CHA P. IV.

OF THE DRAMA.

ALTHOUGH among poetical productions of the highest order, the compositions of the drama, occupy but a second rank in point of execution, they claim decidedly the first place in point of effect: the emotions which works of this kind produce by means of theatrical representation being more powerful than those which can be excited by the dead let ter of written composition. On the real temporary existence which is conferred on the ideal creations of the poet, by employing living characters to deliver his sentiments, and a visible scene to sustain his action, I wish particularly to fix the attention of the reader, as one of the chief circumstances which characterize the peculiar licences of the drama, as opposed to those of the epopee. By such powerful auxiliaries to narration as dramatick gesture and visible representation, more spirit and animation are added to the effect of the piece, under cover of which the poet is enabled to take many

liberties with the truth of the incidents on

which his subject is founded.

For though it may rather appear that poetry, in descending from her ideal state, and submitting herself to the test of the senses, may thus expose to observation those deviations from science which constitute all licences, yet this is far from being the case. On the contrary, with respect to those rules which are to regulate the dramatick poet in detailing his incidents, they may be generally pronounced to stand exempt from those limitations which circumscribe his practice who engages in epical compositions.

This will fully appear on prosecuting our inquiries into the licences which may be taken, in the productions of the theatre, with history, the science still under consideration. And it will be more conducive to this end, to distribute the subject of discussion in the same manner as was adopted in considering the licences of epick poetry. The following are consequently the points which offer themselves for inquiry.

I. May the poet derive his subject wholly from invention; or should he take it from history?

II. In founding a drama on historical

facts, how far is he licenced in deserting historical authority; 1. where the facts happen to be of remote; and, 2. where they are of recent occurrence?

These questions appear to comprise every difficulty which requires a solution in the different modes of composition which have been contradistinguished as historical and poetical; all consideration of the romantick species of composition in the drama being reserved for that particular section of this inquiry, which is appropriated to what is marvellous in poetry.

I. On the first of these questions how far the poet is liberated from the necessity of taking the subject of his poem from history, very different sentiments have been entertained. P. Brumoy maintains the negative of this question, and is opposed by M. de Voltaire; the same point, if I remember rightly, has been contested by Dr. Blair and Dr. Warton. In this state of a question which seems supported by pretty equal authority, some countenance is not wanting for him who places himself on either side. Influenced, however, by the desire of seeing Poetical Licence freed from every possible restraint, I feel little hesitation in arranging

H

myself on the side of those who maintain the affirmative. The reasons which apply to laying the epopee under similar restrictions have no reference whatever to the drama; and if this can be proved to be the case, the poet who acts in disregard of all such restraints has not much to fear from the attacks of any opponent.

The arguments which were advanced to prove it incumbent on the epick poet, that he should construct his poem on an historical subject, were fundamentally drawn from the particular character of his composition, which obliges him to address bis work rather to the taste than to the passions. Suitably to the more serious nature of that faculty, I have already shewn that he is obliged to maintain an equable dignity in his compositions, and to preserve the easy tenour of the events, undisturbed by the bustle of intrigue and the continued agitation of passion. It is to support and interest the mind in the cool and collected state, into which a train of incidents of this description must tend to throw it, that he becomes necessitated to impart to his subject those qualities of importance and truth, which can be attained only by an adherence to history. But the end which

criticks have prescribed to tragick compositions, and which those poets have pursued who have excelled in works of this description, is materially different from that which is followed in epical productions. Suitably to the precepts of criticism, those poets who have excelled in tragick composition have almost exclusively aimed at moving our pity and terrour; those passions which exert the most powerful dominion over our breast, and which rarely mix themselves with those softer emotions that generally influence our taste. Nay, many of the poets, particularly among the moderns, have carried this principle still further, and have ventured to involve the drama in all that bustle of action, and intricacy of plot, which are calculated to quicken our feelings at what is pathetick, and alarm our apprehensions at what is terrible in its subject. Those reasons of course, from which it has been pronounced that an historical subject is indispensable in the epopee, have no application in the present instance; having been drawn from a consideration of the peculiar circumstances in which that department of the art is placed, they can have no reference to the drama, the