The Mirror of Literature, Amusement, and Instruction. Volume 20, No. 561, August 11, 1832. Various

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СКАЧАТЬ representation is to excite pity and terror in the spectators; in this definition I am amply borne out by authority, for not only Gibbon, Addison, and others, but Voltaire and even Aristotle, have used these very expressions; now how can we be benefited by the excitement of these feelings? Pity is at the best but a feminine virtue, and by giving way to it, the mind, if not enervated, is at any rate not strengthened; and with regard to terror, a man under its influence is incapable of any reflection whatever. When we witness, for instance, the tragedy of Macbeth, the mind, after such a scene of human villany is rather inclined to become morbid than to feel either dignified or improved.

      We will now turn to Comedy, which, in order to compare more satisfactorily with Tragedy, we will consider under the same view. First, then, the province of Comedy is with the follies and foibles or our nature; it is generally, and it ought always to be, a speaking picture of national faults, and should satirize the people of the country where it is represented, by which means a much greater scope is afforded for the improvement of the spectator. It is not so confined in its sphere as Tragedy is, for it may affect as well as amuse; there should be a proper mixture of gravity with mirth, and that succession of ridiculous and pathetic events with which the life of man is variegated. But the main superiority of Comedy consists in its having what Tragedy wants, a moral. It is true that the enlightened portion of the audience do not require this moral; no farther interested in the scene they witness than as being spectators of it, they sit by in silence, void of all passion, and learn in silence a lesson that speaks for itself, and will have its certain effect on their future lives; but the greater part of the audience, not being capable either of accurate reasoning or deep reflection, require to be told what is right, and to have its distinction from wrong pointed out to them; as in a fable, its point would be useless to most men without its concomitant moral. Secondly, the plot of Comedy (as I have said before) is for the most part fictitious, and refers to national manners, the advantages of both which peculiarities I have already had occasion to refer to; the characters also being selected from private as well as public life, from low as well as polite company, afford Comedy a far wider field to range in than Tragedy can boast. Comedy introduces us to the cottage as well as the palace, and displays the economy of one as well as the splendour of the other; and it can amuse us with the intrigues of a citizen's wife, as well as interest us with the passion of a princess. We see also in Comedy, as well as in the world itself, the despicable character of the rake, and the disgusting vanity of the coquette; we learn to distinguish between the different traits of character, and we soon find that those whose language is that of men of honour, often act like knaves. It is all this diversity that makes Comedy so pleasing as well as so instructive. Thirdly, the end that Comedy has in view, is to bring about improvement by exciting contempt and ridicule: by thus mixing ridicule with vice, we feel a positive enjoyment in seeing it exposed, and it is by this powerful engine that the manners of a people may be insensibly improved. A satirical exhibition will at all times explode vice better than serious argument; and it was from a conviction of this that the Lacedemonians intoxicated their unhappy slaves in order that the children of the state, by seeing the despicable state to which drunkenness reduced a man, might learn a lesson that wanted no explanation. In short, I think a theatrical representation may cure our faults, but it can hardly subdue our more powerful vices; it may give a check to our follies, but it will never succeed in curbing our passions. When a man is under the sway of any particular passion, it is too firmly rooted in his disposition to be eradicated by sitting a few hours in the pit of a theatre; but with our petty foibles it is very different; ridicule can, and often does, cure them, when it can be brought into play against them; which, however, is not very often in real life, for a man is more inclined to resent an attack upon his faults than his vices, and would rather be thought the slave of his passions than be known to have given way to a single weakness.

      There is another great difference between Tragedy and Comedy, and that is, with regard to diction: the language made use of by Comedy is natural and proper, while that of Tragedy is laboured and elevated; we meet not unfrequently with long declamation and sentences highly polished, whereas passion never speculates in this manner; the feelings of nature dictate the simplest language, and generally find a vent in broken sentences, as we find them in the Greek tragedians.

      The unities of the drama are rules which are the result of good sense, and serve greatly to heighten the entertainment of the stage; they undoubtedly tend to keep up the necessary illusion that we are witnessing scenes in real life, and the more they are acted up to, the greater is the merit of the piece, and the more perfect the effect produced. Now, Comedy rarely breaks through these rules; for, from its nature, the events recorded are frequently comprised within the space of a day; and there is the same regard paid (as far as it is possible) to unity of place as well as time. Tragedy, at least modern Tragedy, (with the exception of Cato and one or two more) entirely disregards these rules, and we sometimes find the hero of the piece has grown ten years older within the short space between the acts, or else that he has travelled from one country to another in the same period of time. Thus, in Julius Caesar, Brutus, in one act is at Rome, and another in Thessaly. Again, in Coriolanus, now we find him expelled by the Romans, afterwards residing amongst the Volscians, and eventually marching an immense army to the gates of Rome; all within the space of two or three hours: this is a sad blow to any scenic illusion, and tends to weaken, if it does not entirely break, the thread of the imagination.

      There is one point in which I consider both Tragedy and Comedy, in modern days, to be at fault, and that is in the constant introduction of love on our stage. We cannot frequent the theatre without being sickened by the repetition of some nauseous courtship and love-making, the particulars of which, even in real life, can be agreeable to none but the parties themselves. This blemish is said to have arisen during the earlier periods of the drama, from the vanity of the female sex; who, however much they were kept under control, and their opinions disregarded in ancient days, have amply made up for that restriction now, by taking matters of taste entirely under their direction. It is said, that when modern play-writing first came in fashion, the ladies refused to honour the theatre with their presence, unless their inclinations were more attended to, and love was made the burthen of the song. Accordingly, we find even the pure taste of Addison giving in to this demand, and the otherwise beautiful tragedy of Cato (for even the unities are preserved in it) is spoiled by two stupid love plots, that not only disfigure it, but throw a complete weariness over the whole. With the ancients it was very different, and amongst all those splendid Greek compositions which are regarded as models for the drama, we find none of them, with the exception of Hippolitus, in which there is any of this trifling with love affairs.

      Before I close these observations, let me add, that in looking at this question, we must consent to throw off our national prejudices; and in drawing the comparison, not to regard English plays, whether tragic or comic, as the standards of perfection. English Comedy is not only considered inferior to that of most nations, but it is in many respects bad in its tendency, and may almost be looked upon as a school for vanity. To conclude, instead of regarding the drama as it is, I have rather endeavoured to consider it as it should be.

F.

      THE PUBLIC JOURNALS

      REAL CHARACTER OF LOUIS XIV

      Concerning Louis the Fourteenth himself, the world seems at last to have formed a correct judgment. He was not a great general; he was not a great statesman; but he was, in one sense of the words, a great king. Never was there so consummate a master of what our James the First would have called king-craft,—of all those arts which most advantageously display the merits of a prince, and most completely hide his defects. Though his internal administration was bad,—though the military triumphs which gave splendour to the early part of his reign were not achieved by himself,—though his later years were crowded with defeats and humiliations,—though he was so ignorant that he scarcely understood the Latin of his mass-book,—though he fell under the control of a cunning Jesuit and of a more cunning old woman,—he succeeded in passing himself off on his people as a being above humanity. And this is the more extraordinary, because he did not seclude himself from the public gaze like those Oriental despots whose faces are never seen, and whose very names it is a crime to СКАЧАТЬ