Lord Grizzle, only to fill up the chinks, supposing the rest already full.[161]Mr. Addison is generally thought to have had this simile in his eye when he wrote that beautiful one at the end of the third act of his Cato.[162]This beautiful simile is founded on a proverb which does honour to the English language:"Between two stools the breech falls to the ground."I am not so well pleased with any written remains of the ancients as with those little aphorisms which verbal tradition hath delivered down to us under the title of proverbs. It were to be wished that, instead of filling their pages with the fabulous theology of the pagans, our modern poets would think it worth their while to enrich their works with the proverbial sayings of their ancestors. Mr. Dryden hath chronicled one in heroic:"Two ifs scarce make one possibility."—"Conq. of Granada."My Lord Bacon is of opinion that whatever is known of arts and sciences might be proved to have lurked in the Proverbs of Solomon. I am of the same opinion in relation to those above-mentioned; at least I am confident that a more perfect system of ethics, as well as economy, might be compiled out of them than is at present extant, either in the works of the ancient philosophers, or those more valuable, as more voluminous ones of the modern divines.[163]Of all the particulars in which the modern stage falls short of the ancients, there is none so much to be lamented as the great scarcity of ghosts. Whence this proceeds I will not presume to determine. Some are of opinion that the moderns are unequal to that sublime language which a ghost ought to speak. One says, ludicrously, that ghosts are out of fashion; another, that they are properer for comedy; forgetting, I suppose, that Aristotle hath told us that a ghost is the soul of tragedy; for so I render the [Greek: psychê ho mythos tês tragôdias], which M. Dacier, amongst others, hath mistaken; I suppose misled by not understanding the Fabula of the Latins, which signifies a ghost as well as fable."Te premet nox, fabulæque manes."—Horace.Of all the ghosts that have ever appeared on the stage, a very learned and judicious foreign critic gives the preference to this of our author. These are his words, speaking of this tragedy:—"Nec quidquam in illâ admirabilius quàm phasma quoddam horrendum, quod omnibus aliis spectris, quibuscum scatet Angelorum tragœdia, longè (pace D—ysii V. Doctiss. dixerim) prætulerim."[164]We have already given instances of this figure.[165]Almanzor reasons in the same manner:"A ghost I'll be;And from a ghost, you know, no place is free."—"Conq. of Gran."[166]"The man who writ this wretched pun," says Mr. D., "would have picked your pocket:" which he proceeds to show not only bad in itself, but doubly so on so solemn an occasion. And yet, in that excellent play of Liberty Asserted, we find something very much resembling a pun in the mouth of a mistress, who is parting with the lover she is fond of:"Ul.Oh, mortal woe! one kiss, and then farewell.Irene.The gods have given to others to fare well,O! miserably must Irene fare."Agamemnon, in the Victim, is full as facetious on the most solemn occasion—that of sacrificing his daughter:"Yes, daughter, yes; you will assist the priest;Yes, you must offer up your—vows for Greece."[167]"I'll pull thee backwards by thy shroud to light,Or else I'll squeeze thee, like a bladder, there.And make thee groan thyself away to air."—"Conq. of Gran.""Snatch me, ye gods, this moment into nothing."—"Cyrus the Great."[168]"So, art thou gone? Thou canst no conquest boast,I thought what was the courage of a ghost."—"Conq. of Gran."King Arthur seems to be as brave a fellow as Almanzor, who says most heroically: "In spite of ghosts I'll on."[169]The ghost of Lausaria, in Cyrus, is a plain copy of this, and is therefore worth reading:"Ah, Cyrus!Thou may'st as well grasp water, or fleet air,As think of touching my immortal shade."—"Cyrus the Great."[170]"Thou better part of heavenly air."—"Conquest of Granada."[171]"A string of similes," says one, "proper to be hung up in the cabinet of a prince."[172]This passage hath been understood several different ways by the commentators. For my part I find it difficult to understand it at all. Mr. Dryden says—"I've heard something how two bodies meet,But how two souls join I know not."So that, till the body of a spirit be better understood, it will be difficult to understand how it is possible to run him through it.[173]Cydaria is of the same fearful temper with Dollalolla:"I never durst in darkness be alone."—"Ind. Emp."[174]"Think well of this, think that, think every way."—"Sophon."[175]These quotations are more usual in the comic than in the tragic writers.[176]"This distress," says Mr. D—, "I must allow to be extremely beautiful, and tends to heighten the virtuous character of Dollallolla, who is so exceeding delicate, that she is in the highest apprehension from the inanimate embrace of a bolster. An example worthy of imitation for all our writers of tragedy."[177]"Credat Judæus Appella,Non ego,"says Mr. D. "For, passing over the absurdity of being equal to odds, can we possibly suppose a little insignificant fellow—I say again a little insignificant fellow—able to vie with a strength which all the Samsons and Herculeses of antiquity would be unable to encounter?" I shall refer this incredulous critic to Mr. Dryden's defence of his Almanzor; and, lest that should not satisfy him, I shall quote a few lines from the speech of a much braver fellow than Almanzor, Mr. Johnson's Achilles:"Though human race rise in embattled hosts,To force her from my arms—Oh! son of Atreus!By that immortal pow'r, whose deathless spiritInforms this earth, I will oppose them all."—"Victim."[178]"I have heard of being supported by a staff," says Mr. D., "but never of being supported by a helmet." I believe he never heard of sailing with wings, which he may read in no less a poet than Mr. Dryden:"Unless we borrow wings and sail through air."—"Love Triumphant.What will he say to a kneeling valley?"I'll standLike a safe valley, that low bends the kneeTo some aspiring mountain."—"Injured Love."I am ashamed of so ignorant a carper, who doth not know that an epithet in tragedy is very often no other than an expletive. Do not we read in the New Sophonisba of "grinding chains, blue plagues, white occasions, and blue serenity?" Nay, it is not the adjective only, but sometimes half a sentence is put by way of expletive, as "Beauty pointed high with spirit," in the same play; and "In the lap of blessing, to be most curst," in the Revenge.[179]A victory like that of Almanzor:"Almanzor is victorious without fight."—"Conquest of Granada."[180]"Well have we chose an happy day for fight;For every man, in course of time, has foundSome days are lucky, some unfortunate."—"King Arthur."[181]We read of such another in Lee:"Teach his rude wit a flight she never made,And send her post to the Elysian shade."—"Gloriana."[182]These lines are copied verbatim in the Indian Emperor.[183]"Unborn thunder rolling in a cloud."—"Conquest of Granada."[184]"Were heaven and earth in wild confusion hurl'd,Should the rash gods unhinge the rolling world,Undaunted would I tread the tott'ring ball,Crush'd, but unconquer'd, in the dreadful fall."—"Female Warrior."[185]See the History of Tom Thumb, p. 141.[186]"Amazement swallows up my sense,And in the impetuous whirl of circling fateDrinks down my reason."—"Persian Princess."[187]"I have outfaced myself.What! am I two? Is there another me?"—"King Arthur."[188]The character of Merlin is wonderful throughout; but most so in this prophetic part. We find several of these prophecies in the tragic authors, who frequently take this opportunity to pay a compliment to their country, and sometimes to their prince. None but our author (who seems to have detested the least appearance of flattery) would have passed by such an opportunity of being a political prophet.