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Essence of Tragedy and Comedy—Earnestness and Sport—How far it is possible to become acquainted with the Ancients without knowing Original Languages—Winkelmann.

The importance of our subject is, I think, fully proved. Let us now enter upon a brief consideration of the two kinds into which all dramatic poetry is divided, the tragic and comic, and examine the meaning and import of each.

The three principal kinds of poetry in general are the epic, the lyric, and the dramatic. All the other subordinate species are either derived from these, or formed by combination from them. If we would consider these three leading kinds in their purity, we must go back to the forms in which they appeared among the Greeks. For the theory of poetical art is most conveniently illustrated by the history of Grecian poetry; for the latter is well entitled to the appellation of systematical, since it furnishes for every independent idea derived from experience the most distinct and precise manifestation.

It is singular that epic and lyric poetry admit not of any such precise division into two opposite species, as the dramatic does. The ludicrous epopee has, it is true, been styled a peculiar species, but it is only an accidental variety, a mere parody of the epos, and consists in applying its solemn staidness of development, which seems only suitable to great objects, to trifling and insignificant events. In lyric poetry there are only intervals and gradations between the song, the ode, and the elegy, but no proper contrast.

The spirit of epic poetry, as we recognise it in its father, Homer, is clear self-possession. The epos is the calm quiet representation of an action in progress. The poet relates joyful as well as mournful events, but he relates them with equanimity, and considers them as already past, and at a certain remoteness from our minds.

The lyric poem is the musical expression of mental emotions by language. The essence of musical feeling consists in this, that we endeavour with complacency to dwell on, and even to perpetuate in our souls, a joyful or painful emotion. The feeling must consequently be already so far mitigated as not to impel us by the desire of its pleasure or the dread of its pain, to tear ourselves from it, but such as to allow us, unconcerned at the fluctuations of feeling which time produces, to dwell upon and be absorbed in a single moment of existence.

The dramatic poet, as well as the epic, represents external events, but he represents them as real and present. In common with the lyric poet he also claims our mental participation, but not in the same calm composedness; the feeling of joy and sorrow which the dramatist excites is more immediate and vehement. He calls forth all the emotions which the sight of similar deeds and fortunes of living men would elicit, and it is only by the total sum of the impression which he produces that he ultimately resolves these conflicting emotions into a harmonious tone of feeling. As he stands in such close proximity to real life, and endeavours to endue his own imaginary creations with vitality, the equanimity of the epic poet would in him be indifference; he must decidedly take part with one or other of the leading views of human life, and constrain his audience also to participate in the same feeling.

To employ simpler and more intelligible language: the tragic and comic bear the same relation to one another as earnest and sport. Every man, from his own experience, is acquainted with both these states of mind; but to determine their essence and their source would demand deep philosophical investigation. Both, indeed, bear the stamp of our common nature; but earnestness belongs more to its moral, and mirth to its animal part. The creatures destitute of reason are incapable either of earnest or of sport. Animals seem indeed at times to labour as if they were earnestly intent upon some aim, and as if they made the present moment subordinate to the future; at other times they seem to sport, that is, they give themselves up without object or purpose to the pleasure of existence: but they do not possess consciousness, which alone can entitle these two conditions to the names of earnest and sport. Man alone, of all the animals with which we are acquainted, is capable of looking back towards the past, and forward into futurity; and he has to purchase the enjoyment of this noble privilege at a dear rate. Earnestness, in the most extensive signification, is the direction of our mental powers to some aim. But as soon as we begin to call ourselves to account for our actions, reason compels us to fix this aim higher and higher, till we come at last to the highest end of our existence: and here that longing for the infinite which is inherent in our being, is baffled by the limits of our finite existence. All that we do, all that we effect, is vain and perishable; death stands everywhere in the back ground, and to it every well or ill- spent moment brings us nearer and closer; and even when a man has been so singularly fortunate as to reach the utmost term of life without any grievous calamity, the inevitable doom still awaits him to leave or to be left by all that is most dear to him on earth. There is no bond of love without a separation, no enjoyment without the grief of losing it. When, however, we contemplate the relations of our existence to the extreme limit of possibilities: when we reflect on its entire dependence on a chain of causes and effects, stretching beyond our ken: when we consider how weak and helpless, and doomed to struggle against the enormous powers of nature, and conflicting appetites, we are cast on the shores of an unknown world, as it were, shipwrecked at our very birth; how we are subject to all kinds of errors and deceptions, any one of which may be our ruin; that in our passions we cherish an enemy in our bosoms; how every moment demands from us, in the name of the most sacred duties, the sacrifice of our dearest inclinations, and how at one blow we may be robbed of all that we have acquired with much toil and difficulty; that with every accession to our stores, the risk of loss is proportionately increased, and we are only the more exposed to the malice of hostile fortune: when we think upon all this, every heart which is not dead to feeling must be overpowered by an inexpressible melancholy, for which there is no other counter-poise than the consciousness of a vocation transcending the limits of this earthly life. This is the tragic tone of mind; and when the thought of the possible issues out of the mind as a living reality, when this tone pervades and animates a visible representation of the most striking instances of violent revolutions in a man's fortunes, either prostrating his mental energies or calling forth the most heroic endurance—then the result is Tragic Poetry. We thus see how this kind of poetry has its foundation in our nature, while to a certain extent we have also answered the question, why we are fond of such mournful representations, and even find something consoling and elevating in them? This tone of mind we have described is inseparable from strong feeling; and although poetry cannot remove these internal dissonances, she must at least endeavour to effect an ideal reconciliation of them.

