miss his audience with an excellent new -Ut his exordia primis Virg. Ecl. v. 33. He sung the secret seeds of nature's frame: How seas, and earth, and air, and active flame, Fell through the mighty void, and in their fall Were blindly gather'd in this goodly ball. The tender soil then stiff ning by degrees, Shut from the bounded earth the bounding seas, The earth and ocean various forms disclose, And a new sun to the new world arose.-Dryden. LONGINUS has observed that there may be a loftiness in sentiments where there is no passion, and brings instances out of an cient authors to support this his opinion. The pathetic, as that great critic observes, may animate and inflame the sublime, but is not essential to it. Accordingly, as he further remarks, we very often find that those who excel most in stirring up the passions very often want the talent of writing in the great and sublime manner, and so on the contrary. Milton has shown himself a master in both these ways of writing. The seventh book, which we are now entering upon, is an instance of that sublime which is not mixed and worked up with passion. The author appears in a kind of composed and sedate majesty; and though the sentiments do not give so great an emotion as those in the former book, they abound with as magnificent ideas. The sixth book, like a troubled ocean, represents greatness in confusion; the seventh affects the imagination like the ocean in a calm, and fills the mind of the reader, without producing in it any thing like tumult or agitation. me look upon all such noble achievements | signs, instead of a penitential psalm, to dis as downright silly and romantic. What the rest of the audience felt, I cannot so well tell. For myself I must declare, that at the end of the play I found my soul uniform, and all of a piece; but at the end of the epilogue it was so jumbled together, and divided between jest and earnest, that, if you will forgive me an extravagant fancy, I will here set it down. I could not but No. 339.] Saturday, March 29, 1712. fancy, if my soul had at that moment quitted my body, and descended to the poetical shades in the posture it was then in, what a strange figure it would have made among them. They would not have known what to have made of my motley spectre, half comic and half tragic, all over resembling a ridiculous face that at the same time laughs on one side and cries on the other. The only defence, I think, I have ever heard made for this, as it seems to me the most unnatural tack of the comic tail to the tragic head, is this, that the minds of the audience must be refreshed, and gentlemen and ladies not sent away to their own homes with too dismal and melancholy thoughts about them: for who knows the consequence of this? We are much obliged, indeed, to the poets, for the great tenderness they express for the safety of our persons, and heartily thank them for it. But if that be all, pray, good sir, assure them, that we are none of us like to come to any great harm; and that, let them do their best, we shall in all proba bility live out the length of our days, and frequent the theatres more than ever. What makes me more desirous to have some information of this matter is, because of an ill consequence or two attending it: for a great many of our church musicians being related to the theatre, they have, in imitation of these epilogues, introduced, in their tarewell voluntaries, a sort of music quite foreign to the design of church-services, to the great prejudice of well-disposed people. Those fingering gentlemen should be informed, that they ought to suit their airs to the place and business, and that the musician is obliged to keep to the text as much as the preacher. For want of this, I have found by experience a great deal of mischief. When the preacher has often, with great piety, and art enough, handled his subject, and the judicious clerk has with the utmost diligence culled out two staves proper to the discourse, and I have found in myself and the rest of the pew, good thoughts and dispositions, they have been, all in a moment, dissipated by a merry jig from the organ-loft. One knows not what further ill effects the epilogues I have been speaking of may in time produce: but this I am credibly informed of, that Paul Lorrain has resolved upon a very sudden reformation in his tragical dramas; and that, at the next monthly performance, he de The critic above-mentioned, among the rules which he lays down for succeeding in the sublime way of writing, proposes to his reader, that he should imitate the most celebrated authors who have gone before him, and have been engaged in works of the same nature; as in particular that, if he writes on poetical subjects, he should consider how Homer would have spoken on such an occasion. By this means one great genius often catches the flame from another, and writes in his spirit, without copying servilely after him. There are a thousand shining passages in Virgil, which have been lighted up by Homer. Milton, though his own natural strength of genius was capable of furnishing out a perfect work, has doubtless very much raised and ennobled his conceptions by such an imitation as that which Longinus has recommended. In tais book which gives us an account of clouds which lay as a barrier before of the six days' works, the poet received them. but very few assistances from heathen I do not know any thing in the whole writers, who are strangers to the wonders poem more sublime than the description of creation. But as there are many glorious which follows, where the Messiah is restrokes