poses to have died before Brutus, only to give him an occasion of being more easily exasperated."

The justice of this observation will appear more evident on inspecting the scene in Shakespeare.

CASS. Hath Cassius liv'd

To be but mirth and laughter to his Brutus,

When grief, and blood ill-tempered, vexeth him?

BRUT. When I spoke that, I was ill tempered too.

But again more particularly ;

CASS. I did not think you could have been so angry. BRUT. O Cassius, I am sick of many griefs.

CASS. Of your philosophy you make no use,

If you give place to accidental evils.

BRUT. No man bears sorrow better.-Portia is dead.

CASS. Ha! Portia?

BRUT. She is dead.

CASS. How 'scap'd I killing, when I cross'd you

you so?

On recurring to the principles which have been advanced in this chapter to defend the licences taken by poets in the different species of dramatick composition, which have come under our observation, it appears that

y Pref. to Troilus and Cressida. Vol. VI. p. 241.
• Julius Cæsar. Act IV. sc. 3.

most of the deductions hitherto made in reference to the subject have been drawn from the nature of theatrical representation, and the end of the drama, as directed to the object of exciting pity and terrour. On these affections of tragedy I shall beg leave to detain the attention of the reader a short time longer; being induced to dwell upon these points not less from their proving that the mode of practice adopted by dramatick writers, in seeking such an end in their productions, is that which is exclusively right, than from their tending to smooth some difficulties towards investigating the nature of marvellous imagery which occupies so distinguished a place in both epopee and drama, and forms so extensive a branch in the present inquiry.

In exciting that pleasurable effect which it is the end of every work of taste to produce on the mind, it is evident that dramatick composition possesses some important appendages which tend to promote our gratification, and which are excluded from the other species of poetical composition. That accession of pleasure which we experience from scenick representation, the importance of which we can determine on comparing the

K

But

different emotions we feel in perusing a drama, and in seeing it acted, will sufficiently illustrate the point insisted on. notwithstanding the power which theatrical representation possesses to conduce to our gratification, it is so far from contributing a stock of additional materials to promote the end of poetry, under all circumstances, that it may be looked upon as frequently forming an obstacle to its accomplishment. It may be considered as imposing an incumbrance which we are never pleased to see borne with such strength merely as is necessary to sustain it, but which is then only pleasing to behold when it is managed with such address as evinces superiour skill in him who handles it with facility.

There are tragedies which appear to contain a just exemplification of this assertion, and to point out the true course which dramatick writers ought to take in contending with this difficulty: and two very distinguished instances in point are "Cato" and "Irene." It must be admitted that these compositions afford a very high gratification in the perusal. It must be equally allowed that the dramatick apparatus affords us an intrinsical pleasure arising from the justness,

if not the expressiveness of the acting, the beauty of the scenes, and the splendour of the decorations; for these constitute the only entertainment we derive from pantomime. And yet it is generally allowed, that both of those tragedies rather lose than gain by representation; affording more gratification in being read, than in being acted. The common reason assigned for this seeming paradox, is, that those compositions are merely declamatory, and are deficient in passion. But this reason, though it ascertains what is requisite to our gratification, when we witness such dramas represented, does not explain how it happens to be so: and it leaves the principal difficulty unaccounted for, how our gratification comes to be diminished, when we should rather expect it to be increased as it may be maintained that the action of the drama must receive more spirit, the characters more life, and the passion. more efficacy from representation. The only reason which I know, that, comprising the force of this objection at the same time solves the difficulty, is deducible from the circumstance of there being a certain degree of incompatibility between dramatick representation and pathetick emotion. From which it seems to follow by a regular in

ference, that passion, from being calculated to counteract this effect of exhibition, is the necessary end of the drama.

Whatever may be the advantages which representation affords the dramatick writer, they appear to be attended in some cases with corresponding inconveniences arising from its imparting to his composition a degree of reality which is at variance with the truth of the represented subject. We never sit down to any dramatick representation and suffer ourselves to be lost in the interest which it is intended to excite, without having our attention recalled to this circumstance. But it is in those plays, of our own and other languages, which consist in cold declamation that this doctrine is principally exemplified: in these we particularly feel that the expression conveyed by the representation is more strong than that imparted by the subject which it shadows; in fact the incident of the plot is regarded as mere acting, the idea of the performer engaging us more than the character which he personates. And the consideration of this circumstance must impress us with not merely a momentary conviction, but a protracted consciousness, that the whole representation is