THE DRAMA.

ESSAY ON DRAMATICK COMPOSITION.
BY T. HOLCROFT.

Continued from vol. 3, p. 141.

Of the Different Species of Dramatick Writing. THOUGH tragedy and comedy appear to have formed the two grand classes of the dramatick art, it is nevertheless true that, among all modern nations at least, there have continually been other branches, which, though of the same tree, are distinct, in their nature and often in extent. To mysteries, moralities, masques, intermedes, and interludes, have succeeded comick operas, farces, speaking pantomimes, and particularly plays, or serious dramas: beside an innμmerable progeny of ballets, dumb pantomimes, and spectacles, in many of which the eye and the ear are chiefly consulted. Into the nature and end of these different classes it will be good to inquire, and, by inquiry, to endeavour to afford some light that may guide the adventurer, in paths which confusion and indecision have often darkened.

Of the Moral Nature of Tragedy.

Of all the works of man, it may be doubted whether there is any species of an equally impressive and dignified-moral nature as tragedy. The epick poem might equal, if not surpass it, in the closet; but as epick poems cannot be represented before multitudes, by whom from their nature they have little chance of being read,

their moral influence must be greatly and inevitably less. Every thing that is noble, in the heart and actions of man, is the proper subject of tragick composition. All the dreadful errours into which his passions can lead him are there necessarily contrasted with the purest emanations of his soul; the consequences of each are developed, and, while terrour and compassion, at the portraits which it gives of vice, seize the heart, that heart is relieved, delighted, and embued, by the purity and dignity of virtue, as well as by its comparative and everlasting tendency to happiness. It is scarcely possible to compose a tragedy, so as to be received and applauded by the publick, without more or less. producing this beneficial result.

Unless this can be denied, it follows that the duties of the tragick poet are among the most sacred which the human mind has conceived, and his rank and office of the highest nature. It should however be added, the more unassuming he shows himself, in society, the better proof he gives of his poetick dignity. True genius will neither affect hypocritical modesty nor be debased by any symptoms of inflated pride.

BEAUTIES OF THE DRAMA. Scene from THE SAILOR'S DAUGHTER, a comedy by Richard Cumberland.

be.

Hartshorn and Mrs. Hartshorn.

. Harts. All this is well; all this is as it should Didn't I tell Lindsay we were the happiest couple in creation? and behold we are so !

Good humour is a blessed thing; good hu mour in a wife, my dear Dolly, is like gold. leaf upon a pill; it does not alter the dose, but. it makes it go down.

. Mrs. H. Very true, my dear Sam; very well. compar'd. And when I see a smile upon my husband's face, as I do now, it seems to me like sunshine in a prison; it does not set me. free, but it makes confinement bearable.

Harts. You are right, it does all that; and I shall always smile when you look kind. Mrs. H. 'Tis your own fault whenever I look otherwise.

Harts. Not always, Dolly.

Mrs. H. Always, Mr. Hartshorn.

Harts. Come, come, lambkin, there are faults on both sides; but we'll not talk of faults: we will forget them.

. Mrs. H. But you do talk of faults; aye, and you commit so many, 'tis impossible to forget them.

Harts. What faults have I committed just now? you have such a gentle way of bringing them to my recollection, I shall not be sorry to be told of them.

Mrs. H. Look at your, pretended partner, Lindsay. What do you think of him? What does he know of his business? Have you exer examin'd him?-Not you. Are you sure he is what he pretends to be ?-I much doubt it. Not one feature of the apothecary can I see in his face, not one trace of the hospital in his conversation and appearance.

Harts. What then do you take him to be ?>

Mrs. H. A very handsome fellow he certainly is; and without any compliment to his understanding, I take him to be very capable of outwitting you, and making off with your modest and immaculate Miss Julia. He is much more likely to be her partner than yours.

Harts. Say no more; I'll be up to him. Outwit me indeed! No, no, he'll not do that.Mum! not another word.

Sentamour enters.

Glad to see you, brother doctor; glad to see you.-Dolly, my love, my life, we are upon business. (exit Mrs. Hartshorn.) There! do you see that? A word, a look, a motion of my eye does it. Docile and obedient as a tame she bear. Now to business. I can assure you, Mr. Lindsay, my expectations are raised very high by the terms in which captain Sentamour and others have reported you to me. I flatter myself I shall not be disappointed.

A

Sent. I am vain enough to think you will not. Harts. Very good, very good. A little selfconfidence in our way is not amiss-but to the point. My practice, Mr. Lindsay, you observe, comprises all the three branches, surgery, pharmacy, and the obstetrick department :In the two former well established-full employment; in the latter, rising, growing, mending every day. Now there it is, brother Linda say, there it is that I must look to you. When ladies cry out, the young and able should at tend the call, and take that duty from the old and feeble.

Sent. With reason, Mr. Hartshorn, and they commonly do.

Harts. Good; very good again. Then you'll turn out when Obadiah comes full tilt upon the coach-horse, and I'll keep snug the whilst.

Sent. Yes, I'll turn out if I hear him; but I am us❜d to sleep in a ship. Noises don't easily awake me.

Harts. Not such noises perhaps as you are us'd to in a ship: but there are some that I am us'd to in this house will do it effectually, if others fail. You are handy enough, no doubt, in mixing up medicines, labelling phials, rolling up pills, construing prescriptions, weighing out. drugs, and infusing them in their proper vehicles.

Sent. O yes, all that is very easy.

Harts. I am glad you find it so I can't say I always do. Of chemicals and galenicals I need not speak diffusely.

Sent. You need not speak a word about them. We'll agree to pass them over.

Harts. We'll agree to no such thing. Pass them over indeed! I hope you understand their several powers, properties, and proportions; their compositions and decompositions, acids and alcalis, bracers and relaxers, quickeners and quieters, tonicks and anti-tonicks

Sent. Understand them all-What is an a pothecary that does not ?

Harts. What is he ?-why he is what many apothecaries are; what I have been, and what, I am now puzzled.

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