[189]"I saw the villain, Myron; with these eyes I saw him."—"Busiris." In both which places it is intimated that it is sometimes possible to see with other eyes than your own.[190]"This mustard," says Mr. D., "is enough to turn one's stomach. I would be glad to know what idea the author had in his head when he wrote it." This will be, I believe, best explained by a line of Mr. Dennis:"And gave him liberty, the salt of life."—"Liberty Asserted."The understanding that can digest the one will not rise at the other.[191]"Han, Are you the chief whom men famed Scipio call?Scip.Are you the much more famous Hannibal?"—"Hannibal."[192]Dr Young seems to have copied this engagement in his Busiris:Myr.Villain!Mem.Myron!Myr.Rebel!Mem.Myron!Myr.Hell!Mem.Mandane![193]This last speech of my Lord Grizzle hath been of great service to our poets:"I'll hold it fastAs life, and when life's gone I'll hold this last;And if thou tak'st it from me when I'm slain,I'll send my ghost and fetch it back again."—"Conq. of Gran."[194]"My soul should with such speed obey,It should not bait at heaven to stop its way."[195]Lee seems to have had this last in his eye:"'Twas not my purpose, sir, to tarry there:I would but go to heaven to take the air."—"Gloriana.""A rising vapour rumbling in my brains."—"Cleomenes."[196]"Some kind sprite knocks softly at my soul,To tell me fate's at hand."[197]Mr. Dryden seems to have had this simile in his eye, when he says:"My soul is packing up, and just on wing."—"Conq. of Gran.""And in a purple vomit pour'd his soul."—"Cleomenes."[198]"The devil swallows vulgar soulsLike whipt cream."—"Sebastian."[199]"How I could curse my name of Ptolemy!It is so long, it asks an hour to write it.By heaven! I'll change it into Jove or Mars!Or any other civil monosyllable,That will not tire my hand."—"Cleomenes."[200]Here is a visible conjunction of two days in one, by which our author may have either intended an emblem of a wedding, or to insinuate that men in the honeymoon are apt to imagine time shorter than it is. It brings into my mind a passage in the comedy called the Coffee-House Politician:"We will celebrate this day at my house to-morrow."[201]These beautiful phrases are all to be found in one single speech of King Arthur, or the British Worthy.[202]"I was but teaching him to grace his taleWith decent horror."—"Cleomenes."[203]We may say with Dryden:"Death did at length so many slain forget,And left the tale, and took them by the great."I know of no tragedy which comes nearer to this charming and bloody catastrophe than Cleomenes, where the curtain covers five principal characters dead on the stage. These lines too—"I ask'd no questions then, of who kill'd who?The bodies tell the story as they lie—"seem to have belonged more properly to this scene of our author; nor can I help imagining they were originally his. The Rival Ladies, too, seem beholden to this scene:"We're now a chain of lovers link'd in death;Julia goes first, Gonsalvo hangs on her,And Angelina hangs upon Gonsalvo,As I on Angelina."No scene, I believe, ever received greater honours than this. It was applauded by several encores, a word very unusual in tragedy. And it was very difficult for the actors to escape without a second slaughter. This I take to be a lively assurance of that fierce spirit of liberty which remains among us, and which Mr. Dryden, in his essay on Dramatic Poetry, hath observed. "Whether custom," says he, "hath so insinuated itself into our countrymen, or nature hath so formed them to fierceness, I know not; but they will scarcely suffer combats and other objects of horror to be taken from them." And indeed I am for having them encouraged in this martial disposition; nor do I believe our victories over the French have been owing to anything more than to those bloody spectacles daily exhibited in our tragedies, of which the French stage is so entirely clear.[204]A See the "Robbers." a German tragedy, in which robbery is put in so fascinating a light, that the whole of a German University went upon the highway in consequence of it.[205]See "Cabal and Love," a German tragedy, very severe against Prime Ministers and reigning Dukes of Brunswick. This admirable performance very judiciously reprobates the hire of German troops for theAmerican warin the reign of Queen Elizabeth—a practice which would undoubtedly have been highly discreditable to that wise and patriotic princess, not to say wholly unnecessary, there being no American war at that particular time.[206]See the "Stranger; or, Reform'd Housekeeper," in which the former of these morals is beautifully illustrated; and "Stella," a genteel German comedy, which ends with placing a manbodkinbetweentwo wives, likeThamesbetween histwo banks, in the "Critic." Nothing can be more edifying than these two dramas. I am shocked to hear that there are some people who think them ridiculous.[207]These are the warnings very properly given to readers, to beware how they judge of what they cannot understand. Thus, if the translation runs "lightning of my soul, fulguration of angels, sulphur of hell;" we should recollect that this is not coarse or strange in the German language, when applied by a lover to his mistress; but the English has nothing precisely parallel to the original Mulychause Archangelichen, which means rather "emanation of the archangelican nature"—or to Smellmynkern Vankelfer, which, if literally rendered, would signify "made of stuff of the same odour whereof the devil makes flambeaux." See Schüttenbrüch on the German Idiom.[208]This is an excellent joke in German; the point and spirit of which is but ill-rendered in a translation. A Noddy, the reader will observe, has two significations—the one a "knave at all-fours;" the other a "fool or booby." See the translation by Mr. Render of "Count Benyowsky; or, the Conspiracy of Kamtschatka," a German tragi-comi-comi-tragedy: where the play opens with a scene of a game at chess (from which the whole of this scene is copied), and a joke of the same point and merriment about pawns—i.e., boors beinga matchfor kings.[209]This word in the original is strictly "fellow-lodgers"—"co-occupants of the same room, in a house let out at a small rent by the week." There is no single word in English which expresses so complicated a relation, except, perhaps, the cant term of "chum," formerly in use at our universities.[210]The balalaika is a Russian instrument, resembling the guitar.—See the play of "Count Benyowsky," rendered into English.[211]See "Count Benyowsky; or, the Conspiracy of Kamschatka," where Crustiew, an old gentleman of much sagacity, talks the following nonsense:Crustiew[with youthful energy and an air of secrecy and confidence.]"To fly, to fly, to the Isles of Marian—the island of Tinian—a terrestrial paradise. Free—free—a mild climate—a new created sun—wholesome fruits—harmless inhabitants—and Liberty—tranquillity."[212]See "Count Benyowsky." as before.[213]See "Count Benyowsky."[214]See "Count Benyowsky" again; from which play this and the preceding references are taken word for word. We acquit the Germans of such reprobate silly stuff. It must be the translator's.[215]We believe this song to be copied, with a small variation in metre and meaning, from a song in "Count Benyowsky; or, the Conspiracy of Kamtschatka,"—where the conspirators join in a chorus,for fear of being overheard.[216]Geisers, the boiling springs in Iceland.[217]Query,purly?—Printer's Devil.[218]Captain Kater, the Moon's Surveyor.[219]The Doctor's composition for anightcap.
[159]"Here is a sentiment for the virtuous Huncamunca!" says Mr. D—s. And yet, with the leave of this great man, the virtuous Panthea, in Cyrus, hath a heart every whit as ample:"For two I must confess are gods to me,Which is my Abradatus first, and thee."—"Cyrus the Great."Nor is the lady in Love Triumphant more reserved, though not so intelligible:"I am so divided,That I grieve most for both, and love both most."
