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649 u chapter xxii u Epic and Dramatic Composition Tragedy differs not from the epic in substance: in both the same ends are pursued, namely, instruction and amusement; and in both the same mean is employed, namely, imitation of human actions. They differ only in the manner of imitating: epic poetry employs narration; tragedy represents its facts as passing in our sight: in the former, the poet introduces himself as an historian; in the latter, he presents his actors, and never himself.* This difference, regarding form only, may be thought slight: but the effects it occasions, are by no means so; for what we see makes a deeper impression than what we learn from others. A narrative poem is a story told by another: facts and incidents passing upon the stage,comeunderourown * The dialogue in a dramatic composition distinguishes it so clearly from other compositions , that no writer has thought it necessary to search for any other distinguishing mark. But much useless labour has been bestowed, to distinguish an epic poem by some peculiar mark. Bossu defines it to be, “A composition in verse, intended to form the manners by instructions disguised under the allegories of an important action”; which excludes every epic poem founded upon real facts, and perhaps includes several of Aesop’s fables. Voltaire reckons verse so essential, as for that single reason to exclude the adventures of Telemachus. See his Essay upon Epic Poetry. Others, affected with substance more than with form, hesitate not to pronounce that poem to be epic. It is not a little diverting to see so many profound critics hunting for what is not: they take for granted, without the least foundation, that there must be some precise criterion to distinguish epic poetry from every other species of writing. Literary compositions run into each other, precisely like colours: in their strong tints they are easily distinguished; but are susceptible of so much variety and of so many different forms, that we never can say where one species ends and another begins. As to the general taste, there is little reason to doubt, that a work where heroic actions are related in an elevated style, will, without further requisite, be deemed an epic poem. 650 chapter xxii observation; and are beside much enlivened by action and gesture, expressive of many sentiments beyond the reach of words. A dramatic composition has another property, independent altogether of action; which is, that it makes a deeper impression than narration: in the former, persons express their own sentiments; in the latter, sentiments are related at second hand. For that reason, Aristotle, the father of critics, lays it down as a rule, That in an epic poem the author ought to take every opportunity of introducing his actors, and of confining the nar- rative part within the narrowest bounds.* Homer understood perfectly the advantage of this method; and his two poems abound in dialogue. Lucan runs to the opposite extreme, even so far as to stuff his Pharsalia with cold and languid reflections; the merit of which he assumes to himself, and deigns not to share with his actors. Nothing can be more injudiciously timed, than a chain of such reflections, which suspend the battle of Pharsalia after the leaders had made their speeches, and the two armies are ready to engage.† Aristotle, regarding the fable only, divides tragedy into simple and complex : but it is of greater moment, with respect to dramatic as well as epic poetry, to found a distinction uponthedifferentendsattainedbysuchcompositions . A poem, whether dramatic or epic, that has nothing in view but to move the passions and to exhibit pictures of virtue and vice, may be distinguished by the name of pathetic: but where a story is purposely contrived to illustrate some moral truth, by showing that disorderly passions naturally lead to external misfortunes; such composition may be denominated moral.‡ Beside making a deeper impression than can be done by cool reasoning, a moral poem does not fall short of reasoning in affording conviction: the natural connection of vice with misery, and of virtue * Poet. chap. 25. sect. 6. † Lib. 7. from line 385. to line 460. ‡ The same distinction is applicable to that sort of fable which is said to be the invention of Aesop. A moral, it is true, is by all critics considered as essential to such a fable. But nothing is more common than to be led blindly by authority; for of the numerous collections I have seen, the fables that...

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