As earnestness, in the highest degree, is the essence of tragic representation; so is sport of the comic. The disposition to mirth is a forgetfulness of all gloomy considerations in the pleasant feeling of present happiness. We are then inclined to view every thing in a sportive light, and to allow nothing to disturb or ruffle our minds. The imperfections and the irregularities of men are no longer an object of dislike and compassion, but serve, by their strange inconsistencies, to entertain the understanding and to amuse the fancy. The comic poet must therefore carefully abstain from whatever is calculated to excite moral indignation at the conduct, or sympathy with the situations of his personages, because this would inevitably bring us back again into earnestness. He must paint their irregularities as springing out of the predominance of the animal part of their nature, and the incidents which befal them as merely ludicrous distresses, which will be attended with no fatal consequences. This is uniformly what takes place in what we call Comedy, in which, however, there is still a mixture of seriousness, as I shall show in the sequel. The oldest comedy of the Greeks was, however, entirely sportive, and in that respect formed the most complete contrast to their tragedy. Not only were the characters and situations of individuals worked up into a comic picture of real life, but the whole frame of society, the constitution, nature, and the gods, were all fantastically painted in the most ridiculous and laughable colours.

When we have formed in this manner a pure idea of the tragic and comic, as exhibited to us in Grecian examples, we shall then be enabled to analyze the various corruptions of both, which the moderns have invented, to discriminate their incongruous additions, and to separate their several ingredients.

In the history of poetry and the fine arts among the Greeks, their development was subject to an invariable law. Everything heterogeneous was first excluded, and then all homogeneous elements were combined, and each being perfected in itself, at last elevated into an independent and harmonious unity. Hence with them each species is confined within its natural boundaries, and the different styles distinctly marked. In beginning, therefore, with the history of the Grecian art and poetry, we are not merely observing the order of time, but also the order of ideas.

In the case of the majority of my hearers, I can hardly presume upon a direct acquaintance with the Greeks, derived from the study of their poetical works in the original language. Translations in prose, or even in verse, in which they are but dressed up again in the modern taste, can afford no true idea of the Grecian drama. True and faithful translations, which endeavour in expression and versification to rise to the height of the original, have as yet been attempted only in Germany. But although our language is extremely flexible, and in many respects resembling the Greek, it is after all a battle with unequal weapons; and stiffness and harshness not unfrequently take the place of the easy sweetness of the Greek. But we are even far from having yet done all that can perhaps be accomplished: I know of no translation of a Greek tragedian deserving of unqualified praise. But even supposing the translation as perfect as possible, and deviating very slightly from the original, the reader who is unacquainted with the other works of the Greeks, will be perpetually disturbed by the foreign nature of the subject, by national peculiarities and numerous allusions (which cannot be understood without some scholarship), and thus unable to comprehend particular parts, he will be prevented from forming a clear idea of the whole. So long as we have to struggle with difficulties it is impossible to have any true enjoyment of a work of art. To feel the ancients as we ought, we must have become in some degree one of themselves, and breathed as it were the Grecian air.

What is the best means of becoming imbued with the spirit of the Greeks, without a knowledge of their language? I answer without hesitation—the study of the antique; and if this is not always possible through the originals, yet, by means of casts, it is to a certain extent within the power of every man. These models of the human form require no interpretation; their elevated character is imperishable, and will always be recognized through all vicissitudes of time, and in every region under heaven, wherever there exists a noble race of men akin to the Grecian (as the European undoubtedly is), and wherever the unkindness of nature has not degraded the human features too much below the pure standard, and, by habituating them to their own deformity, rendered them insensible to genuine corporeal beauty. Respecting the inimitable perfection of the antique in its few remains of a first-rate character, there is but one voice throughout the whole of civilized Europe; and if ever their merit was called in question, it was in times when the modern arts of design had sunk to the lowest depths of mannerism. Not only all intelligent artists, but all men of any degree of taste, bow with enthusiastic adoration before the masterly productions of ancient sculpture.

The best guide to conduct us to this sanctuary of the beautiful, with deep and thoughtful contemplation, is the History of Art by our immortal Winkelmann. In the description of particular works it no doubt leaves much to be desired; nay, it even abounds in grave errors, but no man has so deeply penetrated into the innermost spirit of Grecian art. Winkelmann transformed himself completely into an ancient, and seemingly lived in his own century, unmoved by its spirit and influences.