of poetry upon this subject in holy presented at the head of his angels, as lookwrit, the author has numberless allusions to ing down into the chaos, calming its confuthem through the whole course of this book. sion, riding into the midst of it, and drawing The great critic I have before mentioned, the first outline of the creation: though a heathen, has taken notice of the sublime manner in which the lawgiver of the Jews has described the creation in the first chapter of Genesis; and there are many other passages in scripture which rise up to the same majesty, where the subject is touched upon. Milton has shown his judgment very remarkably, in making use of such of these as were proper for his poem, and in duly qualifying those strains of eastern poetry which were suited to readers whose imaginations were set to a higher pitch than those of colder climates. Adam's speech to the angel, wherein he desires an account of what had passed within the regions of nature_before_the creation, is very great and solemn. The following lines, in which he tells him, that the day is not too far spent for him to enter upon such a subject, are exquisite in their kind: And the great light of day yet wants to run The angel's encouraging our first parents in a modest pursuit after knowledge, with the causes which he assigns for the creation of the world, are very just and beautiful. The Messiah, by whom, as we are told in scripture, the heavens were made, goes forth in the power of his Father, surrounded with a host of angels, and clothed with such a majesty as becomes his entering upon a work which, according to our conceptions, appears the utmost exertion of Omnipotence. What a beautiful description has our author raised upon that hint in one of the prophets! And behold there came four chariots out from between two mountains, and the mountains were mountains of brass:' About his chariot numberless were pour'd I have before taken notice of these chariots of God, and of these gates of heaven; and shall here only add, that Homer gives us the same idea of the latter as opening of themselves; though he afterwards takes off from it, by telling us, that the Hours first of all removed those prodigious heaps On heav'nly ground they stood, and from the shore Far into Chaos, and the world unborn; The thought of the golden compasses is conceived altogether in Homer's spirit, and is a very noble incident in this wonderful description. Homer, when he speaks of the gods, ascribes to them several arms and instruments with the same greatness of imagination. Let the reader only peruse the description of Minerva's ægis or buckler, in the fifth book, with her spear which would overturn whole squadrons, and her helmet that was sufficient to cover an army drawn out of a hundred cities. The golden compasses, in the above-mentioned passage, of him whom Plato somewhere calls the Diappear a very natural instrument in the hand vine Geometrician. As poetry delights in clothing abstracted ideas in allegories and sensible images, we find a magnificent description of the creation, formed after the same manner, in one of the prophets, wherein he describes the Almighty Archiof his hand, meting out the heavens with tect as measuring the waters in the hollow his span, comprehending the dust of the earth in a measure, weighing the mountains in scales, and the hills in a balance. Another of them describing the Supreme Being in this great work of creation, represents him as laying the foundations of the earth, and stretching a line upon it; and, in another place, as garnishing the heavens, stretching out the north over the empty place, and hanging the earth upon nothing, This last noble thought Milton has expressed in the following verse: And earth self-balanced on her centre hung. The beauties of description in this book lie so very thick, that it is impossible to enumerate them in this paper. The poet has employed on them the whole energy of our tongue. The several great scenes of No. 340.] THE SPECTATOR. the creation rise up to view one after an- -Thus was the first day even and morn, We have the same elevation of thought in the third day, when the mountains were brought forth, and the deep was made: Immediately the mountains huge appear We have also the rising of the whole vegetable world, described in this day's work, which is filled with all the graces that other poets have lavished on their description of the spring, and leads the reader's imagination into a theatre equally surprising and beautiful. The several glories of the heavens make their appearance on the fourth day: First in his east the glorious lamp was seen, One would wonder how the poet could be so concise in his description of the six days' works, as to comprehend them within the bounds of an episode, and, at the same time, so particular, as to give us a lively idea of them. This is still more remarkable in his account of the fifth and sixth days, in which he has drawn out to our view the whole animal creation, from the reptile to the behemoth. As the lion and the leviathan are two of the noblest productions in the world of living creatures, the reader will find a most exquisite spirit of poetry in the account which our author gives us of them. The sixth day concludes with the formation of man, upon which the angel takes occasion, as he did after the battle in heaven, to remind Adam of his obedience, which was the principal design The poet afterwards represents the Messiah returning into heaven, and taking a survey of his great work. There is something inexpressibly sublime in this