[411]Interdum tamen & vocem Comœdia tollit,Iratusque Chremes tumido delitigat ore.Yet Comedy sometimes may raise her Voice,AndChremesbe allow'd to foam and rail.Roscom.
[411]Interdum tamen & vocem Comœdia tollit,Iratusque Chremes tumido delitigat ore.
Yet Comedy sometimes may raise her Voice,AndChremesbe allow'd to foam and rail.Roscom.
Where Interpreters are of Opinion, thatHoracealludes to that Passage in theHeautontimorumenos:
[412]——Non si ex capite sis meoNatus, item ut aiunt Minervam esse ex Jove; ea causa magisPatiar, Clitipho, flagitiis tuis me infamen fieri.
[412]——Non si ex capite sis meoNatus, item ut aiunt Minervam esse ex Jove; ea causa magisPatiar, Clitipho, flagitiis tuis me infamen fieri.
No! had you sprung out of my very Brain, as they sayPallasdid fromJove's, I wou'd not bear to see myself disgrac'd by your Debauches.
But there is a wide Difference between that Distress, which prevails in Tragedy, and that which occasionally appears in Comedy. The one is like a Storm in Winter, which covers the Sky all over with Clouds and Darkness, only a few transient Gleams of Light interspers'd: The other is like a Summer's Day, which is generally serene and bright, and sometimes, tho' seldom, a little over-cast.
The whole Compass, then, of our Passions, may be represented in Comedy, as well as Tragedy; but in aMannerintirely different, on account of the Difference of the Characters from which they arise. For it is certainly true, on the one Hand, that the Foundations of human Happiness and Misery, all the Springs and Sources of our Affections, are, in the main, the same, and common to all Mankind: But, it is as evident, on the other, that every Man,according to his Station in Life, expresses those Affections in a different Manner, and with peculiar Images. Thus, in a human Body, the several Parts are in all Men nearly the same; but the great Variety in their Condition, Education, and Ways of living, makes the same Variety in their Appearance and gives a different Turn, even to their Countenance. A Monarch may be as merry as any of his Subjects; but how different is the Air of his Mirth, from that jovial Rusticity with which the merry Peasant overflows! A Shepherd, or Swain, may feel all the Anguish and Distress of Love; but how unlike are his Complaints to those which a Prince or Sultan would pour out upon these Occasions! Nay, and the lowest Part of Mankind are not withoutAmbition; but how widely distant is it from the high and boundless Views with which Monarchs are affected!
But tho' every Passion may be properly represented in Comedy, yet the first Place must always be assign'd to Ridicule; that should be, thro' the whole, the prevailing Turn. But how difficult it is for an Author to succeed injust Ridicule, is very obvious, not only to them who have attempted it, but to every Body who has duly consider'd this Way of Writing. It is no easy Performance to rally the Follies of Mankind in an agreeable Manner; and tolaugh with a good Grace, is no vulgar Attainment. But most of the Moderns seem to be quite of another Opinion, and think, that nothing is more easy, than tomake a Man ridiculous. And it must be own'd, thatLaughing, in their Way, is one of the easiest Things imaginable, with whom a wry Face is a Joke, and every Joke a certain Mark of Wit: ButHoraceandTerencewere unluckily of another Way of thinking Our Witlings, whilst they divert themselves with the Follies of others, expose their own; and the Laughter they are so ready to raise, returns upon themselves.But, to say the Truth, our present Taste for Ridicule is itself ridiculous, and that not only in Comedy, but manyother Compositions, especially inProse, which have met with great Approbation from many; with whom, to invert the Nature of Things, and misrepresent with trivial Gestures, and low Mimickry, is reckon'd a Proof of a great Genius. Sometimes, indeed, there may be a great deal of Wit in this Sort of Burlesque, in describing Heroes and great Actions in ludicrous and low Images, and setting off Trifles with the Air and Majesty of the Sublime: But if this is coarsly done, the Composition languid, and over-run with Foppery, nothing is more nauseous. To trifle in a sprightly Manner, is exceeding pleasant; but nothing more odious than an affected Dulness, and being downright foolish: Which is too often the Case with these Wits, who are wonderfully pleas'd with their own most ingenious Compositions; who are dealing perpetually in Ironies, and making Sport (as they imagine) with others. There is, indeed, a peculiar Beauty in an easy and well-turn'd Irony, which these toothless Snarlers know nothing of; but to utter a heavy and palpable Falsity, under the Shew of it, is mere Stupidity.
Res est severa voluptas——True Pleasure's sacred Name revere;Itself is solid, and its Laws severe.
Res est severa voluptas——
True Pleasure's sacred Name revere;Itself is solid, and its Laws severe.
A Maxim, which, if all Writers would remember, the best Judges would be more agreeably entertain'd in reading them.
Twenty-fifth Lecture.
It may be ask'd, Whether Writers, who would professedly expose the Follies and Vices of Mankind, ought to make their Figures larger than the Originals, or describe them exactly as they are, without Addition or Improvement. Each Side of the Question is notwithout its Authorities.Plautusis alledg'd in Favour of the first Opinion, andTerenceof the last. But granting thatAristophanesandPlautus, among the Ancients, and most of the modern Comic Writers, have taken too much Liberty in this Point; yet it is an allow'd Privilege to Poets, as well as Painters, not to be confin'd, either in Panegyric, or Satire, to the strict Rules of Truth. Such Heightnings are no more than meerHyperboles; nor do those write, or these paint,contraryto Truth, butaboveit. The Strokes must be daring and strong, if you would draw Men, or Characters, to the Life: It is not enough barely to draw the Outlines of Vice and Folly, if you intend to make the one ridiculous, or the other detestable; some Colourings must be added, both by the Painter, and the Poet.
