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serted in his

Master has laid down; yet, without confining my self wholly to his Thoughts or Words: and to adapt this Essay the more to the Purpose for which lintend it, instead of the Examples he has inent Tragedies, I shall make use of

parallel Passages out of the most celebrated of our own.

THE Design of Art is to assist A&tion as much as possible in the Representation of Nature; for the Appearance of Reality is that which moves us in all Representations, and these have always the greater Force, the nearer they approach to Nature, and the less they show of Imitation.

NATURE herself has assigned, to every Emotion of the Soul, its peculiar Cast of the Countenance, Tone of Voice, and Manner of Gesture, thro' the whole Person: all the Features of the Face and Tones of the Voice answer, like Strings upon musical Instruments, to the Impressions made on them by the Mind. Thus the Sounds of the Voice, according to the various Touches which raise them, form themselves into an Acute or Grave, Quick or Slow, Loud or Soft Tone. These too may be sub

divided

divided into various kinds of Tones, as the Gentle, the Rough, the Contracted, the Diffuse, the Continued, the Intermitted, the Broken, Abrupt, Winding, Softned, or Elevated. Every one of these may be employed with Art and Judgment; and all supply the A&or, as Colours do the Painter, with an expresfive Variety.

ANGER exerts its peculiar Voice in an acute, raised, and hurrying Sound. The passionate Character of King Lear, as it is admirably drawn by Shakespear, abounds with the strongest Instances of this kind.

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Death! Confusion!
Hiery! what Quality ?

why Glo-
ster! Glofter!
I'd Speak with the Duke of Cornwall and his

Wife.
Are they informed of this ? My Breath and

Blood!
Fiery? the fiery Duke? &c.

SORROW and Complaint demand a Voice quite different, flexible, flow, interrupted, and modulated in a mournful Tone; as in that patheti

cal

KS

cal Soliloquy of Cardinal Wolfey on his Fall.

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Farewel! a long Farewel to all .

may

Great
nefs!
This is the State of Man! to-day be puts

freth
The tender Leaves of Hapes;to-morrow bloffoms,
And bears his blufbing Honours thick upon him;
The third Day comes a Froft, a killing Frost,
And when he thinks, good ease Mør, full

surely
His Greatness is a ripening, nips bis Root,
And then be falls as I do.

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WE have likewise a fine Example of this in the whole Part of Andromache in the Distref-Mother, particularly in these Lines.

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Weep o'er

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I'A go, and in the Angnisk of my Heart,

my Child - If he must die, my Life
Is wrapt in his, I Mall not long furvive.
'Tis for bis fake that I have suffer'd Life,
Groan'd in Captivity, and out-liv'd Hector.
Yes, my Astyanax, we'll go together!
Together to the Realms of Night we'll go;
There to thy ravisb's Eyes thy Sire I'll fbow,
Androint bim unt among the Shades below.

Cor

}

FEAR

FEAR expreffes it self in a low, hefitating and abject Sound. If the Reader considers the following Speech of Lady Mackbeth, while her Husband is about the Murder of Duncan and his

Grooms, he will imagine her even affrighted with the Sound of her own Voice while fhe is speaking

Deed,

Alas! I am afraid they have awak’d,
And 'tis not dene; th Attempt, and not the
Confounds us --Hark! ---Ilaid the Daggers

ready, He could not mifs them. Had he nat resembled My Father as he slept, I had done it.

COURAGE affumes à louder Tone, as in that Speech of Don Sebaftian.

Here satiate all your Fury;
Let Fortune empty her whole Quiver on me,
I have a Soul that like an ample Shield
Can take in all, and Verge enough for more..

PLEASURE diffolves into a luxurjous, mild, tender and joyous Modu. dulation; as in the following Lines in Caius Marius.

La

Lavinia ! O there's Mufick in the Name,
That softning me to infant Tenderness,
Makes my Heart spring, like the first Leaps of

i Life. br.

AND Perplexity is different from all these; grave, but not bemoaning, with an earnest uniform Sound of Voice; as in that celebrated Speech of Hamlet.

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To be, or not to be? —- that is the Question:
Whether 'tis nobler in the Mind to suffer
The Stings and Arrows of outrageous Fortune,
Or to take Arms against a Sea of Troubles,
And by opposing end them. To die, to sleep;
No more; and by a Sleep to say we end
The Heart-ach, and the thousand natural Shocks
That Flesh is Heir to; 'tis a Consummation
Devoutly to be wish’d. To die, to seep
To Jeep, perchance to dream! Ay, there's the

Rub.
For in that Sleep of Death what Dreams may

come,
When we bave puffled off this Mortal Coil,
Muft give us pause - There's the Respect
That makes Calamity of so long Life;
For who would bear the Whips and Scorns of

Time,

the

Co 10F

The Op:

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