part of the poem, where the author describes the great period of time, filled with so many glorious circumstances; when the heavens and earth were finished; when the Messiah ascended up in triumph through the ever- So even and morn accomplish'd the sixth day: Resounded, (thou rememberest, for thou heard'st) I cannot conclude this book upon the No. 340.] Monday, March 31, 1712. What chief is this that visits us from far, who forced the trenches at Turin: but in general I can say, that he who beholds him will easily expect from him any thing that is to be imagined, or executed, by the wit or force of man. The prince is of that stature which makes a man most easily be only as they contribute to the exerting those virtues. Such a man, if he is wise or valiant, knows it is of no consideration to other men that he is so, but as he employs those high talents for their use and service. He who affects the applauses and addresses of a multitude, or assumes to himself a come all parts of exercise; has height to be preeminence upon any other consideration, | must soon turn admiration into contempt. It is certain that there can be no merit in any man who is not conscious of it; but the sense that it is valuable only according to the application of it, makes that superiority amiable, which would otherwise be invidious. In this light it is considered as a thing in which every man bears a share. It annexes the ideas of dignity, power, and fame, in an agreeable and familiar manner, to him who is possessor of it; and all men who are strangers to him are naturally incited to indulge a curiosity in beholding the person, behaviour, feature, and shape of him in whose character, perhaps, each man had formed something in common with himself. graceful on occasions of state and ceremony, and no less adapted for agility and despatch: his aspect is erect and composed: his eye lively and thoughtful, yet rather vigilant than sparkling; his action and address the most easy imaginable, and his be haviour in an assembly peculiarly graceful in a certain art of mixing insensibly with the rest, and becoming one of the company, instead of receiving the courtship of it. The shape of his person, and composure of his limbs, are remarkably exact and beautiful. There is in his looks something sublime, which does not seem to arise from his quality or character, but the innate disposition of his mind. It is apparent that he suffers the presence of much company, instead of taking delight in it: and he apWhether such, or any other, are the peared in public, while with us, rather to causes, all men have a yearning curiosity to return good-will, or satisfy curiosity, than behold a man of heroic worth. I have had to gratify any taste he himself had of being many letters from all parts of this kingdom, popular. As his thoughts are never tumulthat request I would give them an exact ac- tuous in danger, they are as little discomcount of the stature, the mien, the aspect of posed on occasions of pomp and magnifithe prince who lately visited England, and cence. A great soul is affected, in either has done such wonders for the liberty of case, no further than in considering the Europe. It would puzzle the most curious properest methods to extricate itself from to form to himself the sort of man my seve-them. If this hero has the strong incentives ral correspondents expect to hear of by the to uncommon enterprises that were reaction mentioned, when they desire a de-markable in Alexander, he prosecutes and scription of him. There is always something that concerns themselves, and growing out of their own circumstances, in all their inquiries. A friend of mine in Wales beseeches me to be very exact in my account of that wonderful man who had marched an army and all its baggage over the Alps; and if possible, to learn whether the peasant who showed him the way, and is drawn in the map, be yet living. A gentleman from the university, who is deeply intent on the study of humanity, desires me to be as particular, if I had an opportunity, in observing the whole interview between his highness and our late general. Thus do men's fancies work according to their several educations and circumstances; but all pay a respect, mixed with admiration, to this illustrious character. I have waited for his arrival in Holland, before I would let my correspondents know that I have not been so uncurious a Spectator as not to have seen prince Eugene. It would be very difficult, as I said just now, to answer every expectation of those who have written to me on that head; nor is it possible for me to find words to let one know what an artful glance there is in his countenance who surprised Cremona; how daring he appears He stood godfather to Steele's second son, who was named Eugane after this prince. enjoys the fame of them with the justness, propriety, and good sense of Cæsar. It is easy to observe in him a mind as capable of being entertained with contemplation as enterprise; a mind ready for great exploits, but not impatient for occasions to exert itself. The prince has wisdom and valour in as high perfection as man can enjoy it; which noble faculties, in conjunction, banish all vain-glory, ostentation, ambition, and all other vices which might intrude upon his mind, to make it unequal. These habits and qualities of soul and body render his personage so extraordinary, that he appears to have nothing in him but what every man should have in him, the exertion of his very self, abstracted from the circumstances in which fortune has placed him. Thus, were you to see prince Eugene, and