Prologueswere anciently made use of only before Comedies; but with us they are equally suited to them and Tragedy. They who have a Mind to know the several Sorts of them, may consultVossius. The Ancients had noEpilogue, which is intirely modern, and us'd in common both to Tragedy or Comedy.Terence's Prologues have no Wit, and very little Fancy in them; which cannot be said of our Prologues and Epilogues, full, as they often are, of the most lively Entertainment.
They who wou'd be acquainted with theChorus, theCantica, and thePantomimesof the Ancients, must consultVossiusandScaliger, and such Writers: For these Particulars belong rather to the History of Poetry, than to any Branch of Critic. The Use of them, especially the Pantomimes, was to relieve the Audience, that it might not grow weary of the Play: A Practice which can never be mention'd to their Honour: For it is a certain Evidence of a bad Taste, when an Audience cannot bear to sit out a dramatic Entertainment, without being reliev'd bysuch low Diversions: But we have the less Reason to wonder at this, who have seen in our own Time and Nation, Rope and Ladder-Dancers, and other wonderful Artists of that Class, not only admitted upon the Stage, but (to our Shame be it spoken) receiv'd there with the utmost Applause. The Age, indeed, even ofAugustus, fell into much the same Depravity, whichHoracethus rallies for it:
[413]—Media inter carmina poscuntAut ursum, aut pugiles.LetHockley-holeDiversions grace the Stage,And Dog with Bear,Stokeswith his Wife engage.
[413]—Media inter carmina poscuntAut ursum, aut pugiles.
LetHockley-holeDiversions grace the Stage,And Dog with Bear,Stokeswith his Wife engage.
They, surely, must be of very low Genius, that cannot be content with a Comedy, unless it is disgrac'd with somewhat lower, a ridiculous Farce.
From what we have said of the Nature and Turn of this Kind of Poem, that it is a Representation of common and private Life; some Persons will, perhaps, imagine it to be a Work of Amusement, compos'd without much Difficulty, or Genius. But this is so far from making it easier, that it increases the Difficulty of writing it. TakeHorace's Opinion,
[414]Creditur, ex medio quia res arcessit, habereSudoris minimum; sed habet Comœdia tantoPlus oneris; quanto veniæ minus.As Comedy takes all its CharactersFrom common Life, 'tis thought a Work of Ease;Yet where the less Indulgence is allow'd,The greater Pains and Judgment are requir'd.Ch. Carthy.
[414]Creditur, ex medio quia res arcessit, habereSudoris minimum; sed habet Comœdia tantoPlus oneris; quanto veniæ minus.
As Comedy takes all its CharactersFrom common Life, 'tis thought a Work of Ease;Yet where the less Indulgence is allow'd,The greater Pains and Judgment are requir'd.Ch. Carthy.
Nor yet do we, therefore, affirm in general, that Comedy is a Work of greater Difficulty or Genius than Tragedy, which was the Opinion ofAntiphanes, aComic Poet, asVossiustells us[415], whom the Reader may consult for the Arguments and Replies on both Sides.
The Language of Comedy is by that learned Author[416]consider'd in two Lights; in general, with regard to its Elegance; and more particularly, as it relates to the Stage. "As to Elegance, he says, that the Language ofAristophanes, and other Writers of the oldGreekComedy, was more correct and beautiful thanMenander's and other Writers of the new. Among theLatins,Terence, for Beauty, and Purity of Style, is superior to all;Plautusis honour'd but with the second Place, tho', inVarro's Judgment, he deserv'd the first." But no Body has been so indulgent toVarro's Opinion, as to approve of it[417].Horacethought very differently, whose Sentiments ofPlautusappear from the Verses already quoted. He proceeds, "If we consider the Language with regard to theDrama, it must be suitable to the Subject, and not at all sublime; but, on the contrary, easy and familiar, and not set off with too many Ornaments." It is needless to say more upon this Subject, because I have already observ'd, in a former Lecture, that the Style of Comedy is not properly poetical, but an elegant Kind of Prose.
The Names of theGreekComic Poets have been taken Notice of already. Among theRomans, the most distinguish'd were two, whose Works are lost,Cæcilius, andAfranius; and two, which we nowhave,Plautus, andTerence.Horacehas observ'd of them,
[418]Vincere Cæcilius gravitate, Terentius arte.Compar'd in Character,Cæcilius' PartIs Gravity, andTerence's is Art.
[418]Vincere Cæcilius gravitate, Terentius arte.
Compar'd in Character,Cæcilius' PartIs Gravity, andTerence's is Art.
The latter Part of this Observation is clear and obvious, but what that Gravity was, in whichCæciliusexcell'dTerence, and which itself seems in him to superabound, is difficult to guess. ByArt, saysAcro, asVossiusquotes him, is meant, the Propriety of Language, in whichTerencewas superior to all other Poets. But I should rather think, asVossiusdoes, that byArtis meant the Management and Disposition of the Plot; in which he far excell'dPlautusalso. In Comedy, as the same learned Author observes, theRomansare much inferior to theGreeks; and he citesQuintilian[419]in Support of his Opinion, who has deliver'd his Thoughts ofTerencewith great Freedom.Miratus sæpius ego sum, qui tanta fuerit populi Romani gravitas atque constantia, tantusque latinæ dictionis amor, utTerentianisfabulis capi potuerit; in quibus tam pauci risus, usque adeo rara scommata, &c. Sed agnosco tempora: Vivebant tum Scipiones; Catonesque erant in pretio: Et incrementa fiebant tum temporis illius imperii. Moribus populi in voluptatem prolabentibus, oratio facta est solutior."I have wonder'd," says he, (and I am no less surpriz'd at the Man's wonderful Way of Thinking) "that theRomansshould have so much Gravity and Composure in their Tempers, such a violent Affection for the Elegancies of their own Language, as to be fond ofTerence's Plays, where there is so little Mirth, scarce a Joke to be found. But it was the Turn of that Age: TheScipio's, andCato's, weretheir Men of Taste, and in high Esteem: They were all Gravity, and their Thoughts ran only upon Conquests, and Increase of Power. But as the Morals of that People grew less severe, their Writings had in them more Gaiety and Pleasure." This isQuintilian's Opinion, as partial, as it is severe. The Verses whichCæsarwrote uponTerence, andSuetoniushas handed down to us, are so well known, that it might be thought an unpardonable Omission, when we are treating upon this Subject, to take no Notice of them:
Tu quoque, tu in summis, ô dimidiate Menander,Poneris, & merito, puri sermonis amator;Lenibus atque utinam dictis adjuncta foret visComica, & æquato virtus polleret honoreCum Græcis, neque in hac despectus parte jaceres:Unum hoc maceror, & doleo tibi deesse, Terenti.And thou, who mak'stMænander's Beauties thine,Shalt foremost in the List of Writers shine;Correct in Language, chaste in ev'ry Thought,In all the Rules of Art without a Fault.Oh! did thy gently-pleasing Scenes impartAs much the Force of Nature, as of Art,Did but those Strokes of Wit attend thy Lines,Which thro' theGrecianPage distinguish'd shines,Thy Works with Rapture wou'd be studied o'er,NorRomanElegance have wish'd for more.