[159]"Here is a sentiment for the virtuous Huncamunca!" says Mr. D—s. And yet, with the leave of this great man, the virtuous Panthea, in Cyrus, hath a heart every whit as ample:
"For two I must confess are gods to me,Which is my Abradatus first, and thee."—"Cyrus the Great."
"For two I must confess are gods to me,Which is my Abradatus first, and thee."—"Cyrus the Great."
"For two I must confess are gods to me,Which is my Abradatus first, and thee."—"Cyrus the Great."
"For two I must confess are gods to me,
Which is my Abradatus first, and thee."—"Cyrus the Great."
Nor is the lady in Love Triumphant more reserved, though not so intelligible:
"I am so divided,That I grieve most for both, and love both most."
"I am so divided,That I grieve most for both, and love both most."
"I am so divided,That I grieve most for both, and love both most."
"I am so divided,
That I grieve most for both, and love both most."
[160]A ridiculous supposition to any one who considers the great and extensive largeness of hell, says a commentator; but not so to those who consider the great expansion of immaterial substance. Mr. Banks makes one soul to be so expanded, that heaven could not contain it."The heavens are all too narrow for her soul."—"Virtue Betrayed."The Persian Princess hath a passage not unlike the author of this:"We will send such shoals of murder'd slaves,Shall glut hell's empty regions."This threatens to fill hell, even though it was empty; Lord Grizzle, only to fill up the chinks, supposing the rest already full.
[160]A ridiculous supposition to any one who considers the great and extensive largeness of hell, says a commentator; but not so to those who consider the great expansion of immaterial substance. Mr. Banks makes one soul to be so expanded, that heaven could not contain it.
"The heavens are all too narrow for her soul."—"Virtue Betrayed."
"The heavens are all too narrow for her soul."—"Virtue Betrayed."
"The heavens are all too narrow for her soul."—"Virtue Betrayed."
"The heavens are all too narrow for her soul."—"Virtue Betrayed."
The Persian Princess hath a passage not unlike the author of this:
"We will send such shoals of murder'd slaves,Shall glut hell's empty regions."
"We will send such shoals of murder'd slaves,Shall glut hell's empty regions."
"We will send such shoals of murder'd slaves,Shall glut hell's empty regions."
"We will send such shoals of murder'd slaves,
Shall glut hell's empty regions."
This threatens to fill hell, even though it was empty; Lord Grizzle, only to fill up the chinks, supposing the rest already full.
[161]Mr. Addison is generally thought to have had this simile in his eye when he wrote that beautiful one at the end of the third act of his Cato.
[161]Mr. Addison is generally thought to have had this simile in his eye when he wrote that beautiful one at the end of the third act of his Cato.
[162]This beautiful simile is founded on a proverb which does honour to the English language:"Between two stools the breech falls to the ground."I am not so well pleased with any written remains of the ancients as with those little aphorisms which verbal tradition hath delivered down to us under the title of proverbs. It were to be wished that, instead of filling their pages with the fabulous theology of the pagans, our modern poets would think it worth their while to enrich their works with the proverbial sayings of their ancestors. Mr. Dryden hath chronicled one in heroic:"Two ifs scarce make one possibility."—"Conq. of Granada."My Lord Bacon is of opinion that whatever is known of arts and sciences might be proved to have lurked in the Proverbs of Solomon. I am of the same opinion in relation to those above-mentioned; at least I am confident that a more perfect system of ethics, as well as economy, might be compiled out of them than is at present extant, either in the works of the ancient philosophers, or those more valuable, as more voluminous ones of the modern divines.
[162]This beautiful simile is founded on a proverb which does honour to the English language:
"Between two stools the breech falls to the ground."
"Between two stools the breech falls to the ground."
"Between two stools the breech falls to the ground."
"Between two stools the breech falls to the ground."
I am not so well pleased with any written remains of the ancients as with those little aphorisms which verbal tradition hath delivered down to us under the title of proverbs. It were to be wished that, instead of filling their pages with the fabulous theology of the pagans, our modern poets would think it worth their while to enrich their works with the proverbial sayings of their ancestors. Mr. Dryden hath chronicled one in heroic:
"Two ifs scarce make one possibility."—"Conq. of Granada."
"Two ifs scarce make one possibility."—"Conq. of Granada."
"Two ifs scarce make one possibility."—"Conq. of Granada."
"Two ifs scarce make one possibility."—"Conq. of Granada."
My Lord Bacon is of opinion that whatever is known of arts and sciences might be proved to have lurked in the Proverbs of Solomon. I am of the same opinion in relation to those above-mentioned; at least I am confident that a more perfect system of ethics, as well as economy, might be compiled out of them than is at present extant, either in the works of the ancient philosophers, or those more valuable, as more voluminous ones of the modern divines.
[163]Of all the particulars in which the modern stage falls short of the ancients, there is none so much to be lamented as the great scarcity of ghosts. Whence this proceeds I will not presume to determine. Some are of opinion that the moderns are unequal to that sublime language which a ghost ought to speak. One says, ludicrously, that ghosts are out of fashion; another, that they are properer for comedy; forgetting, I suppose, that Aristotle hath told us that a ghost is the soul of tragedy; for so I render the [Greek: psychê ho mythos tês tragôdias], which M. Dacier, amongst others, hath mistaken; I suppose misled by not understanding the Fabula of the Latins, which signifies a ghost as well as fable."Te premet nox, fabulæque manes."—Horace.Of all the ghosts that have ever appeared on the stage, a very learned and judicious foreign critic gives the preference to this of our author. These are his words, speaking of this tragedy:—"Nec quidquam in illâ admirabilius quàm phasma quoddam horrendum, quod omnibus aliis spectris, quibuscum scatet Angelorum tragœdia, longè (pace D—ysii V. Doctiss. dixerim) prætulerim."
[163]Of all the particulars in which the modern stage falls short of the ancients, there is none so much to be lamented as the great scarcity of ghosts. Whence this proceeds I will not presume to determine. Some are of opinion that the moderns are unequal to that sublime language which a ghost ought to speak. One says, ludicrously, that ghosts are out of fashion; another, that they are properer for comedy; forgetting, I suppose, that Aristotle hath told us that a ghost is the soul of tragedy; for so I render the [Greek: psychê ho mythos tês tragôdias], which M. Dacier, amongst others, hath mistaken; I suppose misled by not understanding the Fabula of the Latins, which signifies a ghost as well as fable.
"Te premet nox, fabulæque manes."—Horace.
"Te premet nox, fabulæque manes."—Horace.
"Te premet nox, fabulæque manes."—Horace.
"Te premet nox, fabulæque manes."—Horace.
Of all the ghosts that have ever appeared on the stage, a very learned and judicious foreign critic gives the preference to this of our author. These are his words, speaking of this tragedy:—"Nec quidquam in illâ admirabilius quàm phasma quoddam horrendum, quod omnibus aliis spectris, quibuscum scatet Angelorum tragœdia, longè (pace D—ysii V. Doctiss. dixerim) prætulerim."
[164]We have already given instances of this figure.
