[433] An Tragica desævit & ampullatur in arte?
Or swell with noble Rage the Tragic Style. Ch. Carthy.
Not that all the Persons in Tragedy are suppos'd to speak with equal Dignity, which is as inconsistent with the Nature of Things, as of Men; nor should the Language of a Messenger, or a Nurse, be as sublime as that of a Monarch, or a Deity: Tho' great Care ought to be taken, that nothing mean or trifling appear in these lower Characters, much less like Joke or Repartee, (a Fault which modern Writers, especially those of our own Country, are shamefully guilty of) lest Tragedy should sink below itself. A judicious Tragic Poet will be less concern'd at the Hiss, than the Laugh of an Audience.
Nor should the highest Characters talk always with equal Majesty, for that is as great an Absurdity; much less should they fall into Expressions of Low Life, improper for Tragedy, even when they are talking about Things of no Moment: For even in them there is a Sort of Dignity, inseparable from Kings and Heroes. Mr. Dryden, therefore, has well observ'd, that in Seneca's Hippolytus the Poet very judiciously makes Theseus order his Servants to open the Door (a very familiar Circumstance) in pompous Words:
[434] Reserate clusos Regii postes Laris.
Unbar the Portals of the Royal Dome.
In expressing Grief, when void of Anger, (for Anger is insolent in all Circumstances, and in great Men always swelling) the Style of Tragedy abates something of its Majesty, and descends almost into the Ease and Freedom, not of Comedy, (as[435] Vossius, less accurately, expresses it) but of familiar Conversation. "Especially if Heroes are introduc'd fallen from the Height of Fortune; whose Spirits are less rais'd, and their Language, of Course, is less tragical." As Anger, therefore, raises the Style of Comedy; Sorrow sinks that of Tragedy: Both which Horace observes, in these Words:
[436] Interdum tamen & vocem Comœdia tollit, Iratusque Chremes tumido delitigat ore: Et Tragicus plerumque dolet sermone pedestri; Telephus, & Peleus, cum pauper, & exul uterque, Projicit ampullas, & sesquipedalia verba, Si curat cor spectantis tetigisse querela.
Yet Comedy sometimes may raise her Voice, And Chremes be allow'd to foam and rail: Tragedians too lay by their State, to grieve: Peleus and Telephus, evil'd and poor, Forget their swelling and gigantick Words, If they wou'd have Spectators share their Grief. Roscom.
The Reason of which is too plain, to want Explication. By Sermo pedestris, the Poet means a more familiar Style, but without Meanness; not quite degenerating into Prose, much less into what is vulgar, rude, or scurrilous: Tho' plain, it should be elegant; tho' humble, and complaining, yet graceful, and truly poetical. The Thoughts may, and often ought to be great, even when the Language is far otherwise. For there is a Sort of majestic and heroical Humility; and tho' Kings and Queens don't express their Grief in pompous and sonorous Words, yet there is some Difference betwixt theirs, and vulgar Sorrows. There is the same Distinction of Style, as in the Habit of Mourners. The Monarch may exchange his Purple for Sable, yet, in his Behaviour, in his Looks, there is such a Reserve of Majesty, as will easily distinguish him from a private Person in the same Attire.