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n clay of the earth," dukes, princes, kings, and kaisars. The matters agitated must be of moment, proportioned to their characters and elevated station, the fate of cities and the fall of kingdoms. That the language, as well as actions and character of the _dramatis personae_, might be raised above the vulgar, their sentiments were delivered in rhyme, the richest and most ornate kind of verse, and the farthest removed from ordinary colloquial diction. Dryden has himself assigned the following reasons:--"The plot, the characters, the wit, the passions, the descriptions, are all exalted above the level of common converse, as high as the imagination of the poet can carry them, with proportion to verisimility. Tragedy, we know, is wont to image to us the minds and fortunes of noble persons, and to portray these exactly; heroic rhyme is nearest nature, as being the noblest kind of modern verse. _Indignatur enim priratis et prope socco Dignis carminibus narrari coena Thyestae_-- says Horace: and in another place, _Effutire leves indigna tragaedia versus_.-- Blank verse is acknowledged to be too low for a poem, nay more, for a paper of verses; but if too low for an ordinary sonnet, how much more for tragedy, which is by Aristotle, in the dispute betwixt the epic poesy and the dramatic, for many reasons he there alleges, ranked above it." When we consider these various essentials of a rhyming play, we may perhaps, without impropriety define it to be a metrical romance of chivalry in form of a drama. The hero is a perfect knight-errant, invincible in battle, and devoted to his Dulcinea by a love, subtle, metaphysical and abstracted from all the usual qualities of the instinctive passion; his adventures diversified by splendid descriptions of bull-feasts, battles, and tournaments; his fortune undergoing the strangest, most causeless, and most unexpected varieties; his history chequered by the marvellous interference of ghosts, spectres, and hell itself; his actions effecting the change of empires, and his co-agents being all lords, and dukes, and noble princes, in order that their rank might, in some slight degree, correspond to the native exultation of the champion's character. The reader may smile at this description, and feel some surprise, how compositions, involving such gross absurdities, were tolerated by an audience having pretence to taste and civilisation But something may be said for the heroic d
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