[164]We have already given instances of this figure.
[165]Almanzor reasons in the same manner:"A ghost I'll be;And from a ghost, you know, no place is free."—"Conq. of Gran."
[165]Almanzor reasons in the same manner:
"A ghost I'll be;And from a ghost, you know, no place is free."—"Conq. of Gran."
"A ghost I'll be;And from a ghost, you know, no place is free."—"Conq. of Gran."
"A ghost I'll be;And from a ghost, you know, no place is free."—"Conq. of Gran."
"A ghost I'll be;
And from a ghost, you know, no place is free."—"Conq. of Gran."
[166]"The man who writ this wretched pun," says Mr. D., "would have picked your pocket:" which he proceeds to show not only bad in itself, but doubly so on so solemn an occasion. And yet, in that excellent play of Liberty Asserted, we find something very much resembling a pun in the mouth of a mistress, who is parting with the lover she is fond of:"Ul.Oh, mortal woe! one kiss, and then farewell.Irene.The gods have given to others to fare well,O! miserably must Irene fare."Agamemnon, in the Victim, is full as facetious on the most solemn occasion—that of sacrificing his daughter:"Yes, daughter, yes; you will assist the priest;Yes, you must offer up your—vows for Greece."
[166]"The man who writ this wretched pun," says Mr. D., "would have picked your pocket:" which he proceeds to show not only bad in itself, but doubly so on so solemn an occasion. And yet, in that excellent play of Liberty Asserted, we find something very much resembling a pun in the mouth of a mistress, who is parting with the lover she is fond of:
"Ul.Oh, mortal woe! one kiss, and then farewell.Irene.The gods have given to others to fare well,O! miserably must Irene fare."
"Ul.Oh, mortal woe! one kiss, and then farewell.Irene.The gods have given to others to fare well,O! miserably must Irene fare."
"Ul.Oh, mortal woe! one kiss, and then farewell.
"Ul.Oh, mortal woe! one kiss, and then farewell.
Irene.The gods have given to others to fare well,O! miserably must Irene fare."
Irene.The gods have given to others to fare well,
O! miserably must Irene fare."
Agamemnon, in the Victim, is full as facetious on the most solemn occasion—that of sacrificing his daughter:
"Yes, daughter, yes; you will assist the priest;Yes, you must offer up your—vows for Greece."
"Yes, daughter, yes; you will assist the priest;Yes, you must offer up your—vows for Greece."
"Yes, daughter, yes; you will assist the priest;Yes, you must offer up your—vows for Greece."
"Yes, daughter, yes; you will assist the priest;
Yes, you must offer up your—vows for Greece."
[167]"I'll pull thee backwards by thy shroud to light,Or else I'll squeeze thee, like a bladder, there.And make thee groan thyself away to air."—"Conq. of Gran.""Snatch me, ye gods, this moment into nothing."—"Cyrus the Great."
[167]
"I'll pull thee backwards by thy shroud to light,Or else I'll squeeze thee, like a bladder, there.And make thee groan thyself away to air."—"Conq. of Gran.""Snatch me, ye gods, this moment into nothing."—"Cyrus the Great."
"I'll pull thee backwards by thy shroud to light,Or else I'll squeeze thee, like a bladder, there.And make thee groan thyself away to air."—"Conq. of Gran.""Snatch me, ye gods, this moment into nothing."—"Cyrus the Great."
"I'll pull thee backwards by thy shroud to light,Or else I'll squeeze thee, like a bladder, there.And make thee groan thyself away to air."—"Conq. of Gran."
"I'll pull thee backwards by thy shroud to light,
Or else I'll squeeze thee, like a bladder, there.
And make thee groan thyself away to air."—"Conq. of Gran."
"Snatch me, ye gods, this moment into nothing."—"Cyrus the Great."
"Snatch me, ye gods, this moment into nothing."—"Cyrus the Great."
[168]"So, art thou gone? Thou canst no conquest boast,I thought what was the courage of a ghost."—"Conq. of Gran."King Arthur seems to be as brave a fellow as Almanzor, who says most heroically: "In spite of ghosts I'll on."
[168]
"So, art thou gone? Thou canst no conquest boast,I thought what was the courage of a ghost."—"Conq. of Gran."
"So, art thou gone? Thou canst no conquest boast,I thought what was the courage of a ghost."—"Conq. of Gran."
"So, art thou gone? Thou canst no conquest boast,I thought what was the courage of a ghost."—"Conq. of Gran."
"So, art thou gone? Thou canst no conquest boast,
I thought what was the courage of a ghost."—"Conq. of Gran."
King Arthur seems to be as brave a fellow as Almanzor, who says most heroically: "In spite of ghosts I'll on."
[169]The ghost of Lausaria, in Cyrus, is a plain copy of this, and is therefore worth reading:"Ah, Cyrus!Thou may'st as well grasp water, or fleet air,As think of touching my immortal shade."—"Cyrus the Great."
[169]The ghost of Lausaria, in Cyrus, is a plain copy of this, and is therefore worth reading:
"Ah, Cyrus!Thou may'st as well grasp water, or fleet air,As think of touching my immortal shade."—"Cyrus the Great."
"Ah, Cyrus!Thou may'st as well grasp water, or fleet air,As think of touching my immortal shade."—"Cyrus the Great."
"Ah, Cyrus!Thou may'st as well grasp water, or fleet air,As think of touching my immortal shade."—"Cyrus the Great."
"Ah, Cyrus!
Thou may'st as well grasp water, or fleet air,
As think of touching my immortal shade."—"Cyrus the Great."
[170]"Thou better part of heavenly air."—"Conquest of Granada."
[170]
"Thou better part of heavenly air."—"Conquest of Granada."
"Thou better part of heavenly air."—"Conquest of Granada."
"Thou better part of heavenly air."—"Conquest of Granada."
"Thou better part of heavenly air."—"Conquest of Granada."
[171]"A string of similes," says one, "proper to be hung up in the cabinet of a prince."
[171]"A string of similes," says one, "proper to be hung up in the cabinet of a prince."
[172]This passage hath been understood several different ways by the commentators. For my part I find it difficult to understand it at all. Mr. Dryden says—"I've heard something how two bodies meet,But how two souls join I know not."So that, till the body of a spirit be better understood, it will be difficult to understand how it is possible to run him through it.
[172]This passage hath been understood several different ways by the commentators. For my part I find it difficult to understand it at all. Mr. Dryden says—
"I've heard something how two bodies meet,But how two souls join I know not."
"I've heard something how two bodies meet,But how two souls join I know not."
"I've heard something how two bodies meet,But how two souls join I know not."
"I've heard something how two bodies meet,
But how two souls join I know not."
So that, till the body of a spirit be better understood, it will be difficult to understand how it is possible to run him through it.
[173]Cydaria is of the same fearful temper with Dollalolla:"I never durst in darkness be alone."—"Ind. Emp."
[173]Cydaria is of the same fearful temper with Dollalolla:
"I never durst in darkness be alone."—"Ind. Emp."
"I never durst in darkness be alone."—"Ind. Emp."
"I never durst in darkness be alone."—"Ind. Emp."
"I never durst in darkness be alone."—"Ind. Emp."
[174]"Think well of this, think that, think every way."—"Sophon."
