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and to the other. This objection is of no weight; for the same question still recurs, which is, whether of these two kinds of genius is more valuable or If we proceed by example, and not by reasoning, we shall decide, I think, in favour of comedy.

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It may be said, that, if merely art be considered, it will require deeper thoughts to form a plan just and simple; to produce happy surprises without apparent contrivance; to carry a passion skilfully through its gradations to its height; to arrive happily to the end by always moving from it, as Ithaca seemed to fly Ulysses; to unite the acts and scenes; and to raise by insensible degrees a striking edifice, of which the least merit shall be exactness of proportion. It may be added, that in comedy this art is infinitely less, for there the characters come upon the stage with very little artifice or plot: the whole scheme is so connected that we see it at once, and the plan and disposition of the parts make a small part of its excellence, in comparison of a gloss of pleasantry diffused over each scene, which is more the happy effect of a lucky moment, than of long consideration.

These objections, and many others, which so fruitful a subject might easily suggest, it is not difficult to refute and if we were to judge by the impression made on the mind by tragedies and comedies of equal excellence, perhaps, when we examine those impressions, it will be found that a sally of pleasantry, which diverts all the world, required more thought than a passage which gave the highest pleasure in tragedy; and to this determination we shall be more inclined when a closer examination shall shew us, that a happy

vein of tragedy is opened and effused at less expence, than a well-placed witticism in comedy has required merely to assign its place.

It would be too much to dwell long upon such a digression; and as I have no business to decide the question, I leave both that and my arguments to the taste of each particular reader, who will find what is to be said for or against it. My purpose was only to say of comedy, considered as a work of genius, all that a man of letters can be supposed to deliver without departing from his character, and without palliating in any degree the corrupt use which has been almost always made of an exhibition which, in its nature, might be innocent; but has been vicious from the time that it has been infected with the wick

edness of men. It is not for public exhibitions that I am now writing, but for literary inquiries. The stage is too much frequented, and books too much neglected. Yet it is to the literature of Greece and Rome that we are indebted for that valuable taste, which will be insensibly lost by the affected negligence which now prevails of having recourse to originals. If reason has been a considerable gainer, it must be confessed that taste has been somewhat a loser.

To return to Aristophanes: so many great men of antiquity, through a long succession of ages, down to our times, have set a value upon his works, that we cannot naturally suppose them contemptible, notwithstanding the essential faults with which he may be justly reproached. It is sufficient to say, that he was esteemed by Plato and Cicero; and to conclude by that which does him most honour, but still falls short

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of justification, the strong and sprightly eloquence of St. Chrysostom drew its support from the masculine and vigorous atticism of this sarcastic comedian, to whom the father paid the same regard as Alexander to Homer, that of putting his works under his pillow, that he might read them at night before he slept, and in the morning as soon as he awaked.

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BRUMOY'S GREEK THEATRE.

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Summary of the four articles treated of in this ( Discourse.

I. THUS I have given a faithful extract of the re-' mains of Aristophanes. That I have not shewn them in their true form, I am not afraid that any body will complain. I have given an account of every thing as far as it was consistent with moral decency. No pen,' however cynical or heathenish, would venture to produce in open day the horrid passages which I have put out of sight; and instead of regretting any part that I have suppressed, the very suppression will easily shew to what degree the Athenians were infected with licentiousness of imagination and corruption of principles. If the taste of antiquity allows us to preserve what time and barbarity have hitherto spared, religion and virtue at least oblige us not to spread it before the eyes of mankind. To end this work in an useful manner, let us examine in a few words the four particulars which are most striking in the eleven pieces of Aristophanes.

Character of ancient Comedy.

II. The first is the character of the ancient comedy, which has no likeness to any thing in nature. Its genius is so wild and strange, that it scarce admits a definition. In what class of comedy must we place it? It appears to me to be a species of writing by itself. If we had Phrynicus, Plato, Eupolis, Critinus

Ameipsias, and so many other celebrated rivals of Aristophanes, of whom all that we can find are a few fragments scattered in Plutarch, Athenias, and Suidas, we might compare them with our poet, settle the general scheme, observe the minuter differences, and form a complete notion of their comic stage. But for want of all this we can fix only on Aristophanes, and it is true that he may be in some measure sufficient to furnish a tolerable judgment of the old comedy; for if we believe him, and who can be better credited? he was the most daring of all his brethren the poets, who practised the same kind of writing. Upon this supposition we may conclude, that the comedy of those days consisted in an allegory drawn out and continued; an allegory never very regular, but often ingenious, and almost always carried beyond strict propriety, of satire keen and biting, but diversified, sprightly and unexpected: so that the wound was given before it was perceived. Their points of satire were thunderbolts, and their wild figures, with their variety and quickness, had the effect of lightning. Their imitation was carried even to resemblance of persons, and their common entertainment was a parody of rival poets joined, if I may so express it, with a parody of manners and habits.

But it would be tedious to draw out to the reader that which he will already have perceived better than myself. I have no design to anticipate his reflections; and therefore shall only sketch the picture, which he must finish by himself: he will pursue the subject farther, and form to himself a view of the common and domestic life of the Athenians, of which this kind of comedy was a picture, with some aggravation of the features: he will

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