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while he speaks; and notwithstanding any ansieties which he pretends for his mistress, his country, or his friends, one may see by his action, that his greatest care and concern is to keep the plume of feathers from falling off his head. For my own part, when I see a man attering his complaints under such a moantain of feathers, I am apt to look upon him rather as an un. fortunate lunatic, than a distressed hero. As these superfluous ornaments upon the bead make a great man, a princess generally receives her grandeur from those additional incombrances that fall into her tail : I mean the broad 'sweeping train that follows her in all her motions, and finds constant employment for a boy who stands behind her to open and spread it to ad. vantage. I do not know how others are affected at this sight, but I must confess, my eyes are wholly taken up with the page's part; and, as for the queen, I am not so attentive to any thing she speaks, as to the right adjusting of her train, lest it should chance to trip up ber heels, or incommode her, as she walks to and fro upon the stage. It is, in my opinion, a very odd spectacle, to see a queen venting her passions in a disordered motion, and a little boy taking care all the wbile that they do not ruffle the tail of her gown. The parts that the two persons act on the stage at the same time are very different. The princess is afraid test sbe should ivcor the displeasure of the king her father, or lose the hero her lover, whilst her attendant is only concerned lest she should entangle ber feet in her petticoat.

We are told, that an ancient tragic poet, to move the pity of his audience for his exiled kings and distressed beroes, used to make the actors represent them in dresses and clothes that were threadbare and de cayed. This artifice for moving pity seems as ill contrived as that we have been speaking of, to inspire us with a great idea of the persons introdnced upon the stage. In short, I would have our conceptions raised by the dignity of thought and sublimity of expression, rather than by a train of robes or a plume of feathers.

Another mechanical method of making great men, and adding dignity to kings and queens, is to accom. pany them with halberts and battle-ases. Two or three shifters of scenes, with the two candle-snoffers, make up a complete body of guards upon the English stage; and by the addition of a few porters dressed in red coats, can represent above a dozen legions. I have sometimes seen a couple of armies drawn up together upon the stage, when the poet has been disposed to do honour to his generals. It is impossible for the reader's imagination to multiply twenty men into such prodigi. ous multitndes, or to fancy that two or three bandred thousand soldiers are fighting in a room of forty or fifty yards in compass.

Incidents of such nature should be told, not represented.

Non tamen intus Digna geri promes in scenam: multaque tolles Ex oculis, quæ mox narret facundia presens.

HOR. Ars. Poet. ver. 182. “ Yet there are things improper for a scene, Which men of judgment only will relate.”


I should, therefore, in this particular recommend to my conntrymen the example of the French stage,

where the kings and queens always appear unattended, and leave their guards behind the scenes. I should likewise be glad if we imitated the French in banishing from our stage the noise of drums, trumpets, and huzzas; which is sometimes so very great, that when there is a battle in the Haymarket theatre, one may bear it 33 far as Charing Cross.

I have here only touched upon those particulars which are made use of to raise and aggrandize the persons of a tragedy; and shall show in another paper the several expedients which are practised by authon

of a vulgar genius to move terror, pity, or admiration, in their hearers.

The tailor and the painter often contribute to the success of a tragedy more than the poet. Scenes affect ordinary minds as much as speeches; and our actors are very sensible, that a well-dressed play has sometimes bronght them as full audiences as a well. written one.-The Italians have a very good phrase to express this art of imposing upon the spectators by appearances; they call it the fourberia della scena“ the knavery, or trickish part of the drama.” But bowever the show and outside of the tragedy may work upon the vulgar, the more understanding part of the andience immediately see through it, and despise it.

A good poet will give the reader a more lively idea of an army or a battle in a description, than if he actually saw them drawn up in squadrons and battalions, or engaged in the confusion of a fight. Our minds shonld be opened to great conceptions, and inflamed with glorious sentiments by what the actor speaks, more than by what he appears. Can all the trappings or equipage of a king or hero, give Brutus half tbat pomp and majesty wbich he receives from a few lines in Shakspeare?

Among the several artifices which are put in practice by the poets to fill the minds of an audience with terror, the first place is due to thunder and lightning, which are often made use of at the descending of a god, or the rising of a ghost, at the vanishing of a devil, or at the death of a tyrant. I have known a bell introduced into several tragedies with good effect; and have seen the whole assembly in a very great alarm all the while it has been rivging. But there is nothing which delights and terrifies our English theatre so much as a ghost, especially when he appears in a bloody shirt. A spectre has very often saved a play, though he has done nothing but stalked across the stage, VOL. I.


or rose through a cleft of it, and sunk again without speaking one word. There may be a proper season for these several terrors; and when they only come in as aids and assistances to the poet, they are not only to be excused, but to be applauded. Thus the sound. ing of the clock in Venice Preserved makes the hearts of the whole audience quake; and conveys a stronger terror to the mind than it is possible for words to do. The appearance of the ghost in Hamlet is a masterpiece in its kind, and wrought up with all the circumstances that can create either attention or horror. The mind of the reader is wonderfully prepared for bis reception by the discourses that precede it. His dumb behaviour at his first entrance strikes the imagination very strongly; but every time he enters he is still more terrifying. Who can read the speech with which young Hamlet accosts him without trembling?

Hor. Look, my Lord, it comes !

Ham, Angels and ministers of grace defend us! Be thou a spirit of health, or goblin damn'd; Bring with thee airs from heav'n, or blasts from bell; Be thy events wicked or charitable; Thou com'st in such a questionable shape That I will speak to thee. I'll call thee Hamlet, King, Father, Royal Dane. Oh! answer me! Let me not burst in ignorance; but tell Why thy canoniz'd bones, hearsed in death, Have burst their cearments? Why the sepulchre, Wherein we saw thee quietly inurn'd, Hath op'd his pond'rous and marble jaws To cast thee up again? What may this mean? That thou dead corse again in complete steel Revisit'st thus the glimpses of the moon, Making night hideous?”

I do not therefore find fault with the artifices abovementioned., when they are introduced with skill, and

caccompanied by proportionable sentiments and expressions in the writing.

For the moving of pity, our principal machine is the handkerchief; and indeed in our common tragedies, we should not know very often that the persons are in distress by any thing they say, if they did not from time to time apply their handkerchiets to their eyes. Far be it from me to think of banishing this instrument of sorrow from the stage; I know a tragedy could not subsist without it: all that I would contend for, is to keep it from being misapplied. In a word, I would have the actor's tongue sympathize with his eyes.

A disconsolate mother, with a child in her hand, bas frequently drawn compassion from the audience, and has therefore gained a place in several tragedies. A modern writer, who observed how this bad taken in other plays, being resolved to double the distress, and melt bis audience twice as much as those before him bad done, brought a princess upon the stage with a little boy in one hand, and a girl in the other. This too bad a very good effect. A third poet being re. solved to outwrite all his predecessors, a few years ago introduced three children with great success; and, as I am informed, a young gentleman, who is fully determined to break the most obdurate hearts, bas a tragedy by him, where the first person that appears upon the stage is an afflicted widow in her mourning weeds, with half a dozen fatherless children attending her, like those that usually bang about the figure of Charity. Thus several incidents that are beautiful in a good writer, become ridiculous by falling into the hands of a bad one.

But among all our methods of moving pity or terror, there is vone so absurd and bar barvus, and what more exposes us to the contempt and ridicule of our neighbours, than that dreadful butchering of one an. other, which is very frequent upon the English stage. To delight in seeing men stabbed, poisoned, racked, or

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