Tu quoque, tu in summis, ô dimidiate Menander,Poneris, & merito, puri sermonis amator;Lenibus atque utinam dictis adjuncta foret visComica, & æquato virtus polleret honoreCum Græcis, neque in hac despectus parte jaceres:Unum hoc maceror, & doleo tibi deesse, Terenti.
And thou, who mak'stMænander's Beauties thine,Shalt foremost in the List of Writers shine;Correct in Language, chaste in ev'ry Thought,In all the Rules of Art without a Fault.Oh! did thy gently-pleasing Scenes impartAs much the Force of Nature, as of Art,Did but those Strokes of Wit attend thy Lines,Which thro' theGrecianPage distinguish'd shines,Thy Works with Rapture wou'd be studied o'er,NorRomanElegance have wish'd for more.
But granting thatTerencewas no way remarkable for his Talent at Wit and Repartee, yet (with Submission to so great a Judge) so sharp and severe a Censure seems more than he deserves. For there are many, and those of the best Taste, who are more pleas'd with a Writer, that perpetually keeps up an agreeable Smile, and an easy Chearfulness; than one,who is every now and then throwing them into Fits of Laughter, and violent Emotions.
Our modern Comedy, as I observ'd before, has a much greater Resemblance with what the Ancients call'd theMiddleComedy, than either theOld, orNew. It is much graver, and less satirical than the first, and has more delicate Touches of Wit and Raillery than the last.Terenceseems neither by Genius, nor Inclination, to have had the least Turn for the sharp and satirical Way of Writing: His Excellency lies rather in copying the common Characters of Human Nature, and drawing them in the exactest Manner, and truest Light; than in painting any of its Extravagancies, whether in Vice, or Folly. The modern Comedies have certainly more Wit and Humour in their Composition, than the ancient; more Art in working up, and unravelling their Plots; and a greater Variety of Persons concern'd in them: And especially in genteel Comedy, our Characters have more good Breeding, and Politeness; and even in Low Life, our comical Figures are more ridiculous. But then, on the other Hand, the Language ofTerenceis more pure and correct, more expressive and elegant than ours: He has drawn his Characters more natural, and more accurately observ'd the Rules of Art. But to give the Moderns an absolute Superiority in this Way of Writing, they have nothing more to do, than to prune and retrench some Excrescencies, without studying for any further Improvements: Let them abate of their Luxuriancy, and the Business is done at once. Nay, they seem to me already superior to them in all other Respects, except (which I am asham'd to own) in that intire Regard to Modesty which is preserv'd in allTerence's Characters.If we compare the modern Comic Writers in the several Parts ofEurope, Mons.Rapintells us, that theSpaniardshave one or two, but one, especially, that is considerable; theItalianshave none worth taking Notice of. The Dispute, therefore, will lie betwixt theFrenchand us. And who has more Wit and Humour, is more elegant in Style, or natural in his Characters, thanMoliere? Tho', in general, if we are not too partial to our own Performances, we are in this, as in all other Parts of Poetry, superior to theFrench; but the Superiority is no where so disputable.
As to ourEnglishComedies, which are written in Prose, if any over-nice Critic questions whether they can be justly reckon'd poetical Compositions, because in the Definition of Poetry, which we have already given, some Sort of Numbers are made essential to it; the plain Answer is this: If we keep close to the Terms of that Definition, our Comedies may justly be consider'd as Poems, in every other Respect but this: The Definition is form'd upon the universal Practice of the Ancients, who are, and ought to be our great Masters in this Art; and it is more reasonable to continue, than alter it, in Compliance with the Practice of modern Writers. But the Question, whatever Way it is determin'd, is only an idle Controversy about Words, and of very little Moment: For the Verses of the ancient Comedies differ'd so little from Prose, that the nicest Ear could not always distinguish them: They had their proper Measures, but so loose and uncertain, that it is often difficult to determine which is the true Way of scanning them: And in Comedy more regular and confin'd Measures had been ridiculous. How inexcusable, then, is the Practice of theFrenchPoets, who have written whole Comedies in Rhyme, and Heroic Verse? Rhymes are ridiculous enough in Tragedy;but that an easy and familiar Conversation, such as Comedy is suppos'd to be, should be all in Rhyme and Epic Verse, has something in it so extravagantly absurd, that I am surpriz'd a Nation, so remarkable for Wit and good Sense, could bear with it.
The Source of those agreeable Reflections, that Comedy supplies us with, is so obvious, that it needs no Enquiry. Mirth is always pleasing, and so is a lively Representation of Human Nature, of the Incidents of common Life, and those Characters which are every Day before us. Nor is the Cause of that ill-natur'd Pleasure less easy to be assign'd, which arises from Satire, and Ridicule: Every Body is so civil to himself, as to suppose he is not the Person aim'd at. Who, upon these Occasions, ever thinks ofHorace's Observation?
