For tho’ the Greek and Latin Poets, in their Compositions, made their Hexameter or Heroick Verse, compos’d of Dactyls and Spondees, yet always observing to have each Line to end with an Adonick likewise, it runs smoother than what our Language will with 15 or more Syllables, for we cannot exceed 10 Feet, or 12 at the most, without offending a delicate Ear.
Farther, let me observe, that the Irish Stage is now as much cumber’d as the English Stage, with Inventions not used in former Ages; I mean with Opera’s and Farce; the first stupifying the Audience in such a quivering Manner in their Songs, that the Words and Sense too are both lost in the Tune: And the other is a Representation of Things not natural, and is but one, or 3 Acts at most; contrary to the Rule of dramatick Poetry, which, Horace says in his Book de Arte Poetica, must have no more or less than 5 Acts. As for Comedy, it is as much, nay more corrupted in Ireland, than in England, France or Italy, in too much admitting the Mimick in the Drama: And let me tell you (tho’ a Pilgrim) that since I am enter’d upon this Discourse, I must take Notice, that tho’ Comedy is an Imitation of inferior People in Ridicule, yet ought not the Ridicule to be extravagant, but gracefully and slightly touch’d, as by Terence in his Pieces. Again, altho Comedy represents low Persons, yet are they not the meanest, since it brings eminent Citizens and Magistrates on the Stage; nay, Plautus in his Amphytrio introduces Gods and Kings, but nevertheless it is a true Comedy, because he hath turn’d the Subject of Tragedy into Ridicule; and it looks beautiful enough, if the Actors have a Regard to their Pronunciation and Gesture, according to Quintilian’s Rule, in the 11th Chapter of his First Book which is this: Debet etiam docere comœdus quomodo narrandum, &c. That is, a Comedian ought to teach how we should speak, with what Authority we should persuade, with what Emotion Anger should be rais’d, and with what Change of Voice we may excite Pity: I can’t blame those who spend some Time with the Masters of the palestrick Art; that is, those who form the Gestures and Motions, teach how to hold the Arms, and the Hands, that we seem not to be rustick, or ignorant, to have no unseemly Carriage, no unbecoming Posture of the Feet, and that the Head and Eyes don’t differ from the other Motions of the Body. But these Rules are no where strictly observ’d by Players: Moreover, as the Design of Comedy is to rectify the Manners of Men and Women, nothing ought to be represented which may vitiate the Audience, for the People being generally the same, they obstinately retain the most licentious and obscene Things; especially when they are impiously joyn’d to Religion. Indeed Ben Johnson is often guilty of this Fault in his Volpone, especially where he brings in Sir Politick Would be talking thus prophanely to Peregrine.
And then, for your Religion, profess none;
But wonder at the Diversity of all. Act 4. Sc. 1.
Also Ben Johnson in his Alchymist so much dishonours his Maker, as to suffer the most tremendous Name of God to be made so vile and cheap, as to be us’d often as an expletive Particle to prevent a Chasme, or make up a Gap in a Sentence, that it may run more smoothly; as appears by some of his Persons thus speaking.
God’s Will then, Queen of Fairies
On with your Tire; and, Doctor, with your Robes.
Let’s dispatch him for God’s sake. Act 3. Sc. 3.
Fore God,