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"Then, Secondly, Consider whether Aristotle has made a just definition of tragedy; of its parts, of its ends, and of its beauties; and whether he, having not seen any others but those of Sophocles, Euripides, &c. had or truly could determine what all the excellences of tragedy are, and wherein they consist.

"Next, shew in what ancient tragedy was deficient; for example, in the narrowness of its plots. and fewness of persons; and try whether that be not a fault in the Greek poets; and whether their excellency was so great, when the variety was visibly so little; or whether what they did was not very easy to do.

"Then make a judgment on what the English have added to their beauties: as, for example, not only more plot, but also new passions: as, namely, that of love, scarcely touched on by the ancients, except in this one example of Phædra, cited by Mr. Rymer: and in that how short they were of Fletcher!

"Prove also that love, being an heroic passion, is fit for tragedy, which cannot be denied, be cause of the example alleged of Phædra: and how far Shakspeare has outdone them in friendship, &c.

"To return to the beginning of this inquiry; consider if pity and terror be enough for tragedy to move; and I believe, upon a true definition of tra gedy, it will be found that its work extends farther, and that it is to reform manners, by a delightful representation of human life in great persons, by way of dialogue. If this be true, then not only pity and terror are to be moved, as the only means to bring us to virtue, but generally love to virtue, and hatred to vice; by shewing the rewards of one, and punishments of the other; at least, by rendering virtue always amiable, though it be shewn unfortunate; and vice detestable, though it be shewn triumphant.

"If, then, the encouragement of virtue and discouragement of vice be the proper ends of poetry in tragedy, pity and terror, though good means are not the only. For all the passions, in their turns, are to be set in a ferment; as joy, anger, love, fear, are to be used as the poet's common-places; and a general concernment for the principal actors is to be raised, by making them appear such in their characters, their words, and actions, as will interest the audience in their fortunes.

"And if, after all, in a larger sense, pity comprehends this concernment for the good, and terror includes detestation for the bad, then let us consider whether the English have not answered this end of tragedy as well as the ancients, or perhaps better.

"And here Mr. Rymer's objections against these plays are to be impartially weighed, that we may see whether they are of weight enough to turn the balance against our countrymen.

"It is evident those plays, which he arraigns, have moved both those passions in a high degree upon the stage.

To give the glory of this away from the poet, and to place it upon the actors, seems unjust.

"One reason is, because whatever actors they have found, the event has been the same; that is, the same passions have been always moved; which shews that there is something of force and merit in the plays themselves, conducing to the design of raising these two passions: and suppose them ever to have been excellently acted, yet action only adds grace, vigour, and more life, upon the stage; but cannot give it wholly where it is not first. But, secondly, I dare appeal to those who have never seen them acted, if they have not found these two passions moved within them: and if the general voice will carry it, Mr. Rymer's prejudice will take off his single testimony.

"This, being matter of fact, is reasonably to be

established by this appeal; as, if one man says it is night, when the rest of the world conclude it to be day, there needs no farther argument against him that it is so.

"If he urge that the general taste is depraved, his arguments to prove this can at best but evince that our poets took not the best way to raise those passions: but experience proves against him, that those means, which they have used, have been successful, and have produced them.

"And one reason of that success is, in my opinion, this; that Shakspeare and Fletcher have writ ten to the genius of the age and nation in which they lived; for though nature, as he objects, is the same in all places, and reason too the same; yet the climate, the age, the disposition of the people, to whom a poet writes, may be so different, that what pleased the Greeks would not satisfy an English audience.

"And if they proceed upon a foundation of truer reason to please the Athenians than Shakspeare and Fletcher to please the English, it only shews that the Athenians were a more judicious people; but the poet's business is certainly to please the audience.

"Whether our English audience have been pleased hitherto with acorns, as he calls it, or with bread, is the next question; that is, whether the means. which Shakspeare and Fletcher have used, in their plays, to raise those passions beforenamed, be better applied to the ends by the Greek poets than by them. And perhaps we shall not grant him this wholly let it be yielded that a writer is not to run down with the stream, or to please the people by their usual methods, but rather to reform their judgments, it still remains to prove that our theatre needs this total reformation.

"The faults, which he has found in their design, are rather wittily aggravated in many places than reasonably urged; and as much may be returned

on the Greeks by one who were as witty as himself.

"They destroy not, if they are granted, the foundation of the fabric; only take away from the beauty of the symmetry; for example, the faults in the character of the King, in 'King and No-king,' are not, as he calls them, such as render him detestable, but only imperfections which accompany human nature, and are for the most part excused by the violence of his love; so that they destroy not our pity or concernment for him: this answer may be applied to most of his objections of that kind.

"And Rolla committing many murders, when he is answerable but for one, is too severely arraigned by him; for, it adds to our horror and detestation of the criminal; and poetic justice is not neglected neither; for we stab him in our minds for every offence which he commits; and the point, which the poet is to gain on the audience, is not so much in the death of an offender as the raising a horror of his crimes.

"That the criminal should neither be wholly guilty, nor wholly innocent, but so participating of both as to move both pity and terror, is cer tainly a good rule, but not perpetually to be observed; for that were to make all tragedies too much alike; which objection; he foresaw, but has not fully answered.

"To conclude, therefore; if the plays of the ancients are more correctly plotted, ours are more beautifully written. And, if we can raise passions as high on worse foundations, it shews our genius in tragedy is greater; for in all other parts of it the English have manifestly excelled them."

The original of the following letter is preserved in the Library at Lambeth, and was kindly imparted to the public by the reverend Dr. Vyse.

Copy of an original letter from John Dryden, Esq. to his sons in Italy, from a MS. in the Lambeth Library, marked No. 933, p. 56. (Superscribed)

"Al illustrissimo Sigre.

"Carlo Dryden Camariere
"d'Honore A.S.S.

"In Roma.

"Franca per Mantoua.

"Sept. the 3d, our style.

"Dear Sons,

Being now at Sir William Bowyer's in the country, I cannot write at large, because I find myself somewhat indisposed with a cold, and am thick of hearing, rather worse than I was in town. I am glad to find, by your letter of July 26th, your style, that you are both in health; but wonder you should think me so negligent as to forget to give you an account of the ship in which your parcel is to come. I have written to you two or three letters concerning it, which I have sent by safe hands, as I told you, and doubt not but you have them before this can arrive to you. Being out of town, I have forgotten the ship's name, which your mother will inquire, and put it into her letter, which is joined with mine. But the master's name I remember: he is called Mr. Ralph Thorp; the ship is bound to Leghorn, consigned to Mr. Peter and Mr. Thomas Ball, merchants. I am of your opinion, that by Tonson's means almost all our letters have miscarried for this last year. But, however, he has missed of his design in the dedica. tion, though he had prepared the book for it; for, in every figure of Eneas he has caused him to be drawn like King William, with a hooked nose. After my return to town, I intend to alter a play of Sir Robert Howard's, written long since, and lately put into my hands; it is called "The Conquest of China by the Tartars." It will cost me six weeks study, with the probable benefit of a

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