[174]
"Think well of this, think that, think every way."—"Sophon."
"Think well of this, think that, think every way."—"Sophon."
"Think well of this, think that, think every way."—"Sophon."
"Think well of this, think that, think every way."—"Sophon."
[175]These quotations are more usual in the comic than in the tragic writers.
[175]These quotations are more usual in the comic than in the tragic writers.
[176]"This distress," says Mr. D—, "I must allow to be extremely beautiful, and tends to heighten the virtuous character of Dollallolla, who is so exceeding delicate, that she is in the highest apprehension from the inanimate embrace of a bolster. An example worthy of imitation for all our writers of tragedy."
[176]"This distress," says Mr. D—, "I must allow to be extremely beautiful, and tends to heighten the virtuous character of Dollallolla, who is so exceeding delicate, that she is in the highest apprehension from the inanimate embrace of a bolster. An example worthy of imitation for all our writers of tragedy."
[177]"Credat Judæus Appella,Non ego,"says Mr. D. "For, passing over the absurdity of being equal to odds, can we possibly suppose a little insignificant fellow—I say again a little insignificant fellow—able to vie with a strength which all the Samsons and Herculeses of antiquity would be unable to encounter?" I shall refer this incredulous critic to Mr. Dryden's defence of his Almanzor; and, lest that should not satisfy him, I shall quote a few lines from the speech of a much braver fellow than Almanzor, Mr. Johnson's Achilles:"Though human race rise in embattled hosts,To force her from my arms—Oh! son of Atreus!By that immortal pow'r, whose deathless spiritInforms this earth, I will oppose them all."—"Victim."
[177]
"Credat Judæus Appella,Non ego,"
"Credat Judæus Appella,Non ego,"
"Credat Judæus Appella,Non ego,"
"Credat Judæus Appella,
Non ego,"
says Mr. D. "For, passing over the absurdity of being equal to odds, can we possibly suppose a little insignificant fellow—I say again a little insignificant fellow—able to vie with a strength which all the Samsons and Herculeses of antiquity would be unable to encounter?" I shall refer this incredulous critic to Mr. Dryden's defence of his Almanzor; and, lest that should not satisfy him, I shall quote a few lines from the speech of a much braver fellow than Almanzor, Mr. Johnson's Achilles:
"Though human race rise in embattled hosts,To force her from my arms—Oh! son of Atreus!By that immortal pow'r, whose deathless spiritInforms this earth, I will oppose them all."—"Victim."
"Though human race rise in embattled hosts,To force her from my arms—Oh! son of Atreus!By that immortal pow'r, whose deathless spiritInforms this earth, I will oppose them all."—"Victim."
"Though human race rise in embattled hosts,To force her from my arms—Oh! son of Atreus!By that immortal pow'r, whose deathless spiritInforms this earth, I will oppose them all."—"Victim."
"Though human race rise in embattled hosts,
To force her from my arms—Oh! son of Atreus!
By that immortal pow'r, whose deathless spirit
Informs this earth, I will oppose them all."—"Victim."
[178]"I have heard of being supported by a staff," says Mr. D., "but never of being supported by a helmet." I believe he never heard of sailing with wings, which he may read in no less a poet than Mr. Dryden:"Unless we borrow wings and sail through air."—"Love Triumphant.What will he say to a kneeling valley?"I'll standLike a safe valley, that low bends the kneeTo some aspiring mountain."—"Injured Love."I am ashamed of so ignorant a carper, who doth not know that an epithet in tragedy is very often no other than an expletive. Do not we read in the New Sophonisba of "grinding chains, blue plagues, white occasions, and blue serenity?" Nay, it is not the adjective only, but sometimes half a sentence is put by way of expletive, as "Beauty pointed high with spirit," in the same play; and "In the lap of blessing, to be most curst," in the Revenge.
[178]"I have heard of being supported by a staff," says Mr. D., "but never of being supported by a helmet." I believe he never heard of sailing with wings, which he may read in no less a poet than Mr. Dryden:
"Unless we borrow wings and sail through air."—"Love Triumphant.
"Unless we borrow wings and sail through air."—"Love Triumphant.
"Unless we borrow wings and sail through air."—"Love Triumphant.
"Unless we borrow wings and sail through air."—"Love Triumphant.
What will he say to a kneeling valley?
"I'll standLike a safe valley, that low bends the kneeTo some aspiring mountain."—"Injured Love."
"I'll standLike a safe valley, that low bends the kneeTo some aspiring mountain."—"Injured Love."
"I'll standLike a safe valley, that low bends the kneeTo some aspiring mountain."—"Injured Love."
"I'll stand
Like a safe valley, that low bends the knee
To some aspiring mountain."—"Injured Love."
I am ashamed of so ignorant a carper, who doth not know that an epithet in tragedy is very often no other than an expletive. Do not we read in the New Sophonisba of "grinding chains, blue plagues, white occasions, and blue serenity?" Nay, it is not the adjective only, but sometimes half a sentence is put by way of expletive, as "Beauty pointed high with spirit," in the same play; and "In the lap of blessing, to be most curst," in the Revenge.
[179]A victory like that of Almanzor:"Almanzor is victorious without fight."—"Conquest of Granada."
[179]A victory like that of Almanzor:
"Almanzor is victorious without fight."—"Conquest of Granada."
"Almanzor is victorious without fight."—"Conquest of Granada."
"Almanzor is victorious without fight."—"Conquest of Granada."
"Almanzor is victorious without fight."—"Conquest of Granada."
[180]"Well have we chose an happy day for fight;For every man, in course of time, has foundSome days are lucky, some unfortunate."—"King Arthur."
[180]
"Well have we chose an happy day for fight;For every man, in course of time, has foundSome days are lucky, some unfortunate."—"King Arthur."
"Well have we chose an happy day for fight;For every man, in course of time, has foundSome days are lucky, some unfortunate."—"King Arthur."
"Well have we chose an happy day for fight;For every man, in course of time, has foundSome days are lucky, some unfortunate."—"King Arthur."
"Well have we chose an happy day for fight;
For every man, in course of time, has found
Some days are lucky, some unfortunate."—"King Arthur."
[181]We read of such another in Lee:"Teach his rude wit a flight she never made,And send her post to the Elysian shade."—"Gloriana."
[181]We read of such another in Lee:
"Teach his rude wit a flight she never made,And send her post to the Elysian shade."—"Gloriana."
"Teach his rude wit a flight she never made,And send her post to the Elysian shade."—"Gloriana."
"Teach his rude wit a flight she never made,And send her post to the Elysian shade."—"Gloriana."
"Teach his rude wit a flight she never made,
And send her post to the Elysian shade."—"Gloriana."
[182]These lines are copied verbatim in the Indian Emperor.
[182]These lines are copied verbatim in the Indian Emperor.
[183]"Unborn thunder rolling in a cloud."—"Conquest of Granada."
[183]"Unborn thunder rolling in a cloud."—"Conquest of Granada."
[184]"Were heaven and earth in wild confusion hurl'd,Should the rash gods unhinge the rolling world,Undaunted would I tread the tott'ring ball,Crush'd, but unconquer'd, in the dreadful fall."—"Female Warrior."