[420]—Quid rides? mutato nomine de TeFabula narratur.What, dost thou laugh, and think that thou art free?Fool, change the Name, the Story's told of thee.
[420]—Quid rides? mutato nomine de TeFabula narratur.
What, dost thou laugh, and think that thou art free?Fool, change the Name, the Story's told of thee.
The Images, then, of the Vices and Follies of other Men, flatter that Pride, which is too natural to Mankind; who are apt to think their own Characters rais'd, by the Ruin of others: This is such a Pleasure as we ought to be asham'd of. But some there are, of a quite different Turn, who are as much delighted with the Moral of the Play, the Success of Virtue, and the Punishments or Disappointments which Vice meets with in it: And others have no Regard to any Character but the Poet's, are taken only with the Turns of Wit, and the Genius of the Writer. ButErrorsandImperfectionsare the great Source of Delight in all Dramatical Performances, especially in Comedy, which has, in general, moreFriends and Admirers than Tragedy: Because there are few Persons of so great a Genius, or so refin'd a Taste, as to be sensible of those generous and agreeable Emotions, which arise from Tenderness, and Compassion, and even Distress itself. Scenes of Mirth are pleasing to every Imagination, those of Sorrow only to a few. I can only wish, that these different Passions which arise from the Gravity of Tragedy, or the Gaiety of Comedy, were made useful and instrumental to Virtue; and that our Theatres were not more frequented for the Amusements they supply us with, than for the Lessons of Morality and good Sense instill'd in them.
In discoursing upon the Drama in general, I have already mention'd the Origin of Tragedy. The Word is deriv'd from τραγοϛ,a Goat, and ωδη,a Song: because a Goat was the Reward propos'd to the Competitors in this Art; asHoracehas plainly intimated:
[421]Carmine qui tragico vilem certavit ob hircum.The first Competitors in Tragic Strain,When a poor Goat was all the Victor's Gain.
[421]Carmine qui tragico vilem certavit ob hircum.
The first Competitors in Tragic Strain,When a poor Goat was all the Victor's Gain.
For they deserve no Regard, who would derive τραγωδια, as if it were τρυγωια, from τρυξ,the Lees of wine; because the Actors, beforeÆschylusinvented the Use of Masks, discolour'd their Faces with Wine Lees. This Etymology is harsh, and unnatural[422]; the other is easy, and agreeable to the Rules of Analogy, without changing so much as oneLetter, as the other does.[423]Their Opinion, who think it was call'd τραγωδια, as if it were τραχεια ωδη, arough Song; has still less Countenance from the Analogy of that Language, or the Nature of the Poem. But it is not worth While to dwell upon these Trifles.
Aristotle, whose Discourse on Poetry is employ'd chiefly on this Subject, defines Tragedy in this Manner,[424]
Εστιν ουν τραγωδια μιμησιϛ πραξεωϛ σπουδαιαϛ, και τελειαϛ, μεγεθοϛ εχουσηϛ, ἡδυσμενω λογω, χωριϛ εκαστου των ειδων εν τοιϛ μορ ιοιϛ δρωντων, κα ου δι' επαγγελιαϛ, αλλα δι' ελεουϛ, και φοβου, περαινουσα την των τοιουτων παθηματων καθαρσιν.
Tragedy is the Imitation of a serious, entire, and important Action, in an agreeable Style, the different Sorts of which Style must be regularly varied in the several Parts; and not by Narration, but by the Means of Terror and Pity purging the like Passions in us.
All I would observe of this Definition, at present, is, that there are two Parts of it which want some Explication. The first is, χωριϛ εκαστου των ειδων εν τοιϛ μοριοιϛ δρωντων; that is, says[425]Vossius, "That the several Sorts of Style should not be mix'd together, but brought in separately in their several Parts. ForAristotleadds, immediately after,Some Parts are perform'd in Metre only, some with Music[426]. "This Clause, therefore, of the Definition, can belong only to theancient Tragedy, and not to our modern, which is entirely without a Chorus. The other Difficulty is, in ου δι επαγγλελιαϛ.VossiusandDacierare both of Opinion, that this Part of the Definition was added for no other Reason, but to distinguish Tragedy from Epic Poetry, which is form'd, not upon Action, but Narration. But still there is a Doubt left, which neither of them attempt to clear up: Must we, therefore, exclude all Sort of Narration from Tragedy? Has notHorace, and all the Poets and Critics after him, made a proper Distinction between Things represented and related in the Drama?
[427]Aut agitur res in scenis, aut acta refertur.Some Things are acted, others only told.Roscom.
[427]Aut agitur res in scenis, aut acta refertur.
Some Things are acted, others only told.Roscom.
The Answer to which Question, I think, is this; That there is undoubtedly a Dramatic Narration, but always related by some Persons in the Play, not by the Poet himself, as in Epic Poetry; and this latter Sort of Narration is whatAristotlemeant in the Definition before us. There is no Occasion to explain the several Parts of it any further, sinceVossiushas express'd the Substance more clearly, and fully, in the following Definition.[428]Tragedy is a Dramatic Poem, imitating some great, but unfortunate Event, in a grave and majestic Style: To which, says he, if you please, you may add,to raise the Passions, and purge the Mind from them. All this is intelligible, and to the Point: But I wonder this learned Writer should think the last Clause rather not impertinent, than essential, by that negligent Introduction,that you may add it if you please; which, asDacierobserves with great Judgment, is much the best Part ofAristotle's Definition, and deserves, of all others, to be most accurately explain'd. He should also (asAristotlehas done)have particularly mention'd the two prevailing Passions ofPityandTerror, which are the proper Objects of Tragedy, and chiefly affected by it: And further, in Imitation of the same great Author, the Beauties of the Style should not have been intirely forgot. I shall therefore, from these two Definitions, endeavour to form a third, much clearer thanAristotle's, and more compleat thanVossius's.Tragedy is a Dramatic Poem, imitating some great, but unfortunate Event, in a grave, majestic, and entertaining Style, to raise the Passions, especially those of Pity and Terror, and to purge the Mind of them.
