Greek Tragedy. style is elegant and beautiful: and their sentiments for the most part just. They speak with the voice of nature and in the midst of simplicity they are touching and interesting. Theatrical representation on the stages of Greece and Rome was in many respects very singular, and widely different from that of modern times. The songs of the chorus were accompanied by instrumental music; and the dialogue part had a modulation of its own, and might be set to notes. It has also been thought that on the Roman stage the pronouncing and gesticulating parts were sometimes divided, and performed by different actors. The actors in tragedy wore a long robe; they were raised upon cothurni, and played in masks; these masks were painted; and the actor by turning the different profiles exhibited different emotions to the auditors. This contrivance, however, was attended by many disadvantages. FRENCH TRAGEDY. IN the composition of some French dramatic writers, tragedy has appeared with great lustre ; particularly Corneille, Racine, and Voltaire. They have improved upon the ancients, by introducing more incidents, a greater variety of passions, and a fuller display of characters. Like the ancients, they excel in regularity of conduct; and their style is poetical and elegant. But to an English taste they want strength and English Tragedy. passion, and are too declamatory and refined, They seem afraid of being too tragic; and it was the opinion of Voltaire, that to the perfection of tragedy, it is necessary to unite the vehemence and action of the English theatre with the correetness and decorum of the French. Corneille, the father of French tragedy, is distinguished by majesty of sentiment and a fruitful imagination. His genius was rich, but more turned to the epic than the tragic vein. He is magnificent and splendid, rather than touching and tender. He is full of declamation, impetuous and extravagant. In tragedy, Racine is superior to Corneille. He wants, indeed, the copiousness of Corneille; but he is free from his bombast, and excels him greatly in tenderness. The beauty of his language and versification is uncommon; and he has managed his rhymes with superior advantage. Voltaire is not inferior to his predecessors in the drama; and in one article he has outdone them, the delicate and interesting situations he has introduced. Here lies his chief strength. Like his predecessors, however, he is sometimes deficient in force, and sometimes too declamatory. His characters, notwithstanding, are drawn with spirit, his events are striking, and his sentiments elevated. ENGLISH TRAGEDY. IT has often been remarked of tragedy in Great Britain, that it is more ardent than that of France, English Tragedy. but more irregular and incorrect. It has, therefore, excelled in the soul of tragedy. For the pathetic must be allowed for the chief excellence of the tragic muse. The first object on the English theatre, is the great Shakespeare. In extent and force of genius, both for tragedy and comedy, he is unrivalled. But at the same time it is genius shooting wild, deficient in taste, not always chaste, and unassisted by art and knowledge. Criticism has been exhausted in commentaries upon him; yet to this day it is undecided, whether bis beauties or defects be greatest. In his writings there are admirable scenes and passages without number; but there is not one of his plays which can be pronounced a good one. Beside extreme irregulariting in conduct and amotocano mixtures of the seསཔབ བ་་ པབས་པ་ པ་བས 8་པཨiསཔ rious and comic, we are frequently disturbed by unnatural thoughts, harsh expressions, and a certain obscure bombast, and play upon words. These faults are, however, compensated by two of the greatest excellencies a tragic poet can possess, his lively and diversified painting of character, and his strong and natural expressions of passion. On these two virtues his merit rests. In the midst of Iris absurdities he interests and moves us; so great is his skill in human nature, and so lively his representations of it. He possesses also the merit of having created for himself a world of preternatural beings. His witches, ghosts, fairies and spirits of all kinds, are so awful, mysterious, and peculiar, as strongly to affect the imagination. His two master-pieces are his Othello and Macbeth. With regard to his historical plays, they are neither tragedies, English Tragedy. nor comedies, but a peculiar species of dramatic entertainment, in which he describes the characters, events, and manners of the times of which he treats. Since Shakespeare, there are few English dramatic writers, whose whole works are entitled to high praise. There are several tragedies, however, of considerable merit. Lee's Theodosius has warmth and tenderness, though romantic in the plan, and extravagant in the sentiments. Otway is great in his Orphan and Venice Preserved. Perhaps, however, he is too tragic in these pieces. He had genius and strong passions, but was very indelicate. The tragedies of Rowe abound in morality and in elevated sentiments. His poetry is good, and his language pure and elegant. He is, notwithstanding, too cold and uninteresting; and flowery, rather than tragic. His best dramas are Jane Shore and the Fair Penitent, which excel in the tender and pathetic. Dr. Young's Revenge discovers genius and fire; but wants tenderness, and turns too much on the direful passions. In the Mourning Bride of Congreve there are fine situations and much good poetry. The tragedies of Thomson are too full of a stiff morality, which renders them dull and formal. His Tanered and Sigismunda is his master-piece; and for the plot, characters, and sentiments, justly deserves a place among the best English tragedies. A Greek tragedy is a simple relation of an interesting incident. A French tragedy is a series of artful and refined conversations. An English tragedy is a combat of strong passions set before: Comedy. us in all their violence, producing deep disasters, and filling the spectators with grief. Ancient tragedies are more natural and simple; modern more artful and complex. COMEDY. THE strain and spirit of comedy discriminate it sufficiently from tragedy. While pity, terror, and the other strong passions form the province of the latter, the sole instrument of the former is ridicule. Follies and vices, and whatever in the human character is improper, or exposes to censure and ridicule, are objects of comedy. As a satirical exhibition of the improprieties and follies of men, it is useful and moral. It is commendable by this species of composition to correet and to polish the manners of men. Many vices are more successfully exploded by ridicule, than by serious arguments. It is possible, however, to employ ridicule improperly; and by its operation to do mischief instead of good. For ridicule is far from being a proper test of truth. Licentious writers therefore of the comic class have often cast ridicule on objects and characters which did not deserve it. But this is not the fault of comedy, but of the turn of genius of certain writers. In the hands of loose men, comedy will mislead and corrupt; but in those of virtuous writers, it is not only a gay and innocent, but a laudable and useful entertainment. Eng |