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ON

DRAMATIC POETRY,

Tof any dramatic compofition,

O form a true judgment of the merit

we

fhould first confider the offices and ends of the Drama; what are its pretenfions, and for what purposes it affumes a manner so different from any other kind of poetical imitation. The epic Poem and the Tragedy, fays Ariftotle, are purely imitations *; but the dramatic is an imitation of the actions of men, by the means of action itself. The epic is alfo an imitation of the actions of men, but it imitates by narration. The moft perfect, and the best imitation, is certainly that which gives the most adequate, * Arift. Poet. C. 1. Chap. 3.

lively,

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lively, and faithful copy of the thing imitated. Homer was so fenfible of the fuperior force and efficacy of the dramatic manner, that he often drops the narrative to affume it; and Aristotle fays, that for having invented the dramatic imitation, and not on account. of his other excellencies, He alone deferves the name of Poet *. It is apparent therefore, how far this great Critic prefers this, to every other fpecies of Imitation. :

The general object of Poetry, among the ancients, was the inftruction of mankind, in religion, morals, philofophy, &c. To thefe great purposes were tuned the harps of Orpheus, Mufæus, Hefiod, Callimachus, &c. Nor in Greece alone was Poetry the teacher, and the guardian, of the fanctities of human fociety. +Our Northern bards affumed the fame holy offices; the fame facred character. They directed the modes of divine worship: they taught the moral duties; infpired and celebrated heroic deeds; fung the praises of valour, and the charms of * Chap. 4.. +Hiftoire des Celtes, 1. 2. c. 9.

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liberty;

liberty; and fnatched from oblivion the bold achievements, and meritorious acts, of Patriots, and of Heroes. In the East, the Poet veiled his inventions in mysterious allegories and divine mythology; and rather endeavoured to raise the mind to heavenly contemplations, than to inftruct it in human affairs.

In Greece, the general mother of arts, arofe the mighty Genius of Homer; of whom it may be faid, as it is of Socrates with relation to Philofophy, that he brought Poetry from heaven, to live in cities among men. The moral of the fable of the Iliad is adapted to the political state of Greece, whofe various chiefs are thereby exhorted to unanimity; the Odyffey, to the general condition of human nature; but the episodical part of his works he has enriched with mythology, physical allegory, the fine arts, and whatever adorns the mind of man, or benefits society; even rules of domestic œconomy, focial behaviour, and all the fweet civilities of life, are taught by this great mafter,

master, of what may be called, in the most enlarged fenfe, the Humanities. Yet firft in the rank of all the eminent perfections of this unequalled Bard, is placed the invention of the dramatic imitation, by a Critic, whofe judgment was formed by philosophy, and a deep knowledge of human nature. He faw the powerful agency of living words, joined to moving things, when still Narration yields the place to animated Action.

It is as a moral philosopher, not as the mere connoiffeur in a polite art, that Arif、 totle gives the preference, above all other modes of poetic imitation, to Tragedy, as capable to purge the paffions, by the means of pity and terror *. The object of the epic Poem is to inspire magnanimity; to give good documents of life; to induce good habits; and, like a wholesome regimen, to preserve the whole moral œconomy in a certain foundness and integrity. But it is not composed of ingredients of such efficacy, as to mitigate the violent diftempers of the mind, * Chap. 6. + Du Poeme Epique par Boffu, 1. 2. c. 17.

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