noble tragedies, which have been framed upon the other plan, and have ended happily; as indeed most of the good tragedies, which have been written since the starting of the abovementioned criticism, have taken this turn; as the Mourning Bride, Tamerlane, Ulysses, Phædra and Hippolytus, with most of Mr. Dryden's. I must also allow, that many of Shakespear's, and several of the celebrated tragedies of antiquity, are cast in the same form. I do not therefore dispute against this way of writing tragedies, but against the criticism that would establish this as the only method; and by that means would very much cramp the English tragedy, and perhaps give a wrong bent to the genius of our writers.

The tragi-comedy, which is the product of the English theatre, is one of the most monstrous inventions that ever entered into a poet's thoughts. An author might as well think of weaving the adventures of Æneas and Hudibras into one poem, as of writing such a motley piece of mirth and sorrow. But the ab. surdity of these performances is so very visible, that I shall not insist upon it.

The same objections which are made to tragi-comedy, may in some measure be applied to all tragedies that have a double plot in them; which are likewise more frequent upon the English stage, than upon any other: for though the grief of the audience, in such performances, be not changed into another passion, as in tragi-comedies, it is diverted upon another object, which weakens their concern for the principal action, and breaks the tide of sorrow, by throwing it into different channels. This inconvenience, however, may in a great measure be cured, if not wholly removed, by the skilful choice of an under-plot, which may bear such a near relation to the principal design, as to contribute towards the completion of it, and be concluded by the same catastrophe.

There is also another particular, which may be reckoned among the blemishes, or rather the false beauties, of our English tragedy: I mean those particular speeches which are commonly known by the name of rants. The warm and passionate parts of a tragedy are always the most taking with the audience; for which reason we often see the players pronouncing, in all the violence of action, several parts of the tragedy which the author writ with great temper, and designed that they should have been so acted. I have seen Powell' very often raise himself a loud clap by this artifice. The poets that were acquainted with this secret, have given frequent occasion for such emotions in the actor, by adding vehemence to words where there was no passion, or inflaminga a real passion into fustian. This hath filled the mouths of our heroes with bombast; and given them such sentiments, as proceed rather from a swelling than a greatness of mind. Unnatural exclamations, curses, vows, blasphemies, a defiance of mankind, and an outraging of the gods, frequently pass upon the audience for towering thoughts, and have accordingly met with infinite applause.

I shall here add a remark, which I am afraid our tragic writers may make an ill use of. As our heroes are generally lovers, their swelling and blustering upon the stage very much recommends them to the fair part of their audience. The ladies are wonderfully pleased to see a man insulting kings, or affronting the gods, in one scene, and throwing himself at the feet of his mistress in another. Let him behave himself insolently towards the men, and abjectly towards the fair one, and it is ten to one but he proves a favorite of the boxes. Dryden and Lee, in

1 Powell wrote five plays, all of which were successful; but towards the end of his life, lost by intemperance the position he had won for himself by his talents. He died in 1714.—G.

Inflaming. I should prefer stiffening, in this place, to inflaming.-H.

several of their tragedies, have practised this secret with good

success.

But to shew how a rant pleases beyond the most just and natural thought that is not pronounced with vehemence, I would desire the reader, when he sees the tragedy of Edipus, to observe how quietly the hero is dismissed at the end of the third act, after having pronounced the following lines, in which the thought is very natural, and apt to move compassion.

To you, good gods, I make my last appeal;

Or clear my virtues, or my crimes reveal.

If in the maze of fate I blindly run,

And backward trod those paths I sought to shun,
Impute my errors to your own decree :

My hands are guilty, but my heart is free.

Let us then observe with what thunder-claps of applause he leaves the stage, after the impieties and execrations at the end of the fourth act; and you will wonder to see an audience so cursed, and so pleased at the same time.

Having spoken of Mr. Powell, as sometimes raising himself applause from the ill taste of an audience; I must do him the justice to own, that he is excellently formed for a tragedian, and when he pleases, deserves the admiration of the best judges; as I doubt not but he will in the Conquest of Mexico, which is acted for his own benefit to-morrow night.-C.

ARISTOTLE has observed, that ordinary writers in tragedy endea vour to raise terror and pity in their audience, not by proper sentiments and expressions, but by the dresses and decorations of the stage. There is something of this kind very ridiculous in the English theatre. When the author has a mind to terrify us, it thunders; when he would make us melancholy, the stage is darkened. But among all our tragic artifices, I am the most offended at those which are made use of to inspire us with magnificent ideas of the persons that speak. The ordinary method of making an hero, is to clap a huge plume of feathers upon his head, which rises so very high, that there is often a greater length from his chin to the top of his head, than to the sole of his foot. One would believe, that we thought a great man and a tall man the same thing. This very much embarrasses the actor, who is forced to hold his neck extremely stiff

a

Persons that speak. Flat, and, at the same time, inaccurate :—which -that-H.

and steady all the while he speaks; and notwithstanding any anxieties which he pretends for his mistress, his country, or his friends, one may see by his action, that his greatest care and concern is to keep the plume of feathers from falling off his head. For my own part, when I see a man uttering his complaints under such a mountain of feathers, I am apt to look upon him rather as an unfortunate lunatic, than a distressed hero. As these superfluous ornaments upon the head make a great man, a princess generally receives her grandeur from those additional incumbrances that fall into her tail: I mean the broad sweeping train that follows her in all her motions, and finds constant employment for a boy who stands behind her to open and spread it to advantage. I do not know how others are affected at this sight, but I must confess, my eyes are wholly taken up with the page's part; and as for the queen, I am not so attentive to any thing she speaks, as to the right adjusting of her train, lest it should chance to trip up her heels, or incommode her, as she walks to and fro upon the stage. It is, in my opinion, a very odd spectacle, to see a queen venting her passion in a disordered motion, and a little boy taking care all the while that they do not ruffle the tail of her gown. The parts that the two persons act on the stage at the same time, are very different: the princess is afraid lest she should incur the displeasure of the king her father, or lose the hero her lover, whilst her attendant is only concerned lest she should entangle her feet in her petticoat.

We are told, that an ancient tragic poet, to move the pity of his audience for his exiled kings and distressed heroes, used to make the actors represent them in dresses and clothes that were threadbare and decayed. This artifice for moving pity, seems as ill-contrived as that we have been speaking of, to inspire us with a great idea of the persons introduced upon the stage. In short, I would have our conceptions raised by the dignity of thought