The learned critick seems equally at a loss for a proof of his assumption, as he appears in his decisions on the effects of domestick stories in the drama, in offering a trite quotation from a Greek comedy supposed to be written by Aristophanes, as assigning the reasons for this peculiarity in tragedy. In the passage in question, which contains a comparison between the tragick and comick departments of the art, the authour seems desirous of establishing the superiour advantages of the former, on the supposition of the general knowledge which the audience previously possessed with its subject." But had our critick given himself time for a moment's consideration, he must have observed that this passage brings no support to his theory, as being not at all applicable to a modern audience. And however the poet's words may be regarded as a sufficient testimony of the truth of this conclusion when applied to ancient audiences, there is good reason for rejecting it even in this respect: if we consult a still higher authority we shall find no inconsiderable countenance in admitting it no further than as it appears to be the declaration of one who wished to recommend his art by aggravating the difficulties which attended the carrying of it to perfection. Aristotle, who lived at a period which brought to the Grecian theatre the most enlightened audience that perhaps antiquity could ever collect, seems to have been of a different opinion from the poet. After condemning the conduct of such writers as adhered pertinaciously to hereditary subjects, he makes the declaration which has been already adduced, and subjoins the following conclusions, which leave very little authority to the words of Aristophanes :"It would be ridiculous to adhere too scrupulously to received subjects: since those fables which are known, are known but to few, and yet conduce to the delight of all." 930 II. 1. To proceed to the second point which has been proposed for discussion, when • Ωστ' 8 πάντως είναι ζητητεον τῶν παραδεδομένων μύθων, περι ως αι τραγῳδιαι ειςιν, αντεχεςθαι. Και γαργελοιον τουτο ζητεΐν· επει και τα γνώριμα ολιγοις γνωριμα εστιν, αλλ' όμως ευφραίνει παντας. De Poet. § 18. a fable taken from history is chosen by a dramatick writer, even it falls into his hands subject to no such restrictions in the Poetick Licence of altering its facts, as are binding on the epick poet. This I think may be made evident from the consideration of what has been just advanced on the artificial reality and impressive nature of dramatick representation. Could the mind acquiesce in being deflected from such interests as are excited by observing the action thus hastened to its event, it could find little opportunity, during the short period of representation, for attending to those defects which a leisurable reading enables us to detect in the epopee. And what has still more weight, among subjects of history, those chosen for the drama are of less general importance than those adapted to the epopee; and being of course less minutely known, their violation cannot be attended with effects at all similar. Of the events in subjects thus chosen, even those which hold the highest rank, may as historical facts possess but secondary importance; and over incidents of this description I have already shewn that even those writers, who professedly engage in poetical compositions of the tamest kind, may exercise very unlimited powers of alteration and embellishment." This reasoning appears strengthened by the precepts, and illustrated by the practice of one of our highest pocts. Mr. Dryden, speaking of the conduct observed by him in the historical ground-work of his "Indian Emperor," observes: "In it I have neither wholly followed the truth of the history, nor altogether left it; but have taken all the liberty of a poet to add, alter, or diminish, as I thought might best conduce P From these considerations, strengthened by the subsequent authority which supports and illustrates them, I must beg leave to enter a protest against those conclusions of the Abbe Du Bos, which censure some liberties taken in this respect by Corneille and Racine in the French drama. See Reflex. Critiq. §. 29. The critick seems to lay great stress on the authority of Aristotle, which he supposes to afford him some countenance in this opinion. He alludes to passage in the Poeticks," where Aristotle censures Sophocles for describing the death of Orestes, as occurring at the Pythian games, (De Poet. § 44.) which the critick asserts not to have been instituted for some time subsequent to that period. But various meanings have been assigned to this passage; and from the context, and the general sense of the whole reasoning which Aristotle pursues, it appears that he censures this description of the Grecian poet as containing an improbable circumstance, rather than an anachronism. I cannot therefore think that the abbe's censure receives much support from the father of criticism: the passage which he adduces being but a solitary one, and at best but equivocal. to the beautifying of my work: it being not the business of a poet to represent historical truth, but probability." His practice with regard to the plot of one of his first dramas, "Don Sebastian," is equally deserving of notice, as it extends this licence to the utmost bounds which are consistent with propriety. This tragedy is founded on an unascertained point of history, whether the prince, who gives his name to the drama, did, or did not, survive the battle of Alcazar. The authour, taking the liberty of a poet, and choosing that side of this doubtful question which best suited his purposes, formed the fable of this excellent tragedy on the supposition of the prince's having survived the action. And in allusion to his conduct he declares" This ground-work the history afforded me, and I desire no better to build a play upon; for where the event of a great action is left doubtful, there the poet is left master. He may raise what he pleases on that foundation, provided he makes it of a piece, and according to the rule of probability." The poet's practice in these particular instances, corresponds with the 9 Dedicat. of Indian Emp. Works, Vol. II. p. 243. |