« 上一頁繼續 »
it will require the utmost efforts of fortitude and virtue; nor can I think any man more worthy of veneration and renown, than those who have burst the shackles of habitual vice. This victory, however, has different degrees of glory as of difficulty; it is more heroick as the objects of guilty gratification are more familiar, and the recurrence of solicitation more frequent. He that, from experience of the folly of ambition, resigns his offices, may set himself free at once from temptation to squander his life in courts, because he cannot regain his former station. He who is enslaved by an amorous passion, may quit his tyrant in disgust, and absence will, without the help of reason, overcome by degrees the desire of returning. But those appetites to which every place affords their proper object, and which require no preparatory measures or gradual advances, are more tenaciously adhesive; the wish is so near the enjoyment, that compliance often precedes consideration, and, before the powers of reason can be summoned, the time for employing them is past.
Indolence is therefore one of the vices from which those whom it once infects are seldom reformed. Every other species of luxury operates upon some appetite that is quickly satiated, and requires some concurrence of art or accident which every place will not supply; but the desire of ease acts equally at all hours, and the longer it is indulged is the more increased. To do nothing is in every man's power; we can never want an opportunity of omitting duties. The lapse to indolence is soft and imperceptible, because it is only a mere cessation of activity ; but the return to diligence is difficult, because it implies a change from rest to motion, from privation to reality :
Facilis descensus Averni,
The gates of Hell are open night and day;
Of this vice, as of all others, every man who indulges it is conscious: we all know our own state, if we could be induced to consider it, and it might perhaps be useful to the conquest of all these ensnarers of the mind, if, at certain stated days, life was reviewed. Many things necessary are omitted, because we vainly imagine that they may be always performed; and what cannot be done without pain will for ever be delayed, if the time of doing it be left unsettled. No corruption is great but by long negligence, which can scarcely prevail in a mind regularly and frequently awakened by periodical remorse. He that thus breaks his life into parts, will find in himself a desire to distinguish every stage of his existence by some improvement, and delight himself with the approach of the day of recollection, as of the time which is to begin a new series of virtue and felicity.
N° 156. SATURDAY, September 14, 1751.
Nunquam uliud natura, aliud sapientia dicit.-Juv.
Every government, say the politicians, is perpetually degenerating towards corruption, from which it must be rescued at certain periods by the resuscitation of its first principles, and the re-establishment of its original constitution. Every animal body, according to the methodick physicians, is, by the predominance of some exuberant quality, continually declining towards disease and death, which must be obviated by a seasonable reduction of the peccant humour to the just equipoise which health requires. ! In the same manner the studies of mankind, all at least which, not being subject to rigorous demonstration, admit the influence of fancy and caprice, are perpetually tending to errour and confusion. Of the great principles of truth which the first speculatists discovered, the simplicity is
embarrassed by ambitious additions, or the evidence obscured by inaccurate argumentation; and as they descend from one succession of writers to another, like light transmitted from room to room, they lose their strength and splendour, and fade at last in total evanescence.
The systems of learning therefore must be sometimes reviewed, complications analyzed into principles, and knowledge disentangled from opinion. It is not always possible, without a close inspection, to separate the genuine shoots of consequential reasoning, which grow out of some radical postulate, from the branches which art has ingrafted on it. The accidental prescriptions of authority, when time has procured them veneration, are often confounded with the laws of nature, and those rules are supposed coëval with reason, of which the first rise cannot be discovered.
Criticism has sometimes permitted fancy to dictate the laws by which fancy ought to be restrained, and fallacy to perplex the principles by which fallacy is to be detected; her superintendence of others has betrayed her to negligence of herself; and, like the ancient Scythians, by extending her conquests over distant regions, she has left her throne vacant to her slaves.
Among the laws of which the desire of extending authority, or ardour of promoting knowledge has prompted the prescription, all which writers have received, had not the same original right to our regard. Some are to be considered as fundamental and indispensable, others only as useful and convenient; some as dictated by reason and necessity, others as enacted by despotick antiquity; some as invincibly supported by their conformity to the order of nature and operations of the intellect; others as formed by accident, or instituted by example, and therefore always liable to dispute and alteration.
That many rules have been advanced without consulting nature or reason, we cannot but suspect, when we find it peremptorily decreed by the ancient masters, that only three speaking personages should appear at once upon
the stage; a law which, as the variety and intricacy of modern plays has made it impossible to be observed, we now violate without scruple, and, as experience proves, without inconvenience.
The original of this precept was merely accidental. Tragedy was a monody, or solitary song in honour of Bacchus, improved afterwards into a dialogue by the addition of another speaker; but the ancients, remembering that the tragedy was at first pronounced only by one, durst not for some time venture beyond two; at last, when custom and impunity had made them daring, they extended their liberty to the admission of three, but restrained themselves by a critical edict from further exorbitance.
By what accident the number of acts was limited to five, I know not that any authour has informed us; but certainly it is not determined by any necessity arising either from the nature of action, or propriety of exhibition. An act is only the representation of such a part of the business of the play as proceeds in an unbroken tenour, or without any intermediate pause. Nothing is more evident than that of every real, and by consequence of every dramatick action, the intervals may be more or fewer than five; and indeed the rule is
the English stage every day broken in effect, without any other mischief than that which arises from an absurd endeavour to observe it in appearance. Whenever the scene is shifted the act ceases, since some time is necessarily supposed to elapse while the personages of the drama change their place.
With no greater right to our obedience have the criticks confined the dramatick action to a certain number of hours. Probability requires that the time of action should approach somewhat nearly to that of exhibition, and those plays will always be thought most happily conducted which crowd the greatest variety into the least space. But since it will frequently happen that some delusion must be admitted, I know not where the limits of ima
gination can be fixed. It is rarely observed that minds, not prepossessed by mechanical criticism, feel any offence from the extension of the intervals between the acts; nor can I conceive it absurd or impossible, that he who can multiply three hours into twelve or twenty-four, might imagine with equal ease a greater number.
I know not whether he that professes to regard no other laws than those of nature, will not be inclined to receive tragi-comedy to his protection, whom, however generally condemned, her own laurels have hitherto shaded from the fulminations of criticism. For what is there in the mingled drama which impartial reason can condemn? The connexion of important with trivial incidents, since it is not only common but perpetual in the world, may surely be allowed upon the stage, which pretends only to be the mirror of life. The impropriety of suppressing passions before we have raised them to the intended agitation, and of diverting the expectation from an event which we keep suspended only to raise it, may be speciously urged. But will not experience shew this objection to be rather subtle than just? Is it not certain that the tragick and comick affections have been moved alternately with equal force, and that no plays have oftener filled the eye with tears, and the breast with palpitation, than those which are variegated with interludes of mirth?
I do not however think it safe to judge of works of genius merely by the event. The resistless vicissitudes of the heart, this alternate prevalence of merriment and solemnity, may sometimes be more properly ascribed to the vigour of the writer than the justness of the design: and instead of vindicating tragi-comedy by the success of Shakspeare, we ought, perhaps, to pay new honours to that transcendent and unbounded genius that could side over the passions in sport; who to actuate the affections, needed not the slow gradation of common means, but could fill the heart with instantaneous jollity or sorrow, and
vary our disposition as he changed his scenes. Perhaps the effects even of Shakspeare's poetry might have