of giving the mind one of the most delight- the person who speaks after it begins a ful and most improving entertainments. A new verse, without filling up the precedvirtuous man (says Seneca) struggling with ing one: nor with abrupt pauses and breakmisfortunes, is such a spectacle as gods ings off in the middle of a verse, when might look upon with pleasure; and such they humour any passion that is expressed a pleasure it is which one meets with in the by it. representation of a well-written tragedy. Since I am upon this subject, I must Diversions of this kind wear out of our observe that our English poets have sucthoughts every thing that is mean and lit-ceeded much better in the style, than in tle. They cherish and cultivate that hu- the sentiments of their tragedies. Their manity which is the ornament of our na-language is very often noble and sonorous, ture. They soften insolence, sooth affliction, and subdue the mind to the dispensations of Providence. It is no wonder therefore that in all the polite nations of the world, this part of the drama has met with public encourage ment. The modern tragedy excels that of Greece and Rome, in the intricacy and disposition of the fable; but what a Christian writer would be ashamed to own, falls infinitely short of it in the moral part of the performance. This I may show more at large hereafter: and in the mean time, that I may contribute something towards the improvement of the English tragedy, I shall take notice, in this and in other following papers, of some particular parts in it that seem liable to exception. Aristotle observes, that the Iambic verse in the Greek tongue was the most proper for tragedy: because at the same time that it lifted up the discourse from prose, it was that which approached nearer to it than any other kind of verse. 'For,' says he, we may observe that men in ordinary discourse very often speak iambics, without taking notice of it.' We may make the same observation of our English blank verse, which often enters into our common discourse, though we do not attend to it, and is such a due medium between rhyme and prose, that it seems wonderfully adapted to tragedy. I am therefore very much offended when I see a play in rhyme; which is as absurd in English, as a tragedy of hexameters would have been in Greek or Latin. The solecism is, I think, still greater in those plays that have some scenes in rhyme and some in blank verse, which are to be looked upon as two several languages; or where we see some particular similes dignified with rhyme at the same time that every thing about them lies in blank verse. I would not however debar the poet from concluding his tragedy, or, if he pleases, every act of it, with two or three couplets, which may have the same effect as an air in the Italian opera after a long recitativo, and give the actor a graceful exit. Besides that, we see a diversity of numbers in some parts of the old tragedy, in order to hinder the ear from being tired with the same continued modulation of the voice. For the same reason I do not dislike the speeches in our English tragedy that close with an hemistich, or half verse, notwithstanding but the sense either very trifling, or very common. On the contrary, in the ancient tragedies, and indeed in those of Corneille and Racine, though the expressions are very great, it is the thought that bears them up and swells them. For my own part, I prefer a noble sentiment that is depressed with homely language, infinitely before a vulgar one that is blown up with all the sound and energy of expression. Whether this defect in our tragedies may arise from want of genius, knowledge, or experience in the writers, or from their compliance with the vicious taste of their readers, who are better judges of the language than of the sentiments, and consequently relish the one more than the other, I cannot determine. But I believe it might rectify the conduct both of the one and of the other, if the writer laid down the whole contexture of his dialogue in plain English, before he turned it into blank verse; and if the reader, after the perusal of a scene, would consider the naked thought of every speech in it, when divested of all its tragic ornaments. By this means, without being imposed upon by words, we may judge impartially of the thought, and consider whether it be natural or great enough for the person that utters it, whether it deserves to shine in such a blaze of eloquence, or show itself in such a variety of lights as are generally made use of by the writers of our English tragedy. I must in the next place observe, that when our thoughts are great and just, they are often obscured by the sounding phrases, hard metaphors, and forced expressions in which they are clothed. Shakspeare is often very faulty in this particular. There is a fine observation in Aristotle to this purpose, which I have never seen quoted. The expression, says he, ought to be very much laboured in the unactive parts of the fable, as in descriptions, similitudes, narrations, and the like; in which the opinions, manners, and passions of men are not represented; for these (namely, the opinions, manners, and passions,) are apt to be obscured by pompous phrases and elaborate expressions. Horace, who copied most of his criticisms from Aristotle, seems to have had his eye on the foregoing rule, in the following verses: Et tragicus plerumque dolet sermone pedestri : Telephus et Peleus, cum pauper et exul uterque, Projicit ampullas et sesquipedalia verba, Si curat cor spectantis tetigesse querela.' Hor. Ars Poet, ver 95. IMITATED. Yet lest you think I rally more than teach, Pope. THE English writers of tragedy are pos Among our modern English poets, there is none who has a better turn for tragedy than Lee; if instead of favouring the impetuosity of his genius he had restrained it, and kept it within its proper bounds. His thoughts are wonderfully suited to tragedy, but frequently lost in such a cloud of words, that it is hard to see the beauty of them. There is an infinite fire in his works, but so in-sessed with a notion, that when they revolved in smoke that it does not appear in half its lustre, He frequently succeeds in the passionate parts of the tragedy, but more particularly where he slackens his efforts, and eases the style of those epithets and metaphors, in which he so much abounds. What can be more natural, more soft, or more passionate, than that line in Statira's speech where she