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which extends to the conduct of the fable itself? When the action is confined to the time of the representation, the Poet must often bring events together within the space of four hours, which, in the natural course of things, would have taken up as many days. Thus, by a ftrange kind of management, he commits a violence on nature, in order to come nearer to truth.

Eug, It is, to soften, in some measure, this impropriety, as well as to conform to the unities, that these events, inftead of being brought into action, are so often thrown into [s] narration. But, this is a subject which cannot be properly examined hui,

a morning's conversation : beside, we agir. As of, were Για η τραγωδια μιμησις πραξεως σπιδαιας, και facts muft itro termalinas this subject.

Arift. De Poetica. Cap. yi.

conno.

have other objects which demand our attention.

It is a point that has not yet been de. termined, how far Imagery may take place in the Pathetic. Were the imagination to have no share in our designs upon the heart, the Poet's task would be, indeed, a hard one. The difficulty then can only be, to set bounds to this indulgence. It must be allowed, that in the extremities of passion, all studied and ambitious ornaments are to be avoided : hence I fhould judge, that those images which are founded on comparison, can have little agreement with the simplicity of the Pathos : and this disagreement will always be found to increase in proportion as the points of fimilitude are specified and enlarged. But this objection will not extend to fimple images : these are often happily employed in the Pathetic; in these, Poetry co-operates with Painting ; and even borrows her ideas from her fifter Art

often

Thus, in anger

Romeo. Alive, in Triumph, and Mercutio Nain? Away to heav'n respective lenity, And [t] fire.ey'd Fury be my conduct now!

In grief

Juliet. Is there no pity sitting in the clouds, That sees into the the bottom of my grief?

R. and J.

[t] Should this compound Epithet “fire.ey'd” be thought inconfiftent' with the true Pathos, it will be the Itrongest proof that can be given, of the neceflity of a Atrid fimplicity on all such occasions.

F

Of all our passions, that of Love shoul seem to have the greatest connexion wit the fancy. If, therefore, the distinctio here made between simple and comparativ imagery, should hold good in this passion it will hardly be disputed in others. I shal rest" the truth of my observation, as I hay hitherto done, on examples.

.
Juliet.

Sweet, good night This bud of love, by fummers ripening

breath, May prove a beauteous flower when nex We meet.

R. and I

This is not the language of nature grue passion is impatient of studied embellisiments. Let us now see, how far the operations of the fancy may be brought to correspond with the movements of the heart

lishment

Ferdinand. Wherefore weep you ? Miranda. At mine unworthiness, that dare

not offer What I desire to give; and much less take What I shall die to want : but this is trif.

ling;

And all the more it seeks to hide itself, The bigger bulk it shews. Hence bahful

Cunning, And prompt me, plain and boly Innocence: I am your wife, if you will marry me ; If not, I'll die your maid : to be your fellow

You

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