[184]
"Were heaven and earth in wild confusion hurl'd,Should the rash gods unhinge the rolling world,Undaunted would I tread the tott'ring ball,Crush'd, but unconquer'd, in the dreadful fall."—"Female Warrior."
"Were heaven and earth in wild confusion hurl'd,Should the rash gods unhinge the rolling world,Undaunted would I tread the tott'ring ball,Crush'd, but unconquer'd, in the dreadful fall."—"Female Warrior."
"Were heaven and earth in wild confusion hurl'd,Should the rash gods unhinge the rolling world,Undaunted would I tread the tott'ring ball,Crush'd, but unconquer'd, in the dreadful fall."—"Female Warrior."
"Were heaven and earth in wild confusion hurl'd,
Should the rash gods unhinge the rolling world,
Undaunted would I tread the tott'ring ball,
Crush'd, but unconquer'd, in the dreadful fall."—"Female Warrior."
[185]See the History of Tom Thumb, p. 141.
[185]See the History of Tom Thumb, p. 141.
[186]"Amazement swallows up my sense,And in the impetuous whirl of circling fateDrinks down my reason."—"Persian Princess."
[186]
"Amazement swallows up my sense,And in the impetuous whirl of circling fateDrinks down my reason."—"Persian Princess."
"Amazement swallows up my sense,And in the impetuous whirl of circling fateDrinks down my reason."—"Persian Princess."
"Amazement swallows up my sense,And in the impetuous whirl of circling fateDrinks down my reason."—"Persian Princess."
"Amazement swallows up my sense,
And in the impetuous whirl of circling fate
Drinks down my reason."—"Persian Princess."
[187]"I have outfaced myself.What! am I two? Is there another me?"—"King Arthur."
[187]
"I have outfaced myself.What! am I two? Is there another me?"—"King Arthur."
"I have outfaced myself.What! am I two? Is there another me?"—"King Arthur."
"I have outfaced myself.What! am I two? Is there another me?"—"King Arthur."
"I have outfaced myself.
What! am I two? Is there another me?"—"King Arthur."
[188]The character of Merlin is wonderful throughout; but most so in this prophetic part. We find several of these prophecies in the tragic authors, who frequently take this opportunity to pay a compliment to their country, and sometimes to their prince. None but our author (who seems to have detested the least appearance of flattery) would have passed by such an opportunity of being a political prophet.
[188]The character of Merlin is wonderful throughout; but most so in this prophetic part. We find several of these prophecies in the tragic authors, who frequently take this opportunity to pay a compliment to their country, and sometimes to their prince. None but our author (who seems to have detested the least appearance of flattery) would have passed by such an opportunity of being a political prophet.
[189]"I saw the villain, Myron; with these eyes I saw him."—"Busiris." In both which places it is intimated that it is sometimes possible to see with other eyes than your own.
[189]"I saw the villain, Myron; with these eyes I saw him."—"Busiris." In both which places it is intimated that it is sometimes possible to see with other eyes than your own.
[190]"This mustard," says Mr. D., "is enough to turn one's stomach. I would be glad to know what idea the author had in his head when he wrote it." This will be, I believe, best explained by a line of Mr. Dennis:"And gave him liberty, the salt of life."—"Liberty Asserted."The understanding that can digest the one will not rise at the other.
[190]"This mustard," says Mr. D., "is enough to turn one's stomach. I would be glad to know what idea the author had in his head when he wrote it." This will be, I believe, best explained by a line of Mr. Dennis:
"And gave him liberty, the salt of life."—"Liberty Asserted."
"And gave him liberty, the salt of life."—"Liberty Asserted."
"And gave him liberty, the salt of life."—"Liberty Asserted."
"And gave him liberty, the salt of life."—"Liberty Asserted."
The understanding that can digest the one will not rise at the other.
[191]"Han, Are you the chief whom men famed Scipio call?Scip.Are you the much more famous Hannibal?"—"Hannibal."
[191]
"Han, Are you the chief whom men famed Scipio call?Scip.Are you the much more famous Hannibal?"—"Hannibal."
"Han, Are you the chief whom men famed Scipio call?Scip.Are you the much more famous Hannibal?"—"Hannibal."
"Han, Are you the chief whom men famed Scipio call?
"Han, Are you the chief whom men famed Scipio call?
Scip.Are you the much more famous Hannibal?"—"Hannibal."
Scip.Are you the much more famous Hannibal?"—"Hannibal."
[192]Dr Young seems to have copied this engagement in his Busiris:Myr.Villain!Mem.Myron!Myr.Rebel!Mem.Myron!Myr.Hell!Mem.Mandane!
[192]Dr Young seems to have copied this engagement in his Busiris:
Myr.Villain!Mem.Myron!Myr.Rebel!Mem.Myron!Myr.Hell!Mem.Mandane!
Myr.Villain!Mem.Myron!Myr.Rebel!Mem.Myron!Myr.Hell!Mem.Mandane!
Myr.Villain!
Myr.Villain!
Mem.Myron!
Mem.Myron!
Myr.Rebel!
Myr.Rebel!
Mem.Myron!
Mem.Myron!
Myr.Hell!
Myr.Hell!
Mem.Mandane!
Mem.Mandane!
[193]This last speech of my Lord Grizzle hath been of great service to our poets:"I'll hold it fastAs life, and when life's gone I'll hold this last;And if thou tak'st it from me when I'm slain,I'll send my ghost and fetch it back again."—"Conq. of Gran."
[193]This last speech of my Lord Grizzle hath been of great service to our poets:
"I'll hold it fastAs life, and when life's gone I'll hold this last;And if thou tak'st it from me when I'm slain,I'll send my ghost and fetch it back again."—"Conq. of Gran."
"I'll hold it fastAs life, and when life's gone I'll hold this last;And if thou tak'st it from me when I'm slain,I'll send my ghost and fetch it back again."—"Conq. of Gran."
"I'll hold it fastAs life, and when life's gone I'll hold this last;And if thou tak'st it from me when I'm slain,I'll send my ghost and fetch it back again."—"Conq. of Gran."
"I'll hold it fast
As life, and when life's gone I'll hold this last;
And if thou tak'st it from me when I'm slain,
I'll send my ghost and fetch it back again."—"Conq. of Gran."
[194]"My soul should with such speed obey,It should not bait at heaven to stop its way."
[194]
"My soul should with such speed obey,It should not bait at heaven to stop its way."
"My soul should with such speed obey,It should not bait at heaven to stop its way."
"My soul should with such speed obey,It should not bait at heaven to stop its way."
"My soul should with such speed obey,
It should not bait at heaven to stop its way."
[195]Lee seems to have had this last in his eye:"'Twas not my purpose, sir, to tarry there:I would but go to heaven to take the air."—"Gloriana.""A rising vapour rumbling in my brains."—"Cleomenes."
[195]Lee seems to have had this last in his eye:
"'Twas not my purpose, sir, to tarry there:I would but go to heaven to take the air."—"Gloriana.""A rising vapour rumbling in my brains."—"Cleomenes."
"'Twas not my purpose, sir, to tarry there:I would but go to heaven to take the air."—"Gloriana.""A rising vapour rumbling in my brains."—"Cleomenes."