This Definition, expresly, or by Implication, contains these several Parts;the Argument, or the Subject Matter, the Sentiments, the Language and Versification, the Characters and Manners, and, lastly, the Moral, or the propos'd Effect. All which agree in this, that they ought to be great and sublime; for with Regard to all these, Tragedy is the noblest Kind of Poetry, except one.
The Subject is always some serious and important Event, as the Expulsion of a Tyrant, the Death of a Hero, and the like; which Event turns, and depends intirely upon some violent Passion, either good or bad; as Ambition, Revenge, Friendship, and especially Love, (for Love, as I have before observ'd, is the chief Subject of the modern Drama, whether Tragedy, or Comedy;) or else upon the divine Justice, which gives either to Virtue, or Vice, or to both at once, their proper Retributions. It is likewise necessary, that the Manners, the Thoughts, the Language, (for these are so nearly allied, that they are much better consider'd jointly, than separately) should be grave, sublime, and magnificent. HenceHorace, in his Art of Poetry, after laying down Rules for the Style of Comedy,
[429]Versibus exponi tragicis res comica non vult,
[429]Versibus exponi tragicis res comica non vult,
goes on thus,
Indignatur item privatis, & prope soccoDignis carminibus narrari cœna Thyestæ.A Comic Subject loves an humble Verse:Thyestesscorns a low and Comic Style.Roscom.
Indignatur item privatis, & prope soccoDignis carminibus narrari cœna Thyestæ.
A Comic Subject loves an humble Verse:Thyestesscorns a low and Comic Style.Roscom.
And again:
[430]Effutire leves indigna Tragœdia versus,Ut festis matrona moveri jussa diebus,Intererit Satyris paulum pudibunda protervis.For Tragedy shou'd blush as much, to stoopTo the low mimick Follies of a Farce,As a grave Matron wou'd, to dance with Girls.
[430]Effutire leves indigna Tragœdia versus,Ut festis matrona moveri jussa diebus,Intererit Satyris paulum pudibunda protervis.
For Tragedy shou'd blush as much, to stoopTo the low mimick Follies of a Farce,As a grave Matron wou'd, to dance with Girls.
AndOvid:
[431]Omne genus scripti gravitate Tragœdia vincit.In Majesty the Tragic Muse excels.
[431]Omne genus scripti gravitate Tragœdia vincit.
In Majesty the Tragic Muse excels.
I am entirely of[432]Vossius's Opinion, who says, "that Tragedy is nearly allied to Epic Poetry, nay, often superior to it, in the Choice of Words, and Majesty of Expression." Which makesHoracesay of it,
[433]An Tragica desævit & ampullatur in arte?Or swell with noble Rage the Tragic Style.Ch. Carthy.
[433]An Tragica desævit & ampullatur in arte?
Or swell with noble Rage the Tragic Style.Ch. Carthy.
Not that all the Persons in Tragedy are suppos'd to speak with equal Dignity, which is as inconsistent with the Nature of Things, as of Men; nor should the Language of a Messenger, or a Nurse, be as sublime as that of a Monarch, or a Deity: Tho' greatCare ought to be taken, that nothing mean or trifling appear in these lower Characters, much less like Joke or Repartee, (a Fault which modern Writers, especially those of our own Country, are shamefully guilty of) lest Tragedy should sink below itself. A judicious Tragic Poet will be less concern'd at the Hiss, than the Laugh of an Audience.
Nor should the highest Characters talkalwayswith equal Majesty, for that is as great an Absurdity; much less should they fall into Expressions of Low Life, improper for Tragedy, even when they are talking about Things of no Moment: For even in them there is a Sort of Dignity, inseparable from Kings and Heroes. Mr.Dryden, therefore, has well observ'd, that inSeneca'sHippolytusthe Poet very judiciously makesTheseusorder his Servants to open the Door (a very familiar Circumstance) in pompous Words:
[434]Reserate clusos Regii postes Laris.Unbar the Portals of the Royal Dome.
[434]Reserate clusos Regii postes Laris.
Unbar the Portals of the Royal Dome.
In expressing Grief, when void of Anger, (for Anger is insolent in all Circumstances, and in great Men always swelling) the Style of Tragedy abates something of its Majesty, and descends almost into the Ease and Freedom, not of Comedy, (as[435]Vossius, less accurately, expresses it) but of familiar Conversation. "Especially if Heroes are introduc'd fallen from the Height of Fortune; whose Spirits are less rais'd, and their Language, of Course, is less tragical." As Anger, therefore, raises the Style of Comedy; Sorrow sinks that of Tragedy: Both whichHoraceobserves, in these Words:
[436]Interdum tamen & vocem Comœdia tollit,Iratusque Chremes tumido delitigat ore:Et Tragicus plerumque dolet sermone pedestri;Telephus, & Peleus, cum pauper, & exul uterque,Projicit ampullas, & sesquipedalia verba,Si curat cor spectantis tetigisse querela.Yet Comedy sometimes may raise her Voice,AndChremesbe allow'd to foam and rail:Tragedians too lay by their State, to grieve:PeleusandTelephus, evil'd and poor,Forget their swelling and gigantick Words,If they wou'd have Spectators share their Grief.Roscom.
[436]Interdum tamen & vocem Comœdia tollit,Iratusque Chremes tumido delitigat ore:Et Tragicus plerumque dolet sermone pedestri;Telephus, & Peleus, cum pauper, & exul uterque,Projicit ampullas, & sesquipedalia verba,Si curat cor spectantis tetigisse querela.
