Alike in name, ancient and modern tragedy scarcely belong to the same species. The grand distinction of the former is the chorus, which is altogether inadmissible in the latter. According to the most specious hypothesis this was the nucleus of the Greek drama, around which, by slow degrees, the dialogue was gathered. It was the chorus, as a train of personages unconnected with the plot, that relieved the tedium or directed the excitement of the dialogue. Sometimes, as they appear in significant dance, they advise, exhort, or suggest a moral; sometimes they echo back the feeling of the actors, and always augment the grandeur of the pageant. Thus we find the chorus ever and anon breaking in to temper the unnatural rage of Medea, and in this respect discharging the duty indicated by Horace,
Ille bonis faveat, et concilietur amice:
Et regat iratos, et amet pacare tumentes:
Ille dapes laudet mensac brevis: ille salubrem
Justitiam, legesque, et apertis otia portis:
Ille tegat commissa, &c.
Ad Pisones 195.
The mere English reader will have a fair conception of this singular ingredient of the ancient drama, by perusing Milton's tragedy above-named, which is cast in the most rigorous Attic mould; and which, we are tempted to imagine would have been received even at Athens, if it could have been brought out in the astonishing Greek version of Glasse. If Gray had not dissipated his matchless powers upon mere fugitive efforts, he might have done more than all other scholars to produce a spirited repristination of the antique chorus. Mason's Elfrida on the same plan has been thought a failure. His estimate of the ancient chorus however merits attention. “Shakspeare” says he, speaking of the poetic element in the drama, “had the power of introducing this naturally, and what is most strange, of joining it with pure passion; but I make no doubt, if we had a tragedy of his formed on the Greek model, we should find in it more frequent, if not nobler, instances of his high poetical capacity. I think you have a proof of this in those parts of his historical plays, which are called choruses, and written in the common dialogue metre. And your imagination will easily conceive, how fine an ode the description of the night preceding the battle of Agincourt would have made in his hands, and what additional grace it would receive from that form of composition.” He also shows that the chorus augmented the pathetic, both in its odes and dialogue; by music, by the dance, by aiding and carrying forward the impression, and by showing to the spectators other spectators strongly affected by the action. These remarks are cited merely to throw light on this cardinal attribute of the ancient drama, not to recommend its revival among the moderns. The German scholar will find the “Iphigenia in Tauris” perhaps the severest and happiest imitation of the antique; yet it does not “come home to our business and bosoms.”
The relative importance of these great productions should cause them to be placed in a commanding position at our great schools. This has already been effected in England. A taste for this branch of study is fostered by the rank which it is made to hold in the university examinations. Porson's noted prize is awarded annually to the best translation into Greek verse of a given passage of Shakspeare. In the Cambridge examinations, the three great objects of competition in classical literature, are the University Scholarships—the Classical Tripos, and the Chancellor's Medal. Among other exercises demanded of candidates, they are expected to translate into English verse any given portions of the three tragedians, as well as of Aristophanes. A passage, usually from Shakspeare or Milton, is assigned, to be translated into Greek verse. The metre is generally Tragic Iambic; sometimes Tragic Trochaic; sometimes Anapæstic; rarely Heroic, and still more seldom Comic Iambic. The obvious tendency of such measures, is to excite the most intense emulation in the whole literary corps, and to keep before the mind of the learned the highest models. Familiarity with these amazing conflicts of passion is not merely a literary luxury; it is a great preparative for those real scenes in which the statesman, the advocate and the orator, are called upon to reach the hidden springs of human action, to sway the motives, and wield “at will the fierce democraty.” The American student therefore who is awake to his own interest, will not deem it beneath his notice to work in this mine, and will say with Milton,
Sometimes let gorgeous Tragedy
In sceptered pall come sweeping by,
Presenting Thebes, or Pelops' line,
Or the Tale of Troy divine;
Or what (though rare) of later age
Ennobled hath the buskined stage.
BOREALIS.
N. Jersey.