Clarissa Harlowe - Samuel Richardson (reading cloud ebooks txt) 📗

it might affect their audience in the most agreeable manner.

“Aristotle considers the tragedies that were written in either of those kinds; and observes, that those which ended unhappily had always pleased the people, and carried away the prize, in the public disputes of the state, from those that ended happily.

“Terror and commiseration leave a pleasing anguish in the mind, and fix the audience in such a serious composure of thought, as is much more lasting and delightful, than any little transient starts of joy and satisfaction.

“Accordingly, we find, that more of our English tragedies have succeeded, in which the favourites of the audience sink under their calamities, than those in which they recover themselves out of them.

“The best plays of this kind are The Orphan, Venice Preserved, Alexander the Great, Theodosius, All for Love, Oedipus, Oroonoko, Othello, etc.

“King Lear is an admirable tragedy of the same kind, as Shakespeare wrote it: but as it is reformed according to the chimerical notion of poetical justice, in my humble opinion it has lost half its beauty.

“At the same time I must allow, that there are very noble tragedies which have been framed upon the other plan, and have ended happily; as indeed most of the good tragedies which have been written since the starting of the above-mentioned criticism, have taken this turn: The Mourning Bride, Tamerlane,435 Ulysses, Phaedra and Hippolitus, with most of Mr. Dryden’s. I must also allow, that many of Shakespeare’s, and several of the celebrated tragedies of antiquity, are cast in the same form. I do not, therefore, dispute against this way of writing tragedies; but against the criticism that would establish this as the only method; and by that means would very much cramp the English tragedy, and perhaps give a wrong bent to the genius of our writers.”

This subject is further considered in a letter to the Spectator.436

“I find your opinion,” says the author of it, “concerning the late-invented term called poetical justice, is controverted by some eminent critics. I have drawn up some additional arguments to strengthen the opinion which you have there delivered; having endeavoured to go to the bottom of that matter.⁠ ⁠…

“The most perfect man has vices enough to draw down punishments upon his head, and to justify Providence in regard to any miseries that may befall him. For this reason I cannot but think that the instruction and moral are much finer, where a man who is virtuous in the main of his character falls into distress, and sinks under the blows of fortune, at the end of a tragedy, than when he is represented as happy and triumphant. Such an example corrects the insolence of human nature, softens the mind of the beholder with sentiments of pity and compassion, comforts him under his own private affliction, and teaches him not to judge of men’s virtues by their successes.437 I cannot think of one real hero in all antiquity so far raised above human infirmities, that he might not be very naturally represented in a tragedy as plunged in misfortunes and calamities. The poet may still find out some prevailing passion or indiscretion in his character, and show it in such a manner as will sufficiently acquit Providence of any injustice in his sufferings: for, as Horace observes, the best man is faulty, though not in so great a degree as those whom we generally call vicious men.438

“If such a strict poetical justice (proceeds the letter-writer), as some gentlemen insist upon, were to be observed in this art, there is no manner of reason why it should not be so little observed in Homer, that his Achilles is placed in the greatest point of glory and success, though his character is morally vicious, and only poetically good, if I may use the phrase of our modern critics. The Aeneid is filled with innocent unhappy persons. Nisus and Euryalus, Lausus and Pallas, come all to unfortunate ends. The poet takes notice in particular, that in the sacking of Troy, Ripheus fell, who was the most just character among the Trojans:

“⁠⸺⁠Cadit & Ripheus, justissimus unus
Qui fuit in Teucris, & servantissimus aequi.
Diis aliter visum est.⁠—

“The gods thought fit.⁠—So blameless Ripheus fell,
Who lov’d fair Justice, and observ’d it well.”

“And that Pantheus could neither be preserved by his transcendent piety, nor by the holy fillets of Apollo, whose priest he was:

“⁠—Nec te tua plurima, Pantheu,
Labentum pietas, nec Apollinis infula texit.

Aeneid II.

“Nor could thy piety thee, Pantheus, save,
Nor ev’n thy priesthood, from an early grave.”

“I might here mention the practice of ancient tragic poets, both Greek and Latin; but as this particular is touched upon in the paper above-mentioned, I shall pass it over in silence. I could produce passages out of Aristotle in favour of my opinion; and if in one place he says, that an absolutely virtuous man should not be represented as unhappy, this does not justify any one who should think fit to bring in an absolutely virtuous man upon the stage. Those who are acquainted with that author’s way of writing, know very well, that to take the whole extent of his subject into his divisions of it, he often makes use of such cases as are imaginary, and not reducible to practice.⁠ ⁠…

“I shall conclude,” says this gentleman, “with observing, that though the Spectator above-mentioned is so far against the rule of poetical justice, as to affirm, that good men may meet with an unhappy catastrophe in tragedy, it does not say, that ill men may go off unpunished. The reason for this distinction is very plain; namely, because the best of men (as is said above), have faults enough to justify Providence for any misfortunes and afflictions which may befall them; but there are many men so criminal, that they can have no claim or pretence to