"'Twas not my purpose, sir, to tarry there:I would but go to heaven to take the air."—"Gloriana."
"'Twas not my purpose, sir, to tarry there:
I would but go to heaven to take the air."—"Gloriana."
"A rising vapour rumbling in my brains."—"Cleomenes."
"A rising vapour rumbling in my brains."—"Cleomenes."
[196]"Some kind sprite knocks softly at my soul,To tell me fate's at hand."
[196]
"Some kind sprite knocks softly at my soul,To tell me fate's at hand."
"Some kind sprite knocks softly at my soul,To tell me fate's at hand."
"Some kind sprite knocks softly at my soul,To tell me fate's at hand."
"Some kind sprite knocks softly at my soul,
To tell me fate's at hand."
[197]Mr. Dryden seems to have had this simile in his eye, when he says:"My soul is packing up, and just on wing."—"Conq. of Gran.""And in a purple vomit pour'd his soul."—"Cleomenes."
[197]Mr. Dryden seems to have had this simile in his eye, when he says:
"My soul is packing up, and just on wing."—"Conq. of Gran.""And in a purple vomit pour'd his soul."—"Cleomenes."
"My soul is packing up, and just on wing."—"Conq. of Gran.""And in a purple vomit pour'd his soul."—"Cleomenes."
"My soul is packing up, and just on wing."—"Conq. of Gran.""And in a purple vomit pour'd his soul."—"Cleomenes."
"My soul is packing up, and just on wing."—"Conq. of Gran."
"And in a purple vomit pour'd his soul."—"Cleomenes."
[198]"The devil swallows vulgar soulsLike whipt cream."—"Sebastian."
[198]
"The devil swallows vulgar soulsLike whipt cream."—"Sebastian."
"The devil swallows vulgar soulsLike whipt cream."—"Sebastian."
"The devil swallows vulgar soulsLike whipt cream."—"Sebastian."
"The devil swallows vulgar souls
Like whipt cream."—"Sebastian."
[199]"How I could curse my name of Ptolemy!It is so long, it asks an hour to write it.By heaven! I'll change it into Jove or Mars!Or any other civil monosyllable,That will not tire my hand."—"Cleomenes."
[199]
"How I could curse my name of Ptolemy!It is so long, it asks an hour to write it.By heaven! I'll change it into Jove or Mars!Or any other civil monosyllable,That will not tire my hand."—"Cleomenes."
"How I could curse my name of Ptolemy!It is so long, it asks an hour to write it.By heaven! I'll change it into Jove or Mars!Or any other civil monosyllable,That will not tire my hand."—"Cleomenes."
"How I could curse my name of Ptolemy!It is so long, it asks an hour to write it.By heaven! I'll change it into Jove or Mars!Or any other civil monosyllable,That will not tire my hand."—"Cleomenes."
"How I could curse my name of Ptolemy!
It is so long, it asks an hour to write it.
By heaven! I'll change it into Jove or Mars!
Or any other civil monosyllable,
That will not tire my hand."—"Cleomenes."
[200]Here is a visible conjunction of two days in one, by which our author may have either intended an emblem of a wedding, or to insinuate that men in the honeymoon are apt to imagine time shorter than it is. It brings into my mind a passage in the comedy called the Coffee-House Politician:"We will celebrate this day at my house to-morrow."
[200]Here is a visible conjunction of two days in one, by which our author may have either intended an emblem of a wedding, or to insinuate that men in the honeymoon are apt to imagine time shorter than it is. It brings into my mind a passage in the comedy called the Coffee-House Politician:
"We will celebrate this day at my house to-morrow."
"We will celebrate this day at my house to-morrow."
"We will celebrate this day at my house to-morrow."
"We will celebrate this day at my house to-morrow."
[201]These beautiful phrases are all to be found in one single speech of King Arthur, or the British Worthy.
[201]These beautiful phrases are all to be found in one single speech of King Arthur, or the British Worthy.
[202]"I was but teaching him to grace his taleWith decent horror."—"Cleomenes."
[202]
"I was but teaching him to grace his taleWith decent horror."—"Cleomenes."
"I was but teaching him to grace his taleWith decent horror."—"Cleomenes."
"I was but teaching him to grace his taleWith decent horror."—"Cleomenes."
"I was but teaching him to grace his tale
With decent horror."—"Cleomenes."
[203]We may say with Dryden:"Death did at length so many slain forget,And left the tale, and took them by the great."I know of no tragedy which comes nearer to this charming and bloody catastrophe than Cleomenes, where the curtain covers five principal characters dead on the stage. These lines too—"I ask'd no questions then, of who kill'd who?The bodies tell the story as they lie—"seem to have belonged more properly to this scene of our author; nor can I help imagining they were originally his. The Rival Ladies, too, seem beholden to this scene:"We're now a chain of lovers link'd in death;Julia goes first, Gonsalvo hangs on her,And Angelina hangs upon Gonsalvo,As I on Angelina."No scene, I believe, ever received greater honours than this. It was applauded by several encores, a word very unusual in tragedy. And it was very difficult for the actors to escape without a second slaughter. This I take to be a lively assurance of that fierce spirit of liberty which remains among us, and which Mr. Dryden, in his essay on Dramatic Poetry, hath observed. "Whether custom," says he, "hath so insinuated itself into our countrymen, or nature hath so formed them to fierceness, I know not; but they will scarcely suffer combats and other objects of horror to be taken from them." And indeed I am for having them encouraged in this martial disposition; nor do I believe our victories over the French have been owing to anything more than to those bloody spectacles daily exhibited in our tragedies, of which the French stage is so entirely clear.
[203]We may say with Dryden:
"Death did at length so many slain forget,And left the tale, and took them by the great."
"Death did at length so many slain forget,And left the tale, and took them by the great."
"Death did at length so many slain forget,And left the tale, and took them by the great."
"Death did at length so many slain forget,
And left the tale, and took them by the great."
I know of no tragedy which comes nearer to this charming and bloody catastrophe than Cleomenes, where the curtain covers five principal characters dead on the stage. These lines too—
"I ask'd no questions then, of who kill'd who?The bodies tell the story as they lie—"
"I ask'd no questions then, of who kill'd who?The bodies tell the story as they lie—"
"I ask'd no questions then, of who kill'd who?The bodies tell the story as they lie—"
"I ask'd no questions then, of who kill'd who?
The bodies tell the story as they lie—"
seem to have belonged more properly to this scene of our author; nor can I help imagining they were originally his. The Rival Ladies, too, seem beholden to this scene:
"We're now a chain of lovers link'd in death;Julia goes first, Gonsalvo hangs on her,And Angelina hangs upon Gonsalvo,As I on Angelina."
"We're now a chain of lovers link'd in death;Julia goes first, Gonsalvo hangs on her,And Angelina hangs upon Gonsalvo,As I on Angelina."
"We're now a chain of lovers link'd in death;Julia goes first, Gonsalvo hangs on her,And Angelina hangs upon Gonsalvo,As I on Angelina."
"We're now a chain of lovers link'd in death;
Julia goes first, Gonsalvo hangs on her,
And Angelina hangs upon Gonsalvo,
As I on Angelina."
