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But, as Tragedy and Comedy possess entirely distinct characters, the former being intimately related to epic poetry, and rising above it in lofty style and sublime imagery, while the latter is the most perfect, as it more resembles common conversation, it has been thought more classical to publish performances, so essentially different from each other, in distinct volumes, rather than confound them in heterogeneous combination. The editor has therefore prepared one volume of Tragedies, another of Comedies, and a third of Farces and Operas, which, together, will, it is presumed, be found to constitute a commodious, cheap, and judicious theatrical library, while the public will find the advantage of arrangement, in being able to procure either volume separately, if there should be any persons, who exclusively prefer either species of composition. The man of sentiment and the humourist can now suit themselves according to their respective tastes. Nor is Heraclitus obliged to buy glees, nor Democritus ditties, bound up with the appropriate objects of their individual pursuit. Even those, who are equally admirers of the Comic and Tragic Muse, will find a convenience in this division, as they will hereby be better enabled to gratify the inclination of the moment, whether it tend to the grave or gay. And, as each play has been chronologically arranged, the reflecting mind will be able to see the progressive changes, that have taken place in dramatic composition, and mark the distinct æra of improvement.
Such, then, have been the motives of this publication, and the principles which have guided the editor in its arrangement. If the execution be answerable to his own wishes and intentions, this volume of Tragedies may serve as a register of national genius. For dramatic composition, of this kind, as it is the most valuable, so is it the most difficult of all the species of poetry: it demands the most bold and vigorous conceptions, the most rich imagery, tender description, and impassioned language; it imposes a restraint on the inordinate flights of poetic enthusiasm, and forbids imagination to overstep the lines of character, or soar beyond the regions of probability. Yet this is not all, that is required of the Tragic writer. It is not sufficient, that he be poetical and chaste, unless his plot be so conducted as to excite a perpetual interest; the incidents must seem to retard, while they hurry on, the main object; and neither glowing thoughts, nor melodious numbers, will compensate for tediousness of dialogue. Criticism, in no instance, dispenses with the observance of these rules. And while Dryden and Lee are condemned for extravagant thoughts and glowing superfluities, Thomson and Johnson have not escaped censure for nakedness of plot, and the want of a rapid succession of unexpected incidents. In a style of composition, therefore, which requires such concentrated talents to succeed, a bold imagination to conceive, and a correct taste to execute, it is thought that a selection of the best performances may be justly admitted as the testimony of national genius;
and in the specimens which are now submitted to the public, the editor is confident, that the manifold beauties will not only gratify the taste, but flatter the patriot-pride of an English reader, when he contemplates, in their unrivalled excellencies, the literary superiority of Britain, not only over ancient Greece, but over all the kingdoms of modern Europe.
It was the editor's wish to insert a few of the best of Shakespeare's plays in these volumes, but several causes have prevented it: the difficulty of selection, the number that are truly excellent, and the universal practice of publishing his immortal works in a body by themselves. Besides, there is already an edition of his plays, in a form similar to the present, which, with these volumes, will form a complete BRITISH DRAMA.
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The Maid's Tragedy Philaster The Bondman The Fatal Dowry The False One Bonduca... The Rital Queens All for Love The Orphan Venice Preserted The Mourning Bride Tamerlane The Fair Penitent Cato The Distressed Mother Jane Shore..... Lady Jane Gray The Siege of Damuscus The Revenge George Barnwell Zara Fatal Curiosity
Year. · BEAUMONT & FLETCHER 1622 DITTO
1622 MASSINGER & FIELD 1623 .Ditto
1632 BEAUMONT & FLETCHER 1647 .Ditto
1703 • ADDISON
1720 . . YOUNG
. 1721 . LILLO
1730 · HILL
1735 · LILLO
Arden of Feversham Gustavus Vasa Mahomet Tancred and Sigismunda Irene The Roman Father The Brothers... The Gamester Boadicea Creusa Barbarossa. Douglas ...... Isabella The Orphan of China..... The Countess of Salisbury The Earl of Warwick Zenobia The Grecian Daughter Matilda
· BROOKE · MILLER • THOMSON JOHNSON. WHITEHEAD YOUNG ..MOORE
648 672 696 714 734
1768 . 1772 : 1775
774 794 817
Evadne, wife to Amintor. Lysipprs, brother to the king.
Aspatia, troth-plight wife to Amintor. AMINTOR, a noble gentleman.
waiting gentlewomen to Aspatia. brothers to Evadne. Dipuilts, S
Dula, a lady. Caliaxax, an old humourous lord, and father Night, to Aspatia.
ÆOLUS, DIAGORAS, a sertant to Calianar.
STRATO, Í gentlemen.
Enter Cleos, STRATO, LYSippus, and
Lys. Noble Melantius! the land, by me,
Diph. You are the brother to the king, my The breath of kings is like the breath of gods; lord; we will take your word.
My brother wished thee here, and thou art here.
A welcome above his, or all the world's.
Mel. My lord, my thanks; but these scratch'd Strat. Yes; they must commend their king, and
limbs of mine speak in praise of the assembly; bless the bride Have spoke my love and truth unto my friends, and bridegroom, in person of some god. They More than my tongue e'er could. My mind's the are tied to rules of flattery.
same Cle. See, good my lord, who is returned ! It ever was to you: Where I find worth