one or more of the Dramatis Persona,* and this, without regard to moral justice; for, in some of the best Tragedies, vice triumphs, and virtue falls a victim to its power or craft; but, when this is the case, we are either expressly told, or are led to infer, that reward awaits the latter, and vengeance the former, in another and future

state.

4. Although it is the general practice, it does not appear to be essential+ to Tragedy, that the catastrophe should involve the death of one or more of the principal characters its legitimate design is to excite strong interest for the virtuous, abhorrence for the vicious, and compassion for the distressed: the emotions of pity and terror seem, likewise, essential to this branch of the drama; but all these passions may be called into exercise by the oppression of tyrants, the unmerited distresses. of the good, and the difficulties and hazards they may have to encounter.

5. The virtues, crimes, and sufferings of mankind, may be depicted with such truth of delineation, and strength of colouring, as to agitate the breast of the spectator with all the passions to which TRAGEDY is intended to give rise, without calling in the aid of that greatest temporal evil, a violent death.

6. While it is essential to Tragedy, that the actions and incidents be serious, and, for the most part, grand and dignified, NATURE must be by no means lost sight of. If nature and probability be violated, however virtuous the personages, or distressing the incidents, they

*The persons of the drama; the characters or persons represented as in action.

+ Absolutely necessary; indispensable; important in the highestdegree.

6. What is essential to Tragedy? What must, by no means, be lost sight of? What would be the consequences of a violation of Nature and probability?

7. What are young writers apt to imagine? 8. What should they remember? 9. What ought Tragedy to be?

10, 11. How should the CHARACTERS of Tragedy be drawn or represented? 12. How is Tragedy personified?

13. What did the ROMAN actors have recourse to, in order to increase their personal appearance? Why?

COMEDY.

1. WHILE Tragedy pictures the more grave and serious actions, virtues, vices, and distresses of mankind, COMEDY delineates those that are of a lighter and less important cast. She lashes the follies and foibles, rather than the crimes of the age; and, in the midst of her corrections, wears a gay and cheerful aspect.

2. Unlike Tragedy, however perplexed and distressed her virtuous characters may be, and however powerful, cunning, and prosperous, those of an opposite description, VICE is punished, and VIRTUE ultimately triumphs over every obstacle. The result must be according to strict poetical justice, and the catastrophe pleasing, or the end of COMEDY is not answered; which, while it corrects our faults, ought to leave an agreeable impression on the mind.

3. THREE things appear essential to the composition of a good COMEDY; interesting incidents, a well-contrived plot, and lively, witty dialogue.* Neither of these can be dispensed with, if the author wishes to interest his audience, and render his performance popular on the stage.

* A conference; or conversation between two or more.

4. In the closet, it is true, we may be gratified and amused with interesting incidents, although the PLOT may be exceedingly simple, and the dialogue tame and spiritless; or it may afford considerable pleasure, if the dialogue be lively and witty, although the incidents be common-place, and the plot clumsy and easily seen through : but, under such circumstances, it will never be tolerated by an audience,* who cannot keep up their attention through five long acts,† unless the piece have these three requisites in a greater or less degree.

5. The INCIDENTS in Comedy ought, likewise, to be unexpected and striking, yet naturally arising from the plot as it proceeds towards its developement. The language should be free, easy, and suited to the different stations of the characters; yet, never descending to grossness and vulgarity this may be tolerated in farce, but can never be permitted in genuine COMEDY.

6. CHARACTERS should be clearly distinguished from one another, and their peculiar cast maintained throughout the whole piece. If there be several gentlemen or ladies of rank and education, they will, of course, bear a

*The hearers; persons collected to hear :-(also, a hearing; the act of hearing or attending to any thing; the reception of any man who delivers a solemn message; a granted liberty of speaking.)

The divisions of a dramatic composition; so named, because each division is a part, during which the action of the piece continues without interruption.

A short dramatic representation, written without regularity, and filled with wild and ludicrous conceits. The verb "To farce," literally means to stuff; to fill with mingled ingredients; and was formerly a common term in cookery, but is now senselessly corrupted into "force." Hence, the term "FORCED meat" is absurd, and without meaning; but "FARCED" readily explains the nature of its composition. The dramatic appellation was derived from the culinary.

general resemblance, but the characteristic peculiarities of each should be so ably pourtrayed, that we may be in no danger of mistaking one for the other.

7. As it is necessary to introduce persons of inferior rank to the principal characters in the piece, their style of conversation must, of course, be suited to their station; but, while it should display none of that courtly elegance, that polished wit, and that extensive information, which characterises the discourse of the aristocratic* members of the community, it should be free from low and mean expressions, and not betray the extreme of ignorance.

8. Servants, in noble and polished families, acquire something of the refinement which they daily witness; and, though it may sit rather awkwardly on some of them, is very superior to the coarse vulgarity of a mere clown. Affectation is more the foible of such persons than coarseness of manners, and is a legitimate object of the poet's satire.+

9. Genuine wIT is a rare ingredient in modern COMEDY, although there is frequently smart and flippant‡ dialogue, which, with some persons, passes for such. But even genuine wit should not be too profusely introduced. We are pleased with the brilliant flashes and splendid glories of well-constructed fireworks; but, if the display be incessant and long-continued, we are fatigued rather than gratified, and languor takes possession of us in proportion to the intensity of the previous excitement.

* Belonging or relating to the Nobility.

A poem in which wickedness or folly is censured. Proper SATIRE is general in its reflections and censures, and does not descend to particular or individual invective; the composition is then a lampoon but the distinction is often forgotten in using the terms. t Pert; petulant; waggish: also, nimble; movable.

10. COMEDY, when composed according to these rules, is one of the most powerful correctives of vice and folly that exists; indeed, it may be considered as secondary only to religious instruction. Sometimes, it succeeds in reclaiming persons on whom grave rebuke and sober reasoning had no effect: they see themselves pourtrayed to the life, and they are so ashamed of the ridiculous or disgusting appearance which they exhibit, that they enter on reformation in good earnest, and shake off habits to which, previously, they had seemed irreclaimably attached.

11. Many instances are on record, of the good effects produced on vicious characters by dramatic representations. Young and thoughtless persons have, likewise, been warned of the treacherous arts by which seducers tempt them to their ruin, and retreated in time from the dangerous path. When such are the effects produced on the mind, we may safely pronounce the DRAMA, properly conducted, to be a blessing to mankind.*

12. COMEDY is iconically represented as a woman of a gay and cheerful aspect, dressed in a garment of various

* But, in the present state of dramatic entertainments, the demoralizing scenes of profligacy and licentiousness, which every where present themselves to view, both on the stage and in every part of the house, the presumptuous nature of many of the representations, the reprehensible language and immodest gestures of the generality of the performers, together with the unseasonableness of the hours, render THEATRES almost the worst places to which YOUTH can resort. We earnestly hope, therefore, that, until a reformation in these respects ensue, judicious parents will restrain their children, and young persons will refrain, from frequenting scenes which, at best, dispose the mind easily to receive licentious impressions, and acquire immoral characteristics; and which, under any circumstances, from their frivolity and vanity, are utterly incompatible with the holy seriousness of a CHRISTIAN character.