Shakespeares language is likewise a little obsolete, and Ben. Separately, the First Essay William Pitt, Ear9 of Chatham , is. They are very punctual about action as there is no sub-plot in most of their plays. They therefore who imagine these relations would make no concernment in the audience, are deceived, by confounding them with the other, which are of things antecedent to the play : those are made often in cold blood, as I may say, to the audience ; 5 but these are warmed with our concernments, which were before awakened in the play. And by follower ing these rules French were giving their best.
But he has done his Robberies so openly, that one may see he fears not to be taxed by any Law. I cannot say he is every where alike; were he so, I should do him injury to compare him with the greatest of Mankind. Tragic Tetralogy A four-part tragedy. I could multiply other instances, but these are sufficient to prove that 15 there is no errour in choosing a subject which re quires this sonfc of narrations ; in the ill management 2 of them, there may. And Ovid once so modestly, that he askes leave to do it: Si verbo audacia detur Haud metuam summi dixisse Palatia coeli. The result not unfrequently was to com press into a space of twelve or twenty-four hours a crowded sequence of incidents and a series of mental conflicts, which needed ;. Dryden in the person of Neander rises up in defence of English dramatists and strongly pleads that English Dramatist are fully justified in not slavishly accepting the classical principles in many respects.
Taylor enjoyed a great popularity. A year later, the two brothers-in-law quarreled publicly over this third topic. Crites holds that drama of such ancients is successful because it depicts life. Hence it is closest to life. For a play is still an , imitation of nature; we know we are to be deceived, and we desire to be so ; but no man ever was deceived but with a probability of truth ; for who will suffer a gross lie to be fastened on him? But in the mean time your Lordship may imitate the course of Nature, who gives us the flower before the fruit: that I may speak to you in the language of the Muses, which I have taken from an excellent Poem to the King.
Neander speaks for Dryden himself. The latter merely dignify and refine the style of polite conversation and courtly speech; the former not only modify ex pression, but may without exaggeration be said to change the tone of thought. . I acknowledg the hand of Art appears in repartee, as of necessity it must in all kind of verse. Our language is noble, full and significant; and I know not why he who is Master of it may not clothe ordinary things in it as decently as the Latin; if he use the same diligence in his choice of words. The French dramatists interweave truth with fiction to make it interesting bringing elements that lead to fate and borrow from history to reward the virtuous which he was earlier deprived of. Prenons garde pourtant de n'etre pas dupes d'une impression trop personnelle.
There is an earlier use of the form in Daniel's Defence of Rhyme fGrosart's edition of Daniel's complete works, iii. Accordingly, several claimants for the service presented themselves, but the Court of Claims decided for Scrivelsby. The action of the Play is intirely one; the end or aim of which is the setling of Morose's Estate on Dauphine. We draw not therefore after their lines, but those of nature; and having the life before us, besides the experience of all they knew, it is no wonder if we hit some airs and features which they have missed. But it stirs genial mirth in an ever-increasing degree ; and the manners and conversation of the persons in this play, especially of the young men, are both more natural and more entertaining than is common with Jonson. And here having a place so proper for it I cannot but enlarge somewhat upon this subject of humor into which I am fallen.
Quantum lenta solent, inter viburna cupressi. That similitude expresses much of the English stage; 5 for if contrary motions may be found in nature to agree ; if a planet can go east and west at the same time ; one way by virtue of his own motion, the other by the force of the first mover ; it will not be difficult to imagine how the under-plot, which is only 10 different, not contrary to the great design, may natur ally be conducted along with it. Et propter hoc et propter alia quibus orator poetae similis videri solebat Scaurus Montanum inter oratores Ovidium vocare ; nam et Ovidius nescit quod bene cessit relinquere. When a Poet has found the repartee, the last perfection he can add to it, is to put it into verse. He was more famous for his tragicomedies, which he wrote with Fletcher. This often repeated theme lost its interest to the spectators.
Further, he suggests thatEnglish plays are more entertaining and instructive because they offer an element ofsurprise that the ancients and the French do not. It shows little art in the conclusion of a Dramatick Poem, when they who have hindered the felicity during the four Acts, desist from it in the fifth without some powerful cause to take them off; and though I deny not but such reasons may be found, yet it is a path that is cautiously to be trod, and the Poet is to be sure he convinces the Audience that the motive is strong enough. The plot is taken from the fourth book of Herodian ; it is Roman imperial history transferred to new. I have taken notice but of one tragedy of ours, whose plot has that uniformity and unity of design in it, which I have commended in the French ; and that is Rollo n , it or rather, under the name of Rollo. And Verse I affirm to be one of these: 'Tis a Rule and line by which he keeps his building compact and even, which otherwise lawless imagination would raise either irregularly or loosly.
I answer, no Poet need constrain himself at all times to it. As the question is interesting and important, I subjoin to my father's views a catena of modern opinions on the subject. Dryden was too proud of his own good birth for that, and the term appears to be a rough anagram on his own name, just as Lisideius was on that of Sedley. The drift of the ensuing Discourse was chiefly to vindicate the honour of our English Writers, from the censure of those who unjustly prefer the French before them. The four men debate a series of three topics: 1 the relative merit of classical drama upheld by Crites vs. Parmeno to mock the softness of his Master, lifting up his hands and eyes, cryes out as it were in admiration; Hui! Diego is a character in it Malone.
Secondly, the Epitasis, or working up of the plot ; where the play grows warmer, the design or action of it is drawing on, and you see something 3 promising that it will come to pass. He also believes that there is nothing wrong in tragic — comedy as it gives relief to spectacle from heaviness tragedy. At land sales in France this practice is still in force. In these, you say, the majesty of verse 15 suffers. And thus far you may find the practice made good in many Plays; where you do not, remember still, that if you cannot find six natural Rhymes together, it will be as hard for you to produce as many lines in blank Verse, even among the greatest of our Poets, against which I cannot make some reasonable exception.