The immediate subject of his work is the plastic arts, but it contains also many important hints concerning other branches of Grecian civilisation, and is very useful as a preparation for the understanding of their poetry, and especially their dramatic poetry. As the latter was designed for visible representation before spectators, whose eye must have been as difficult to please on the stage as elsewhere, we have no better means of feeling the whole dignity of their tragic exhibitions, and of giving it a sort of theatrical animation, than to keep these forms of gods and heroes ever present to our fancy. The assertion may appear somewhat strange at present, but I hope in the sequel to demonstrate its justice: it is only before the groups of Niobe or Laocoön that we first enter into the spirit of the tragedies of Sophocles.

We are yet in want of a work in which the entire poetic, artistic, scientific, and social culture of the Greeks should be painted as one grand and harmonious whole, as a true work of nature, prevaded by the most wondrous symmetry and proportion of the parts, and traced through its connected development in the same spirit which Winkelmann has executed in the part which he attempted. An attempt has indeed been made in a popular work, which is in everybody's hands, I mean the Travels of the Younger Anacharsis. This book is valuable for its learning, and may be very useful in diffusing a knowledge of antiquities; but, without censuring the error of the dress in which it is exhibited, it betrays more good-will to do justice to the Greeks, than ability to enter deeply into their spirit. In this respect the work is in many points superficial, and even disfigured with modern views. It is not the travels of a young Scythian, but of an old Parisian.

The superior excellence of the Greeks in the fine arts, as I have already said, is the most universally acknowledged. An enthusiasm for their literature is in a great measure confined to the English and Germans, among whom also the study of the Grecian language is the most zealously prosecuted. It is singular that the French critics of all others, they who so zealously acknowledge the remains of the theoretical writings of the ancients on literature, Aristotle, Horace, Quinctilian, &c., as infallible standards of taste, should yet distinguish themselves by the contemptuous and irreverent manner in which they speak of their poetical compositions, and especially of their dramatic literature. Look, for instance, into a book very much read—La Harpe's Cours de Littérature. It contains many acute remarks on the French Theatre; but whoever should think to learn the Greeks from it must be very ill advised: the author was as deficient in a solid knowledge of their literature as in a sense for appreciating it. Voltaire, also, often speaks most unwarrantably on this subject: he elevates or lowers them at the suggestions of his caprice, or according to the purpose of the moment to produce such or such an effect on the mind of the public. I remember too to have read a cursory critique of Metastasio's on the Greek tragedians, in which he treats them like so many school-boys. Racine is much more modest, and cannot be in any manner charged with this sort of presumption: even because he was the best acquainted of all of them with the Greeks. It is easy to see into the motives of these hostile critics. Their national and personal vanity has much to do with the matter; conceiting themselves that they have far surpassed the ancients, they venture to commit such observations to the public, knowing that the works of the ancient poets have come down to us in a dead language, accessible only to the learned, without the animating accompaniment of recitation, music, ideal and truly plastic impersonation, and scenic pomp; all which, in every respect worthy of the poetry, was on the Athenian stage combined in such wonderful harmony, that if only it could be represented to our eye and ear, it would at once strike dumb the whole herd of these noisy and interested critics. The ancient statues require no commentary; they speak for themselves, and everything like competition on the part of a modern artist would be regarded as ridiculous pretension. In respect of the theatre, they lay great stress on the infancy of the art; and because these poets lived two thousand years before us, they conclude that we must have made great progress since. In this way poor Aeschylus especially is got rid of. But in sober truth, if this was the infancy of dramatic art, it was the infancy of a Hercules, who strangled serpents in his cradle.

I have already expressed my opinion on that blind partiality for the ancients, which regards their excellence as a frigid faultlessness, and which exhibits them as models, in such a way as to put a stop to everything like improvement, and reduce us to abandon the exercise of art as altogether fruitless. I, for my part, am disposed to believe that poetry, as the fervid expression of our whole being, must assume new and peculiar forms in different ages. Nevertheless, I cherish an enthusiastic veneration for the Greeks, as a people endowed, by the peculiar favour of Nature, with the most perfect genius for art; in the consciousness of which, they gave to all the nations with which they were acquainted, compared with themselves, the appellation of barbarians—an appellation in the use of which they were in some degree justified. I would not wish to imitate certain travellers, who, on returning from a country which their readers cannot easily visit, give such exaggerated accounts of it, and relate so many marvels, as to hazard their own character for veracity. I shall rather endeavour to characterize them as they appear to me after sedulous and repeated study, without concealing their defects, and to bring a living picture of the Grecian stage before the eyes of my hearers.

We shall treat first of the Tragedy of the Greeks, then of their Old Comedy, and lastly of the New Comedy which arose out of it.

The same theatrical accompaniments were common to all the three kinds. We must, therefore, give a short preliminary view of the theatre, its architecture and decorations, that we may have a distinct idea of their representation.

The histrionic art of the ancients had also many peculiarities: the use of masks, for example, although these were quite different in tragedy and comedy; in the former, ideal, and in the latter, at least in the Old Comedy, somewhat caricatured.

In tragedy, we shall first consider what constituted its most distinctive peculiarity among the ancients: the ideality of the representation, the prevailing idea of destiny, and the chorus; and we shall lastly treat of their mythology, as the materials of tragic poetry. We shall then proceed to characterize, in the three tragedians of whom alone entire works still remain, the different styles—that is, the necessary epochs in the history of the tragic art.