I cannot help wondering, that Horace, and the rest of the great Critics of Greece and Rome, should have borne with this Opprobrium of the Theatre[364]. How much better is it for the Persons to appear as they do among us, with their own Face, and, to use our own academical Term, each habited according to his Degree. Nor am I perfectly satisfied with the Sock and Buskin of the Ancients, tho' undoubtedly a less Absurdity than the Mask; for we all know, that the Commonalty did not, in Fact, wear the Sock, nor the Nobility the Buskin; and why Actors should appear only as Actors, I can see no Reason, since it is the Business of the Poet to imitate Nature, and conceal Art and Fiction as much as possible.
As I before determin'd to pass over the History, and the Decoration of the Drama, so I had much less Inclination to describe the musical Instruments that were made use of in it; this is rather the Province of Musicians and Antiquaries, than Poets or Criticks. The various Kinds of Flutes, the Tibicines, Choraules, Pythaules, &c. are abundantly explain'd by Vossius, whom we have often had Occasion to mention.
To come, then, at last, to the Subject that properly concerns us: The Drama, I define to be, A Poem containing some certain Action, and representing a true picture of human Life, for the Delight and Improvement of Mankind.
A certain Action I say, in the singular, because it ought to be but one; two do but distract the Minds of the Audience, and create more Uneasiness than Pleasure. In many, indeed, I may say most Tragedies, as well as Comedies, but in Comedies more particularly, two Actions seem to be carried on; but they are often only seemingly two, not so in Reality. One of them is so subservient to the other, so united, and interwoven with it, that it must be reckon'd rather a Part of the same, than a distinct Action. Like a small River that branches out from a greater, which returns to its first Channel, and is totally lost in it. But in some Plays the Action is entirely one, and tho' the other Kind may be justly admitted, nay, often admir'd; yet this must be allow'd the more excellent of the two; for it requires a much nicer Art to excite Pleasure and Admiration by a proper Conduct of one simple Tale, than from a Variety of surprizing Incidents. Besides, when the Mind is solicitous only about one Event, the Thoughts are more close and compact, the Expectation more attentive, the Concern more exquisite, and the Impressions strike deeper than when it is distracted and weaken'd between two different Prospects. Here, therefore, Horace's Rule is more peculiarly directed, tho' propos'd by him in general:
[365] —Sit quod vis simplex duntaxat & unum.
True, indeed, it is, according to the Principles of Nature, and Natural Philosophy, that all Things, the more simple they are, and less compounded, are the more perfect, and less subject to Change and Corruption, to Vice and Error. This appears manifestly, from a Comparison between the Body and Soul, the Creature and the Creator.
Twentieth Lecture.
Tho' the Words, Fable, Action, and Design, are frequently us'd indiscriminately, they have each of them peculiar and distinct Ideas. By the Action is meant some Adventure of one or other of the principal Persons, attended by a great and memorable Event. By the Fable, or Plot, a Heap of Incidents, Episodes, and Other Things, which are subservient to the carrying on the Action, and bringing it to a Conclusion. The Design is a particular Disposal of the several Parts, so as they may be artfully interwoven, and unfolded. What we call the Distinction of Persons or Characters, the Passions, Thought and Diction, are certain Adjuncts and Circumstances adhering to the Persons represented. These Things, tho' of the greatest Moment, and the chief Concern of the Poet, which we shall treat of singly in their proper Place, it shall suffice to have mention'd only at present; because they don't so properly come under the Head we are upon, of the Drama in general. When we come to the distinct species of it, these will then offer themselves very naturally.
I would now, however, observe, that those general Precepts of Horace relate to the Drama, where he speaks first of the Passions, Thought, and Diction:
[366] Non satis est pulchra esse poemata; dulcia sunto, Et, quo unque volent, animum auditoris agunto. Ut ridentibus arrident, ita fientibus adflent Humani vultus: Si vis me flere, dolendum est Primum ipsi tibi; tunc tua me infortunia lædunt, Telephe, vel Peleu: male si mandata loqueris, Aut dormitabo, aut ridebo. Tristia mœstum Vultum verba decent, iratum plena minarum, Ludentem lasciva, severum seria dicta. Format enim natura prius nos intus ad omnem Fortunarum habitum; juvat, aut impellit ad iram, Aut ad humum mœrore gravi deducit, & angit: Post effert animi motus, interprete lingua.