Yet Comedy sometimes may raise her Voice,AndChremesbe allow'd to foam and rail:Tragedians too lay by their State, to grieve:PeleusandTelephus, evil'd and poor,Forget their swelling and gigantick Words,If they wou'd have Spectators share their Grief.Roscom.
The Reason of which is too plain, to want Explication. BySermo pedestris, the Poet means a more familiar Style, but without Meanness; not quite degenerating into Prose, much less into what is vulgar, rude, or scurrilous: Tho' plain, it should be elegant; tho' humble, and complaining, yet graceful, and truly poetical. The Thoughts may, and often ought to be great, even when the Language is far otherwise. For there is a Sort of majestic and heroical Humility; and tho' Kings and Queens don't express their Grief in pompous and sonorous Words, yet there is some Difference betwixt theirs, and vulgar Sorrows. There is the same Distinction of Style, as in the Habit of Mourners. The Monarch may exchange his Purple for Sable, yet, in his Behaviour, in his Looks, there is such a Reserve of Majesty, as will easily distinguish him from a private Person in the same Attire.
As we observ'd elsewhere, there were two Sorts of Satire, the one of a lower Kind, and less confin'd; the other of a graver and severer Turn, and more sublime: So the former is suited to Comedy, thelatter to Tragedy: For it is the Business of the one to ridicule the Follies of Mankind, and of the other to lash Vices, and Crimes of a deeper Dye. HenceJuvenal, a Writer of the sublimer Kind of Satire, seems to propose the Tragic Style for his Imitation.
[437]Grande Sophocleo carmen bacchamur hiatu.The Satyr in a Rage,Struts in the Buskins of the Tragic Stage.Dryden.
[437]Grande Sophocleo carmen bacchamur hiatu.
The Satyr in a Rage,Struts in the Buskins of the Tragic Stage.Dryden.
Nor is it less the Province of Tragedy to improve Virtue, than correct, and expose Vice; Virtue, I say, and that heroic too: For Tragedy is a Sort of heroic Drama; no Kind of Poetry is more sacred; none, to which the noblest and best Sentiments are so suitable; none, in which more exalted Precepts of Virtue are, or, at least, may be deliver'd.
Tragedy, therefore, is, in all Respects, adapted to the Sublime: But if it should be ask'd, how I can reconcile this to Nature, that Men, of what Quality and Rank soever, should be suppos'd, in their private and common Conversation, to make such solemn Speeches, of so much Art and Elegance; when, in Fact, they rarely, if ever, talk in such Language: I must ingenuously own, that this Objection lies stronger against those Poems in which Actions are represented, than in which they are barely describ'd; and therefore, in this Respect, Tragedy must give Place to Epic. It may be observ'd, however, that even in Comedy, (which is suppos'd to be less concern'd in this Objection) it is impossible to imagine, that Persons should really support a Conversation, as they are represented to do, upon the Stage, and that it is full as natural to ascribe this Sublimity of Style to Kings and Heroes, as those smart Repartees, and fine Turns of Wit, to Persons ofinferior Rank. But, upon the whole, the true Apology to be made for both, is, that these areprobableCircumstances, if nottrue ones: It is enough, if they bear a near Resemblance to Truth, or if, asHoracehas well express'd it,
[438]Ficta voluptatis causa sint proxima veris.What was for Pleasure feign'd, be near the Truth.
[438]Ficta voluptatis causa sint proxima veris.
What was for Pleasure feign'd, be near the Truth.
For it is impossible that any Degree of Fiction should be the very Truth. Poets, as well as Painters, are allow'd to go beyond the Life: Nay, this is the very Point that shews their Skill most. When these imaginary Touches affect as strongly as real Truths; if we can be agreeably deceiv'd, even in spite of Conviction, how great is the Art, and how just the Triumph of the Deceiver? And this is whatHoracemeans, in the following Lines:
[439]Ille per extentum funem mihi posse videturIre Poeta, meum qui pectus inaniter augit,Irritat, mulcet, falsis terroribus implet,Ut magus, & modo me Thebis, modo ponit Athenis.I freely own, that Poet seems to shewThe greatest Force of Genius, and of Art,Whose pow'rful Images can fill the SoulWith Terrors not her own; can Pity raise,Or Joy, or soft Complacency diffuse:Who, by the wond'rous Magic of his Pen,With strong Deception on my Fancy plays,Now fixes me atAthens, now atThebes.Ch. Carthy.
[439]Ille per extentum funem mihi posse videturIre Poeta, meum qui pectus inaniter augit,Irritat, mulcet, falsis terroribus implet,Ut magus, & modo me Thebis, modo ponit Athenis.
I freely own, that Poet seems to shewThe greatest Force of Genius, and of Art,Whose pow'rful Images can fill the SoulWith Terrors not her own; can Pity raise,Or Joy, or soft Complacency diffuse:Who, by the wond'rous Magic of his Pen,With strong Deception on my Fancy plays,Now fixes me atAthens, now atThebes.Ch. Carthy.
Twenty-seventh Lecture.
But I must just take Notice, that what we have advanc'd concerning the Sublimity of this Drama, is applicable to all Tragedies, but not equally to all.For as (what I have before observ'd) there are two Sorts of Comedies; the one taken from Characters of a higher Rank, the other perfectly low: So there are two Sorts of Tragedies, the one quite sublime, the other of a more humble Nature; the first representing Kings and Heroes, and the latter, Men of private Life, but of considerable Character and Station in it. This, indeed, is intirely modern; the Punishments or Misfortunes of Tyrants, and Princes, being the only Subjects of the ancient Tragedy. We said, that tho' it is form'd upon the Calamities of private Men, yet of such whose Authority and Station in Life make them considerable; because, tho' the Afflictions of common People afford Matter for Compassion, yet not for Tragedy, their Fortunes, and their Manners, being far below the Spirit of this Sort of Poetry, and the Dignity of its Style and Versification. Some of the best Performances of our own Writers, are of this Sort, affecting us not so much with Terror, as Compassion; in exciting which, the Moderns seem far superior to the Ancients.