No scene, I believe, ever received greater honours than this. It was applauded by several encores, a word very unusual in tragedy. And it was very difficult for the actors to escape without a second slaughter. This I take to be a lively assurance of that fierce spirit of liberty which remains among us, and which Mr. Dryden, in his essay on Dramatic Poetry, hath observed. "Whether custom," says he, "hath so insinuated itself into our countrymen, or nature hath so formed them to fierceness, I know not; but they will scarcely suffer combats and other objects of horror to be taken from them." And indeed I am for having them encouraged in this martial disposition; nor do I believe our victories over the French have been owing to anything more than to those bloody spectacles daily exhibited in our tragedies, of which the French stage is so entirely clear.
[204]A See the "Robbers." a German tragedy, in which robbery is put in so fascinating a light, that the whole of a German University went upon the highway in consequence of it.
[204]A See the "Robbers." a German tragedy, in which robbery is put in so fascinating a light, that the whole of a German University went upon the highway in consequence of it.
[205]See "Cabal and Love," a German tragedy, very severe against Prime Ministers and reigning Dukes of Brunswick. This admirable performance very judiciously reprobates the hire of German troops for theAmerican warin the reign of Queen Elizabeth—a practice which would undoubtedly have been highly discreditable to that wise and patriotic princess, not to say wholly unnecessary, there being no American war at that particular time.
[205]See "Cabal and Love," a German tragedy, very severe against Prime Ministers and reigning Dukes of Brunswick. This admirable performance very judiciously reprobates the hire of German troops for theAmerican warin the reign of Queen Elizabeth—a practice which would undoubtedly have been highly discreditable to that wise and patriotic princess, not to say wholly unnecessary, there being no American war at that particular time.
[206]See the "Stranger; or, Reform'd Housekeeper," in which the former of these morals is beautifully illustrated; and "Stella," a genteel German comedy, which ends with placing a manbodkinbetweentwo wives, likeThamesbetween histwo banks, in the "Critic." Nothing can be more edifying than these two dramas. I am shocked to hear that there are some people who think them ridiculous.
[206]See the "Stranger; or, Reform'd Housekeeper," in which the former of these morals is beautifully illustrated; and "Stella," a genteel German comedy, which ends with placing a manbodkinbetweentwo wives, likeThamesbetween histwo banks, in the "Critic." Nothing can be more edifying than these two dramas. I am shocked to hear that there are some people who think them ridiculous.
[207]These are the warnings very properly given to readers, to beware how they judge of what they cannot understand. Thus, if the translation runs "lightning of my soul, fulguration of angels, sulphur of hell;" we should recollect that this is not coarse or strange in the German language, when applied by a lover to his mistress; but the English has nothing precisely parallel to the original Mulychause Archangelichen, which means rather "emanation of the archangelican nature"—or to Smellmynkern Vankelfer, which, if literally rendered, would signify "made of stuff of the same odour whereof the devil makes flambeaux." See Schüttenbrüch on the German Idiom.
[207]These are the warnings very properly given to readers, to beware how they judge of what they cannot understand. Thus, if the translation runs "lightning of my soul, fulguration of angels, sulphur of hell;" we should recollect that this is not coarse or strange in the German language, when applied by a lover to his mistress; but the English has nothing precisely parallel to the original Mulychause Archangelichen, which means rather "emanation of the archangelican nature"—or to Smellmynkern Vankelfer, which, if literally rendered, would signify "made of stuff of the same odour whereof the devil makes flambeaux." See Schüttenbrüch on the German Idiom.
[208]This is an excellent joke in German; the point and spirit of which is but ill-rendered in a translation. A Noddy, the reader will observe, has two significations—the one a "knave at all-fours;" the other a "fool or booby." See the translation by Mr. Render of "Count Benyowsky; or, the Conspiracy of Kamtschatka," a German tragi-comi-comi-tragedy: where the play opens with a scene of a game at chess (from which the whole of this scene is copied), and a joke of the same point and merriment about pawns—i.e., boors beinga matchfor kings.
[208]This is an excellent joke in German; the point and spirit of which is but ill-rendered in a translation. A Noddy, the reader will observe, has two significations—the one a "knave at all-fours;" the other a "fool or booby." See the translation by Mr. Render of "Count Benyowsky; or, the Conspiracy of Kamtschatka," a German tragi-comi-comi-tragedy: where the play opens with a scene of a game at chess (from which the whole of this scene is copied), and a joke of the same point and merriment about pawns—i.e., boors beinga matchfor kings.
[209]This word in the original is strictly "fellow-lodgers"—"co-occupants of the same room, in a house let out at a small rent by the week." There is no single word in English which expresses so complicated a relation, except, perhaps, the cant term of "chum," formerly in use at our universities.
[209]This word in the original is strictly "fellow-lodgers"—"co-occupants of the same room, in a house let out at a small rent by the week." There is no single word in English which expresses so complicated a relation, except, perhaps, the cant term of "chum," formerly in use at our universities.
[210]The balalaika is a Russian instrument, resembling the guitar.—See the play of "Count Benyowsky," rendered into English.
[210]The balalaika is a Russian instrument, resembling the guitar.—See the play of "Count Benyowsky," rendered into English.
[211]See "Count Benyowsky; or, the Conspiracy of Kamschatka," where Crustiew, an old gentleman of much sagacity, talks the following nonsense:Crustiew[with youthful energy and an air of secrecy and confidence.]"To fly, to fly, to the Isles of Marian—the island of Tinian—a terrestrial paradise. Free—free—a mild climate—a new created sun—wholesome fruits—harmless inhabitants—and Liberty—tranquillity."
[211]See "Count Benyowsky; or, the Conspiracy of Kamschatka," where Crustiew, an old gentleman of much sagacity, talks the following nonsense:
Crustiew[with youthful energy and an air of secrecy and confidence.]"To fly, to fly, to the Isles of Marian—the island of Tinian—a terrestrial paradise. Free—free—a mild climate—a new created sun—wholesome fruits—harmless inhabitants—and Liberty—tranquillity."
[212]See "Count Benyowsky." as before.
[212]See "Count Benyowsky." as before.
[213]See "Count Benyowsky."
[213]See "Count Benyowsky."
[214]See "Count Benyowsky" again; from which play this and the preceding references are taken word for word. We acquit the Germans of such reprobate silly stuff. It must be the translator's.
[214]See "Count Benyowsky" again; from which play this and the preceding references are taken word for word. We acquit the Germans of such reprobate silly stuff. It must be the translator's.
[215]We believe this song to be copied, with a small variation in metre and meaning, from a song in "Count Benyowsky; or, the Conspiracy of Kamtschatka,"—where the conspirators join in a chorus,for fear of being overheard.
[215]We believe this song to be copied, with a small variation in metre and meaning, from a song in "Count Benyowsky; or, the Conspiracy of Kamtschatka,"—where the conspirators join in a chorus,for fear of being overheard.
[216]Geisers, the boiling springs in Iceland.
[216]Geisers, the boiling springs in Iceland.
[217]Query,purly?—Printer's Devil.
[217]Query,purly?—Printer's Devil.
[218]Captain Kater, the Moon's Surveyor.
[218]Captain Kater, the Moon's Surveyor.
[219]The Doctor's composition for anightcap.
[219]The Doctor's composition for anightcap.