were told he was a private gentleman, you would say he is a man of modesty and merit. Should you be told that was prince Eugene, he would be diminished no otherwise, than that part of your distant admiration would turn into a familiar good-will. This I thought fit to entertain my reader with, concerning a hero who never was equalled but by one man:† over whom also he has this advantage, that he has had an | tised by Mr. Dryden, who, if he was not opportunity to manifest an esteem for him the best writer of tragedies in his time, was in his adversity. No. 341.] Tuesday, April 1, 1712. T. -Revocate animos, mæstumque timorem Dryden. HAVING, to oblige my correspondent Physibulus, printed his letter last Friday, in relation to the new epilogue, he cannot take it amiss if I now publish another, which I have just received from a gentleman who does not agree with him in his sentiments upon that matter. 'SIR,—I am amazed to find an epilogue attacked in your last Friday's paper, which has been so generally applauded by the town, and received such honours as were never before given to any in an English theatre. The audience would not permit Mrs. Oldfield to go off the stage the first night till she had repeated it twice; the second night the noise of ancora was as loud as before, and she was obliged again to speak it twice: the third night it was still called for a second time; and, in short, contrary to all other epilogues, which are dropped after the third representation of the play, this has already been repeated nine times. I must own, I am the more surprised to find this censure in opposition to the whole town, in a paper which has hitherto been famous for the candour of its criticisms. allowed by every one to have the happiest turn for a prologue, or an epilogue. The epilogues to Cleomenes, Don Sebastian, The duke of Guise, Aurengzebe, and Love Triumphant, are all precedents of this nature. 'I might further justify this practice by that excellent epilogue which was spoken, a few years since, after the tragedy of Phædra and Hippolytus;* with a great many others, in which the authors have endeavoured to make the audience merry. If they have not all succeeded so well as the writer of this, they have however shown that it was not for the want of good-will. I must further observe, that the gaiety at the end of a French play; since every of it may be still the more proper, as it is esteemed to have as polite a taste as any one knows that nation, who are generally in Europe, always close their tragic entertainment with what they call a petite mirth, and send away the audience well piece, which is purposely designed to raise pleased. The same person who has supported the chief character in the tragedy very often plays the principal part in the petite piece; so that I have myself seen, at Paris, Orestes and Lubin acted the same night by the same man. self in a former speculation, found fault with Tragi-comedy, indeed, you have yourvery justly, because it breaks the tide of the passions while they are yet flowing; but this is nothing at all to the present case, where they have already had their full course. I can by no means allow your melan-ably to the practice of our best poets, so it As the new epilogue is written conformcholy correspondent, that the new epilogue is not such a one, which, as the duke of is unnatural because it is gay. If I had a mind to be learned, I could tell him that Buckingham says in his Rehearsal, might the prologue and epilogue were real parts out of the occurrences of the piece it was serve for any other play; but wholly rises of the ancient tragedy; but every one composed for. knows, that, on the British stage, they are distinct performances by themselves, pieces entirely detached from the play, and no way essential to it. a The moment the play ends, Mrs. Oldfield is no more Andromache but Mrs. Oldfield; and though the poet had left Andromache stone-dead upon the stage, as your ingenious correspondent phrases it, Mrs. Oldfield might still have spoken a merry epilogue. We have an instance of this in a tragedy where there is not only death, but a martyrdom. St. Catherine was there personated by Nell Gwin; she lies stone-dead upon the stage, but upon those gentlemen's offering to remove her body, whose business it is to carry off the slain in our English tragedies, she breaks out into that abrupt beginning of what was a very ludicrous, but at the same time thought a very good epilogue: Hold! are you mad? you damn'd confounded dog, I am to rise and speak the epilogue.' "The only reason your mournful correspondent gives against this facetious epilogue, as he calls it, is, that he has a mind to go home melancholy. I wish the gentleFor my own part, I must confess, I think man may not be more grave than wise. it very sufficient to have the anguish of a fictitious piece remain upon me while it is representing; but I love to be sent home to bed in a good humour. If Physibulus is, not to have his tears dried up, he need only however, resolved to be inconsolable, and continue his old custom, and when he has had his half-crown's worth of sorrow, slink out before the epilogue begins. cal genius complaining of the great misIt is pleasant enough to hear this tragi chief Andromache had done him. What was that? Why she made him laugh. The poor gentleman's sufferings put me in mind of Harlequin's case, who was tickled to *Mr. Edmund Neal, alias Smith, 8vo. 1707. Addison wrote a prologue to this play to ridicule the Italian "This diverting manner was always prac-operas. The epilogue was written by Prior. |