describes the charms of Alexander's conversation? "Then he would talk-Good gods! how he would talk!' That unexpected break in the line, and turning the description of his manner of talking into admiration of it, is inexpressibly beautiful, and wonderfully suited to the fond character of the person that speaks it. There is a simplicity in the words, that outshines the utmost pride of expression. present a virtuous or innocent person in distress, they ought not to leave him till they have delivered him out of his troubles, or made him triumph over his enemies. This error they have been led into by that they are obliged to an equal distribua ridiculous doctrine in modern criticism, tion of rewards and punishments, and an impartial execution of poetical justice. Who were the first that established this rule I know not; but I am sure it has no foundation in nature, in reason, or in the practice of the ancients. We find that good and evil happen alike to all men on this side of the grave; and as the principal design of tragedy is to raise commiseration and terror in the minds of the audience, we shall defeat this great end, if we always make virtue and innocence hapOtway has followed nature in the lan- Py and successful. Whatever crosses and guage of his tragedy, and therefore shines disappointments a good man suffers in the in the passionate parts, more than any of body of the tragedy, they will make but a our English poets. As there is something small impression on our minds, when we familiar and domestic in the fable of his know that in the last act he is to arrive at tragedy, more than in those of any other the end of his wishes and desires. When poet, he has little pomp, but great force in we see him engaged in the depths of his his expressions. For which reason, though afflictions, we are apt to comfort ourselves, he has admirably succeeded in the tender because we are sure he will find his way and melting part of his tragedies, he some-out of them; and that his grief, how great times falls into too great familiarity of phrase in those parts, which by Aristotle's rule, ought to have been raised and supported by the dignity of expression. It has been observed by others, that this poet has founded his tragedy of Venice Preserved on so wrong a plot, that the greatest characters in it are those of rebels and traitors. Had the hero of this play discovered the same good qualities in the defence of his country that he showed for its ruin and subversion, the audience could not enough pity and admire him: but as he is now represented, we can only say of him what the Roman historian says of Cataline, that his fall would have been glorious (si pro patria sic concidisset) had he so fallen in the service of his country. C. No. 40.] Monday, April 16, 1711. Ac ne forte putes, me, quæ facere ipse recusem, soever it may be at present, will soon ter- Terror casion for such emotions in the actor, by adding vehemence to words where there was no passion, or inflaming 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. Othello, &c. King Lear is an admirable | very often raise himself a loud clap by this tragedy of the same kind, as Shakspeare artifice. The poets that were acquainted wrote it; but as it is reformed, according with this secret, have given frequent octo the chimerical notion of poetical justice, in my humble opinion it has lost half its beauty. At the same time I must allow, that there are very 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 above criticism, have taken this turn; as The Mourning Bride; Tamerlane, Ulysses, Phædra and Hippolitus, with most of Mr. Dryden's. I must also allow that many of Shakspeare'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 absurdity 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 tragicomedies; 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 underplot, 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* *Mr. George Powell, though moving in the same sphere with Betterton, Booth, Wilkes, &c. maintained no inconsiderable rank in the public estimation: un 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 favourite with the boxes. Dryden and Lee, in several of their tragedies, have practised this secret with good success. But to show 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.' And backward tread those paths I sought to shun; 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. 'O that, as oft I have at Athens seen, [Where by the way, there was no stage The stage arise, and the big clouds descend; This pond'rous globe, and all yon marble roof, ADVERTISEMENT. Having spoken of Mr. Powell, as sometimes raising himself applause from the ill taste of an audience, must do him the justice to own, that he is excellently fortunately, however, in his latter days, the love of the bottle weaned him from his attachment to the stage, and he declined greatly from that reputation which he had acquired. He was author of five Plays, all of which he brought on the stage with good success. He died in 1714. 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. No. 41.] Tuesday, April 17, 1711. Tu non inventa reperta es. C. Ovid. Met. i. 654. of the lady will do for this injured gentleman, but must allow he has very much justice on his side. I have indeed very long observed this evil, and distinguished those of our women who wear their own, from those in borrowed complexions, by the Picts and the British. There does not need any great discernment to judge which are So found, is worse than lost. which. The British have a lively animated COMPASSION for the gentleman who aspect; the Picts, though never so beautiful, writes the following letter, should not pre- have dead uninformed countenances. The vail upon me to fall upon the fair-sex, if it muscles of a real face sometimes swell with were not that I find they are frequently soft passion, sudden surprise, and are flushfairer than they ought to be. Such impos-ed with agreeable confusions, according as tures are not to be tolerated in civil society, the objects before them, or the ideas preand I think his misfortune ought to be made sented to them, affect their imagination. public, as a warning for other men always But the Picts behold all things with the to examine into what they admire. same air, whether they are joyful or sad; all occasions. A Pict, though she takes all the same fixed insensibility appears upon that pains to invite the approach of lovers, is obliged to