Tragedies, likewise, admit of another Distinction, with Regard to their Event, either fortunate, or unfortunate. It is sufficient to be true Tragedy, that Incidents of Distress and Sorrow are carried on thro' the whole, tho' the principal Persons come off fortunately at last: I say, theprincipal Persons; because even in this Species, that ends happily, it is necessary that some Characters should be unhappy in the Conclusion, especially the worst, or rather they only. For I can by no means approve of those Tragedies of ours, in which Persons of equal Innocence and Virtue, of the same Rank and Eminence, are punish'd and rewarded promiscuously. It is so, I own, in human Life; but a single Dramatic Piece is not design'd to give us an intire View of it: Let it thereforebe truly one, and entirely consistent. It may, indeed, very justly leave the best, and most distinguish'd Characters, in Distress at last; which (as shall be observ'd hereafter) is the most affecting Sort of Tragedy. But ifsomeinnocent and virtuous Persons are fortunate, let them beall so, and the bad only left miserable; otherwise the Drama will be inconsistent: And these opposite Agitations of Mind will weaken and destroy each other. Let the Audience go home either in a pleasant or melancholy Humour; if you attempt both, you succeed in neither.
But to return to the twofold Division, we observ'd, of this species of the Drama. "In Tragedies (says[440]Vossius) that are truly tragical, the first Scenes are usually more sedate, and the last dreadful. Thus, what a terrible Conclusion has thePhœnissæofEuripides, whereOedipus, with his Eyes put out, is byCreonbanish'd fromThebes, of which he had once been King? So, again, in hisHecuba, we seePolymestorin the same Distress;Hecubabewailing the Murder of her Son, and the blindPolymestorrelating the Calamities which the Oracle had denounc'd againstHecuba,Agamemnon,andCassandra.[441]But ifOrestesandÆgisthus,who were determin'd Enemies, had been reconcil'd, and parted without Blood-shed, the Tragedy had been less perfect. For, as we observ'd, Tragedy, in this respect, differs from Comedy, because this always ends happily, the other generally unhappily.And such should be the Conclusion of a Tragedy, according to the Rules of Art; but sometimes an unexpected Happiness arises from the greatest Distress: when this is the Case, the Poet departs from the Rules of Art, in Compliance with the Taste of his Audience, who had rather go home chearful, than melancholy.In theElectra, both ofSophoclesandEuripides, the Plot takes this prosperous Turn, tho'Sophocleshas shewn much greater Skill in the Conduct of it.Sophocles'sPhiloctetesinLemnus, concludes in the same Way; as doesEuripides'sIphigeniainAulis; hisIphigeniainTauri; andAlcestis; where, byHercules's Assistance,Admetushas his Wife restor'd. And so hisOrestes; for whenPyladesandOrestes, incens'd atMenelaus, because he would not assist them againstTyndarus, had determin'd to putHelena, and his DaughterHermione, to Death;Helena,by the Favour of the Gods, is taken up into Heaven, andHermione(Menelauscoming first to her Relief, andApollointerposing, to end the Controversy) is, by the Direction of that God, married toOrestes, who now expiated from his Mother's Blood, is made King ofArgos. And hisHelenaagain, concludes happily; where she, having artfullyescap'd fromTheoclymenus, returns to her HusbandMenelaus, and sails, with a prosperous Gale, intoGreece. So, likewise, his Tragedies ofHippolytus,Rhosus, andIon. EvenEzekiel, theJewishTragic Poet, (asClemens Alexandrinuscalls him,Strom. Book I.) was the Author of a Drama, which he entituled, Εζαγωγη, or thebringing out; from whenceEusebiushas transcrib'd no small Part into hisEvang. Præp.Book IX. Chap. IV. And what Event could be more joyful, than the bringing that People out ofÆgypt?Nor does Tragedy lose its Name, (asVossiusfurther observes)tho' the Conclusion is fortunate; because a melancholy Catastrophe is no Part of its Essence. Otherwise great Part of the Tragedies ofEuripides,that are come to our Hands, would cease to be Tragedies. Wherefore, in Respect to the Essence of this Poem, it is sufficient, if it has upon the whole the real Appearance of Distress.So that the distinguishing Property of it may appear, in representing the doubtful and disastrous Fortunes of great Men. Tho' I cannot deny, (says he) but that such Tragedies borrow something from the Nature of Comedy. For the Nature of Tragedy is to be mournful, which is undeniable, since Terror and Commiseration are the chief Ends propos'd by it. When it is otherwise, it is only, as we said, in Compliance with the Taste of the People. HenceAristotlesays, that Poets fall into this Way of Writing, δια το των θεανρον ασθενειαν that is, to humour the wrong or weak Judgment of an Audience. But as the Populace are mutable, and inconstant, sometimes approving one Thing, sometimes another; the best Way is to keep close to the Nature of Tragedy, and not without great Necessity to depart from it."
Thus that great Man, whose Sentiments I should entirely approve of, if they did not seem, in one Particular, a little inconsistent. He says, it is not essential to Tragedies to end unhappily, which is certainly true; and yet is of Opinion, that such as do not end so, borrow something from the Turn of Comedy, because the very Nature of Tragedy is mournful. If by Nature he means the most distinguishing Property, his Opinion is, indeed, indisputable, but his Consequence is not just; because (as appears already, from both our Dissertations upon this Subject) Sorrow may be the prevailing Passion in a Drama, which, nevertheless, may conclude successfully. For every Scene of it, from the first to the last, may supply us with proper Objects of Terror and Compassion. If by NatureVossiusunderstands the whole Essence of Tragedy, he is not only mistaken, but plainly contradicts[442]himself; as appears from the Passages already quoted. The best Way, therefore, of determining this Point, seems to be, thatboththese Sorts aretrue Tragedies, but the onemore tragicalthan the other.
