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which gave much more satisfaction than the whole performance besides,"*

LORD BACON, one of the wisest of men, on the subject of dramatic poetry says, in his treatise "On the Advancement of Learning," Book II., "In this part of learning which is poesy, I can report no deficience. For being as a plant that cometh of the lust of the earth, without a formal seed, it hath sprung up and spread abroad more than any other kind: but to ascribe unto it that which is due, for the expression of affections, passions, corruptions, and customs, we are beholden to poets more than to philosophers' works; and for art and eloquence not much less than to orators' harangues. But it is not good to stay too long in the theatre." And again, in the Essay, "De Augmentis Scientiarum," he says, "Dramatic poesy, which has the Theatre for its world, is of excellent use if soundly administered. The Stage can do much either for corruption or discipline; but in our times, the corruptions in this kind abound, while the discipline is evidently neglected. For although in modern states theatrical exhibition is but esteemed a pastime, unless when it becomes biting from satire, yet among the ancients, care was taken that is should train up the minds of men to virtue. Moreover, wise men and great phi

*

Roper's Life of Sir T. More, p. 27. Ed. 1781, 8vo.

losophers have considered it as the bow of their minds. And certainly it is most true, and as it were a secret of nature, that the minds of men are more open to impressions and affections, when assembled together, than when they are alone."†

HUGO GROTIUS, the author of the text book on Christianity; composed the Tragedies of Adamus Exul, Christus Patiens, and Sophomphanaus; in his dedication to the last of which to Gerard Vossius, he justifies writing tragedy with arguments similar to those of Milton, in his preface to Sampson Agonistes. Grotius also left amongst his works, "Excerpta," or Selections from the Greek tragic and comic Writers.

* Plectrum-the bow, with which to play upon the strings of a musical instrument, so as to bring forth its properties.

"Dramatica autem poesis, quæ Theatrum habet pro mundo, usu eximia est, si sana foret. Non parva enim esse posset Theatri, et disciplina et corruptela ; atque corruptelarum in hoc genere abundè est, disciplina plane nostris temporibus est neglecta. Attamen licet in rebus publicis modernis, habeatur pro re ludicra actio Theatralis, nisi forte nimium trahat e satira et mordeat; tamen apud antiquos curæ fuit ut animos hominum ad virtutem institueret. Quinetiam viris prudentibus et magnis philosophis veluti animorum plectrum quoddam censebatur. Atque sanè verissimum est, et tanquam secretum quoddam Naturæ, hominum animos, cum congregati sint, magis quam cum soli sint, affectibus et impressionibus patere."— De Augmentis Scientiarum, Lib. 2, c. 13.

"Grot. De Veritate Religionis Christianæ." § Vide Hugonis Grot. Opera.

Dunster.

SIR PHILIP SIDNEY, in his "Defence of Poesie,' 66 says, Comedy is an imitation of the common errors of our life, which the poet representeth in the most ridiculous sort that may be, so as it is impossible that any beholder can be content to be such a one. And little reason hath any man to say that men learn the evil by seeing it so set out; since there is no man living, but by the force truth has in his nature, no sooner seeth these men play their parts, but wisheth them in pistrinum:'† so that the right use of comedy will, I think, by nobody be blamed. And much less of the high and excellent tragedy, that openeth the greatest wounds, and showeth forth the ulcers that are covered with tissue; that maketh kings fear to be tyrants, and tyrants to manifest their tyrannical humours that with stirring the effects of admiration and commiseration, teacheth the uncertainty of this world, and upon how weak foundations gilded roofs are builded.—But it is not the tragedy they do dislike, for it were too absurd to cast out so excellent a representation of whatever is most worthy to be learned." Afterwards, in speaking of the abuses of poetry, he uses these pithy arguments. "Shall the abuse of a thing make the right use odious? Do we not see skill of physic, the best rampire to our often assaulted bodies, being abused, teach poison, the most violent de

:

* Pages 31, 32, Ed. 1829.

+ In Bridewell.

stroyer? Doth not knowledge of law, whose end is to even and right all things, being abused, grow the crooked fosterer of horrible injuries? Doth not (to go in the highest) God's word abused, breed heresy, and his name abused become blasphemy? With a sword thou mayst kill thy father, and with a sword thou mayst defend thy prince and country: so that, as in their calling poets fathers of lies, they said nothing, so in this, their argument of abuse, they prove the commendation."

LOCKE, in his "Thoughts concerning Reading and Writing," says, "There is another use of reading which is for diversion and delight. Such are poetical writings, especially dramatic, if they be free from profaneness, obscenity, and what corrupt good manners; for such pitch should not be handled."

FENELON, ARCHBISHOP OF CAMBRAY, in his "Lettre sur l'Eloquence," addressed to the French Academy, has two long sections, entitled, "Projet d'un Traitè sur la Tragedie," and "Projet d'un Traité sur la Comedie;" in both of which he recommends various improvements, and the correction of abuses, indicating throughout the importance he attached to the subject from the hold it has obtained over the minds of men, and the advantages it is capable of producing. I have selected the following extract, with which he com

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mences, as a specimen. "With respect to tragedy, I must begin by declaring that I have no wish to perfectionate those plays in which the corrupted passions are only represented to inflame them. It appears to me that a prodigious force might be given to tragedies, according to the philosophical ideas of antiquity, without mixing up with them that fickle and irregular love which produces so much mischief." In speaking of the Horace of Corneille, he adds, "I am charmed when I read these words, Quil mourut.""*

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LE PERE RAPIN says, "For no other end is poetry delightful than that it may be profitable. Pleasure is only the means by which the profit is conveyed, and all poetry, when it is perfect, ought of necessity to be a public lesson of good manners for the instruction of the world. †—Tragedy rectifies the use of passion, by moderating our fear and our pity, which are obstacles to virtue; it lets men see that vice never escapes unpunished, when it represents Ægysthus, in the Electra of Sophocles, punished after ten years' enjoyment of his crime. It teaches us that the favours of fortune

* Œuvres de Fenelon, 4to. vol. iii. 1787.

† Ben. Jonson, in his dedicatory Epistle to the Comedy of the Fox, lays it down for a principle, "that it is impossible to be a good poet, without being a good man. I fear there have been exceptions to this rule; though it is very possible to be a writer of great genius, without being a good poet, in Ben. Jonson's sense of the word.

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