keep them at a certain distance; a sigh in a languishing lover, if ture; and a kiss snatched by a forward one, fetched too near her, would dissolve a feamight transfer the complexion of the mistress to the admirer. It is hard to speak of thing uncomplaisant, but I would only rethese false fair ones, without saying somecommend to them to consider how they like coming into a room new painted; they may assure themselves the near approach of a lady who uses this practice is much more 'SIR,-Supposing_you_to be a person of general knowledge, I make my application to you on a very particular occasion. I have a great mind to be rid of my wife, and hope, when you consider my case, you will be of opinion I have very just pretensions to a divorce. I am a mere man of the town, and have very little improvement, but what I have got from plays. I remember in The Silent Woman, the learned Dr. Cutberd, or Dr. Otter, (I forget which) makes one of the causes of separation to be Error Personæ, when a man marries a woman, and finds her not to be the same woman whom he intended to marry, but another. If that be law, it is, I presume, exactly my case. For you are to know, Mr. Spectator, Will Honeycomb told us, one day, an adthat there are women who do not let their venture he once had with a Pict. This husbands see their faces till they are mar-lady had wit, as well as beauty, at will; and made it her business to gain hearts, for no other reason but to rally the torments of her lovers. She would make great ad offensive. ried. Not to keep you in suspense, I mean plainly that part of the sex who paint. They are some of them so exquisitely skil-vances to ensnare men, but without any ful this way, that give them but a tolerable manner of scruple break off when there was pair of eyes to set up with, and they will no provocation. Her ill nature and vanity make bosom, lips, cheeks, and eye-brows, made my friend very easily proof against by their own industry. As for my dear, the charms of her wit and conversation; but never was a man so enamoured as I was of her beauteous form, instead of being blemher fair forehead, neck, and arms, as well ished by her falsehood and inconstancy, as the bright jet of her hair; but, to my every day increased upon him, and she had great astonishment, I find they were all the new attractions every time he saw her. effect of art. Her skin is so tarnished with When she observed Will irrevocably her this practice, that when she first wakes in slave, she began to use him as such, and a morning, she scarce seems young enough she at last utterly banished him. The unafter many steps towards such a cruelty, to be the mother of her whom I carried to bed the night before. I shall take the happy lover strove in vain, by servile episliberty to part with her by the first oppor-tles, to revoke his doom, till at length he tunity, unless her father will make her portion suitable to her real, not her assumed countenance. This I thought fit to let him and her know by your means. I am, Sir, your most obedient, humble servant.' I cannot tell what the law, or the parents Epicone, or The Silent Woman, a comedy by Ben Jonson.-It is much to be regretted that this fine comedy bas for several years been totally neglected by the managers of our theatres. Unless the public taste has greatly declined from what it was, this excellent performance would certainly be more acceptable than the flippant vulgar nonsense with which we are so often annoyed from the pens of some of our modern dramatists. was forced to the last refuge, a round sum tendant placed him early in the morning of money to her maid. This corrupt atbehind the hangings in her mistress's dressing-room. He stood very conveniently to observe, without being seen. The Pict begins the face she designed to wear that day, and I have heard him protest she had worked a full half hour before he knew her to be the same woman. As soon as he saw the dawn of that complexion for which he had so long languished, he thought fit to break from his concealment, repeating that verse of Cowley: Such is the shout, the long applauding note, At Quin's high plume, or Oldfield's petticoat: Or when from court a birth-day suit bestow'd Sinks the lost actor in the tawdry load. Booth entershark! the universal peal!But has he spoken-Not a syllableWhat shook the stage, and made the people stare? Cato's long wig, flowr'd gown, and lacker'd chair. Pope. ARISTOTLE has observed, that ordinary writers in tragedy endeavour 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 arti The It is certain no faith ought to be kept with cheats, and an oath made to a Pict is of itself void. I would therefore exhort all the British ladies to single them out, nor do I know any but Lindamira who should be exempt from discovery; for her own com-fices, I am the most offended at those which plexion is so delicate that she ought to be are made use of to inspire us with magnificent ideas of the persons that speak. allowed the covering it with paint, as a punishment for choosing to be the worst ordinary method of making a hero, is to piece of art extant, instead of the master-clap a huge plume of feathers upon his piece of nature. As for my part, who have head, which rises so very high, that there no expectations from women, and consider is often a greater length from his chin to them only as they are part of the species, I the top of his head, than to the sole of his do not half so much fear offending a beauty foot. One would believe, that we thought a as a woman of sense; I shall therefore pro- great man and a tall man the same thing. duce several faces which have been in pub-who is forced to hold his neck extremely This very much embarrasses the actor, lic these many years, and never appeared. It will be a very pretty entertainment in the playhouse, (when I have abolished this custom) to see so many ladies, when they first lay it down, incog. in their own faces. In the mean time, as a pattern for improving their charms, let the sex study the agreeable Statira. Her features are enlivened with the cheerfulness of her mind, and good humour gives an alacrity to her eyes. She is graceful without affecting an air, and unconcerned without appearing careless. Her having no manner of art in her mind, makes her want none in her stiff 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 ra tressed hero. ther as an unfortunate lunatic than a disAs 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 |