However, that which is least tragical, and ends happily, requires more Art to write, and is read with more Advantage. With Regard to the first Particular, I shall beg Leave to cite the Authority of MrDryden.[443]Neither is it (says he) so trivial an Undertaking, to make a Tragedy end happily;for it is more difficult to save, than it is to kill. The Dagger, and the Cup of Poison, are always in Readiness; but to bring the Action to the last Extremity, and then, by probable Means, to recover all, will require the Art and Judgment of a Writer, and cost him many a Pang in the Performance." As to the Advantage, the Rewards and Punishments, by this Means, are more equitably adjusted: Which, indeed, may be tolerably affected in those Tragedies, which end unfortunately; For there, the chief Characters, being generally wicked, meet with that Punishment they deserve, and so strike a Terror into the Audience, which is accompanied, likewise, with some Mixture of Pity; for it is not necessary they should be notoriously wicked, to merit Punishment. Besides, sometimes theyrepentbefore they go off the Stage; as we have seen in two or threeEnglishTragedies lately publish'd, which have met with that Applause they justly deserv'd: And even the Punishment of Robbers and Assassins, how justly soever they may deserve it, raises some Degrees of Compassion in us. I may add, farther, that in this Kind of Tragedy theUnder-characters, which are innocent and virtuous, may at the Conclusion be rewarded for those Virtues, whatsoever Misfortunes they have struggled with before. Upon the whole, from comparing what has been said, it is plain, that even in those Tragedies which end unhappily, there is aPossibilitythat poetical Justice (as it is call'd) may be preserv'd: Tho' the other Sort isbetteradapted to this Purpose, where thechief Charactersreceive their proper Reward, the Virtuous made happy, and the Wicked miserable.
Terror is chiefly excited in us by a Representation of bad Men punish'd with Misfortunes; Pity with a Mixture of Terror, by a View of good Men under the same Circumstances; both Passions indifferently,by those who are not remarkable either for their Virtues, or their Vices. I have put the Case of good Men punish'd with Misfortunes, for it is consistent with the exactest Justice of the Drama, to make the most innocent meet the most disastrous Fate; a Sort of Tragedy the most tragical, of which our own Stage supplies us with many Instances. This Practice, I say, must be consistent with poetical Justice, which is strictly so with the divine. It was, indeed, less equitable upon the ancient Stage, when the Heathens knew very little of the Rewards and Punishments of a future State: But with usChristiansthe Case is entirely different.
But tho' it is no Injustice to represent good Men labouring under Distress, even at the last; yet the Wicked should never come off in real Triumph, and Satisfaction: They should always, at least, be so far Sufferers, that if Death is not inflicted on them, nor any other external Punishment; yet they should feel the Anguish of their own Minds, and not enjoy any secret Satisfaction in their Vices. On the other Hand, tho' good Men, to raise our Compassion, are sometimes put to Death; yet we should, even then, see them supported by a just Consciousness of their own Innocence, and the Hopes of a better Life: For tho' the Things of this World are dispos'd of in so dark and uncertain a Manner as to make us often lament the Condition of the best of Men; yet Poets, like Preachers, should not fail to remind the Audience, that there certainly will be eternal Punishments and Rewards hereafter.
"The best Tragedies(says[444]Vossius)are those where the Characters are neither perfectly virtuous, nor extreamly wicked." If this Rule is to be confin'd to some of the Characters only, it is just; but willnot hold, if extended to all of them. "For the Design of Tragedy is to raise Terror and Pity." No Doubt of it. "But when the Wicked are unfortunate, we are not much dispos'd either to be terrify'd, or touch'd with Compassion at it. Forwho(asTullysays)is ever mov'd at the Punishment of a Traitor, or a Parricide? It should rather raise a Sort of Satisfaction in us, to think that Justice has overtaken those that have so well deserv'd it?" But, with Submission to the great Names ofCiceroandVossius, all good and generous Minds are affected withCompassionat the Execution of Rebels and Traitors; and nothing can be moreterriblethan the Punishment inflicted upon some of them. "Nor should they be Characters of unblemish'd Virtue; for Calamities of a good Man raise a secret Indignation; and it looks like a Sort of Inhumanity to suppose that the best of Men may be most miserable; to which I may add, that such a Representation may have some Influence in deterring weak and unthinking Minds from Virtue." There might be some Reason to believe so, if there was no other Life but the present; otherwise 'tis a weak Suspicion. Besides, is there no other Occasion to introduce good Characters upon the Stage, but tomake them miserable? Has not he himself already[445]determin'd, that there are some Tragedies which end unhappily, and others happily? What he has fartheradvanc'd upon this Subject, is generally right. "Therefore theproperestCharacters for the Stage, are those of a middle Nature, between the two Extreams of Virtue and Vice; whose Errors, rather than Crimes, make them unfortunate; asOedipusinSophocles: Or who are reduc'd, by Necessity, to commit some wicked Action, it being the last Expedient; asMedeafirst kills her BrotherAbsyrtus, and afterwards her own Children. Not that these Characters are always requisite; forÆgisthusandClytæmnestraare unpardonably wicked;Electrais good;Orestesrather virtuous, than not;Agamemnoncannot be said to be bad, for tho' he sacrificesIphigeniainAulis, it is only in Obedience to the Oracle, and against his own Inclination. Nor canHerculesbe said to appear in an indifferent Light, but rather in a good one. Wherefore we are not to conclude that those Tragedies must be entirely condemn'd, which are not in all Respects agreeable toAristotle's Rules; but rather, that those are the best, which are conformable to them." Themost tragical(with Submission to the learned Author) rather than thebest, if the Rules he speaks of are reallyAristotle's. For I am not satisfied, I confess, that they are his, nor doesVossiusdirect us where to find them[446]:Otherwise I am entirely of his Opinion in the rest I have quoted from him; except that I do not perfectly understand how it is possible for Men to act wickedly,ratione summa[447].