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"What pert, low dialogue has Farquhar writ!
"Van wanted grace, who never wanted wit.”

One comedy of Vanburgh's, however, which was corrected by Cibber, and therefore passes under their joint names, is excellent, and that is "The Provoked Husband," which is unexceptionable in every respect, except in having a double plot.

The comedies of Mrs. Centlivre are lively and interesting; and it is no small commendation to say, that even at this distance of time two of her's still continue to be popular, “The Wonder," and "A Bold Stroke for a Wife."

Sir Richard Steele must rank among our best comic writers. The hint of his Conscious Lovers is taken from Terence; but how infinitely is it improved! Mr. Addison too succeeded better in comedy than in tragedy; and his Drummer is, in my opinion, one of the very best that ever was written conformably to the rules of Aristotle.

Of the modern stage it would be, in some measure, indecorous to speak; yet I cannot conclude my letter without naming one author of singular merit-you anticipate the name of

Sheridan. Perhaps no man since the days of Shakspeare ever possessed equal powers for the drama. We have several other writers, who, if they do not write for posterity, at least contribute to the entertainment of the present age, and are lively and spirited. Of the translations from the German (so much in fashion) I have seen but one, and that is The Stranger, and I confess it has left me not the slightest wish to see any more from the same manufactory. In its plot it is immoral, and very deficient both in humour and character.


Epic Poetry.-Homer.-Apollonius Rhodius. Virgil.-Lucan.-Tasso.-Camoens.-Ere



THE day of epic poetry seems in a great measure to be passed by; and it is to be apprehended that no modern epic poem will have any permanent success; the rules, therefore, which I have to lay down, and the criticisms I shall have to advance, will rather respect the past than either the present or the future. In what has been done however, there is an immense field opened for admiration, and it is ever a most pleasing exercise of the mind to review the highest exertions of the human imagination, and to enumerate the triumphs of human genius.

Men destitute of taste may pass by with a supercilious contempt the petty wars between a few piratical states of Greece, and a town (so

contemptible that the ruins are not even extant) on the opposite shore. But the work of Homer, which could make great things out of small, must still be contemplated, like the pyramids of Egypt, as an object which, being the work of man, cannot fail to interest us, while we feel we are men. No person in his senses believes the fabulous voyage of Æneas from Troy to Italy, much less the descent of the Cæsars from Ascanius; but every line of the poem which celebrates these imaginary topics contains fine poetical beauty; and while we read, in opposition to conviction, we involuntarily

"Hold each strange tale devoutly true."

Such is the charm of real poetry, and may I ever be such an intellectual epicure as to relish heartily these mental illusions!

"Perish that critic pride, which oft`has hurl'd
"Its empty thunders o'er the epic world;
"Which, eager to extend its mimic reign,
"Would bind free fancy iu a servile chain;
"With papal rage the eye of genius blind,
"And bar the gates of glory on the mind."

To be diffuse in precepts for what I deem

almost impracticable, you must perceive would be absurd. Or if we admit that some genius of a superior cast should hereafter appear, he will be able to make laws for himself. A second Bonaparte, he will establish a new code of legislation for other nations of the world.

An epic poem is a representation, and in part a dramatic representation, of some important action.* Yet it essentially differs from all pieces composed for scenic exhibition. Dramatic compositions distinguish characters by the passions, epic poems by the actions. In an epic poem, however, there are three objects to be considered, the action, actors, and narrative. First, it is necessary that the ACTION should be one. I have had occasion often to shew the necessity of unity of action in every composition; and I may add, that this makes a fuller impression on the hearers than a number of incidents which have no connexion with one another. The unity of action has particularly been expected in this kind of composition, even since Aristotle's time, who first took particular

* Ότι δει τις μύθος καθαπερ εν ταις τραγωδίας συνιςαναι δραμα TIKUS. ARIST. Ilepi mointiens, c. 3. TRAPP, Prelect. Lec. xxix.

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