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Your breasts no more the fire of beauty warms,
But wicked wealth usurps the power of charms;
What pains to get the gaudy thing you hate,
To swell in show, and be a wretch in state!
At plays you ogle, at the ring you bow;
Even churches are no sanctuaries now:
There, golden idols all your vows receive,
She is no goddess that has nought to give.
Oh, may once more the happy age appear,
When words were artless, and the thoughts sincere
When gold and grandeur were unenvy'd things,
And courts less coveted than groves and springs.
Love then shall only mourn when truth complains,
And constancy feel transport in its chains;
Sighs with success their own soft anguish tell,
And eyes shall utter what the lips conceal:
Virtue again to its bright station climb,
And beauty fear no enemy but time;
The fair shall listen to desert alone,
And every Lucia find a Cato's son.

CATO,

A Tragedy.

AS IT IS ACTED AT THE THEATRE ROYAL, IN DRURY LANE, BY HIS MAJESTY'S SERVANTS.

Ecce spectaculum dignum, ad quod respiciat, intentus operi suo, Deus! Ecce par Deo dignum, vir fortis cum malâ fortunâ compositus! Non video, inquam, quid habeat in terris Jupiter pulchrius, si convertere animum velit, quàm ut spectet Catonem, jam partibus non semel fractis, nihilominùs inter ruinas, publicas erectum.

SEN. DE DIVIN. PROV.

INTRODUCTORY REMARKS

"THE next year (1713), in which Cato came upon the stage, was the grand climacteric of Addison's reputation. Upon the death of Cato, he had, as is said, planned a tragedy in the time of his travels, and had for several years the first four acts finished, which were shewn to such as were likely to spread their admiration. They were seen by Pope and by Cibber, who relates that Steele, when he took back the copy, told him, in the despicable cant of literary modesty, that, whatever spirit his friend had shewn in the composition, he doubted whether he would have courage sufficient to expose it to the censure of a British audience.

"The time however was now come, when those who affected to think liberty in danger affected likewise to think that a stage play might preserve it; and Addison was importuned, in the name of the tutelary deities of Britain, to show his courage and his zeal by finishing his design.

"To resume his work he seemed perversely and unaccountably unwilling; and by a request, which perhaps he wished to be denied, desired Mr. Hughes to add a fifth act. Hughes supposed him serious; and, undertaking the supplement, brought in a few days some scenes for his examination; but he had in the mean time gone to work himself, and produced half an act, which he afterwards completed, but with brevity irregularly disproportionate to the foregoing parts, like a task, performed with reluctance and hurried to its conclusion." -JOHNSON, Life of Addison, pp. 84, 85.

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"The tragedy of Cato, which, contrary to the rule observed in selecting the works of other poets, has by the weight of its character forced its way into the late collection, is unquestionably the noblest production of Addison's genius. Of a work so much read, it is difficult to say any thing About things on which the public thinks long, it commonly attains to think right; and of Cato it has been not unjustly determined, that it is rather a poem in dialogue than a drama, rather a succession of just sentiments in elegant language, than a representation of natural affections, or of any state probable or possible in human life. Nothing here 'excites or assuages emotion: here is 'no magical power of raising phantastic terror or wild anxiety.' The events are expected without solicitude, and are remembered without joy or sorrow. Of the agents we have no care; we consider not what they are doing or what they are suffering; we wish 1 Alfieri says that the Fifth Act should be short and the action rapid. G.

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