not commonly stirring winds to make them more rough, so this people did light upon two ringleaders or captains.” Again, speaking of the Cornish insurgents, and of the causes that inflamed them, “But now these bubbles by much stirring began to meet, as they used to do on the top of water.” Again, speaking of Perkin, “And as it fareth with smoak, that never loseth itself till it be at the highest, he did now before his end raise his stile, intytling himself no more Richard Duke of York, but Richard the Fourth, King of England.” He descends sometimes so low as to play upon words; witness the following speech made for Perkin to the King of Scotland. “High and mighty King! your Grace may be pleased benignly to bow your ears to hear the tragedy of a young man that by right ought to hold in his hand the ball of a kingdom, but by fortune is made himself a ball, tossed from misery to misery, and from place to place.” The following is a strangely forced allusion. Talking of Margaret Duchess of Burgundy, who had patronized Lambert Simnel and Perkin Warbeck, he says, “It<258> is the strangest thing in the world, that the Lady Margaret should now, when other women give over child-bearing, bring forth two such monsters, being, at birth, not of nine or ten months, but of many years. And whereas other natural mothers bring furth children weak, and not able to help themselves, she bringeth furth tall striplings, able, soon after their coming into the world, to bid battle to mighty kings.” I should not have given so many instances of puerilities in composition, were they not the performance of a great philosopher. Low indeed must have been the taste of that age, when it infected its greatest genius.
The perfection of historical composition, which writers at last attain to after wandering through various imperfect modes, is a relation of interesting facts connected with their motives and consequences. A history of that kind is truly a chain of causes and effects. The history of Thucydides, and still more that of Tacitus, are shining instances of that mode. There was not a book written in France correct in its style before the year 1654, when the Lettres Provinciales appeared; nor a book in<259> a good historical style before the history of the conspiracy against Venice by the Abbé St. Real.24
A language in its original poverty, being deficient in strength and variety, has nothing at command for enforcing a thought but to redouble the expression. Instances are without number in the Old Testament. “And they say, How doth God know, and is there knowledge in the Most High?” Again, “Thus shalt thou say to the house of Jacob, and tell to the children of Israel.” Again, “I will be an enemy unto thine enemies, and an adversary unto thine adversaries.” Again, “To know wisdom and instruction, to perceive the words of understanding, to receive the instruction of wisdom.” “She layeth her hands to the spindle, and her hands hold the distaff.” “Put away from thee a froward mouth, and perverse lips put far from thee. Let thine eyes look right on, and let thine eye-lids look straight before thee.”
Eloquence was of a later date than the art of literary composition; for till the latter was improved, there were no models<260> for studying the former. Cicero’s oration for Roscius is composed in a style diffuse and highly ornamented; which, says Plutarch, was universally approved, because at that time the style of Asia, introduced into Rome with its luxury, was in high vogue. But Cicero, in a journey to Greece, where he leisurely studied Greek authors, was taught to prune off superfluities, and to purify his style, which he did to a high degree of refinement. He introduced into his native tongue a sweetness, a grace, a Majesty, that surprised the world, and even the Romans themselves. Cicero observes with great regret, that if ambition for power had not drawn Julius Caesar from the bar to command legions, he would have become the most complete orator in the world. So partial are men to the profession in which they excel. Eloquence triumphs in a popular assembly, makes some figure in a court of law composed of many judges; very little where there is but a single judge, and none at all in a despotic government. Eloquence flourished in the republics of Athens and of Rome; and makes some figure at present in a British House of Commons.<261>
In Athens eloquence could not but flourish. In an assembly of the people, consisting of 5000 and upward, where every individual was entitled to give his opinion, the certainty of employing the talent of eloquence, was a strong motive with every young man of ambition to study that art. In Britain, very few are certain of obtaining a seat in the house of Commons; and that man must have great perseverance who can bestow years in acquiring an art that he may never have occasion to exercise. The eldest sons of peers have indeed a nearer prospect of a seat in the upper house: but young men of quality are commonly too much addicted to pleasure; and many of them come not to be peers till the fire of youth is spent. I am sorry to add another reason. Eloquence can never make a capital figure, but where patriotism is the ruling passion; for what can it avail among men who are deaf to every motive but what contributes to the interest or ambition of their party? When Demosthenes commenced his career of eloquence, patriotism made a figure in Athens, though it was on the decline. Had that great orator appeared more early, his<262> authority in Athens would have been supreme.*25
The Greek stage has been justly admired among all polite nations. The tragedies of Sophocles and Euripides in particular are by all critics held to be perfect in their kind, excellent models for imitation, but far above rivalship. If the Greek stage was so early brought to maturity, it is a phenomenon not a little singular in the progress of arts. The Greek tragedy made a rapid progress from Thespes to Sophocles and Euripides, whose compositions are indeed the most complete that ever were exhibited in Greece: but whether they be really such masterpieces as is generally thought, will admit some doubt. The subject is curious: and the candid reader will give attention.<263>
No human voice could fill the Greek theatre, which was so spacious as to contain several thousands without crowding. A brass pipe was invented to strengthen the voice; but that invention destroyed the melody of pronunciation, by confining the voice to a harsh monotony. The pipe was not the only unpleasant circumstance: every actor wore a mask; for what end or purpose is not explained. It may be true, that the expressions of the countenance could not be distinctly seen by those who occupied the back rows; and a mask possibly was thought necessary in order to put all the citizens upon a level. But without prying into the cause, let us only figure an actor with a mask and a pipe. He may represent tolerably a simple incident or plain thought, such as are the materials of an Italian opera; but the voice, countenance, and gestures, are indispensable in expressing refined sentiments, and the more delicate tones of passion.
Where then lies the charm in ancient tragedies that captivated all ranks of men? Greek tragedies are more active than sentimental: they contain many judicious reflections on morals, manners, and upon<264> life in general; but no sentiments except what are plain and obvious. The subjects are of the simplest kind, such as give rise to the passions of hope, fear, love, hatred, envy, and revenge, in their most ordinary exertions: no intricate nor delicate situation to occasion any singular emotion; no gradual swelling and subsiding of passion; and seldom any conflict between different passions. I would not however be understood as meaning to depreciate Greek tragedies. They are indeed wonderful productions of genius, considering that the Greeks at that period were but beginning to emerge from roughness and barbarity into a taste for literature. The compositions of Eschylus, Sophocles, and Euripides, must have been highly relished among a people who had no idea of any thing more perfect: we judge by comparison, and every work is held to be perfect that has no rival. It ought at the same time to be kept in view, that it was not the dialogue which chiefly enchanted the Athenians, nor variety in the passions represented, nor perfection in the actors, but machinery and pompous decoration, accompanied with exquisite music. That<265> these particulars were carried to the greatest height, we may with certainty conclude from the extravagant sums bestowed on them: the exhibiting a single tragedy was more expensive to the Athenians than their fleet or their army in any single campaign.
One would imagine, however, that these compositions are too simple to enchant for ever; as without variety in action, sentiment, and passion, the stage will not continue long a favourite entertainment: and yet we find not a single improvement attempted after the days of Sophocles and Euripides. This may appear a matter of wonder at first view. But the wonder vanishes upon considering, that the manner of performance prevented absolutely any improvement. A fluctuation of passion and refined
