A. Because the whole course of the action, and train of events, are made to turn upon his mannor of acting.

Q. What is the plan of such a work generally called?

A. It is commonly called the plot, which denotes the arrangement of all the various parts.

Q. And in what manner is the plot carried on?

A. Partly by the descriptions and details which the poet himself makes, and partly by the introduction of actors who have all their different parts to perform.

Q. What is this selecting and arranging of the different parts called?

A. It is usually styled the machinery, which denotes the means adopted by the poet for carrying his plot to a conclusion.

*

Q. Does he begin and give a regular account of the whole transaction from the commencement?

A. No; he generally begins in the middle, but at some important part, of the narration;

and, after describing the state of things as then existing, he introduces different actors to explain what led to such events.

Q. What name is given to those parts which the different actors describe?

A. They are called episodes, which mean separate incidents or stories, having an intimate connexion with the main action.

Q. How should an epic poem be arranged?

A. With such regularity, as that all the parts may have a close dependence upon each. other.

Q. What ought the sentiments and language to be?

A. Lofty and dignified, always moving with majesty, and never stooping to what is mean or trivial.

Q. What must be the character of the style? A. It may admit of every variety, in point of ornament, of which composition is susceptible; but its leading feature should be sublimity. Q. Have there been many great epic poems produced?

A. Very few, compared with the number of

excellent productions in almost every other

kind of poetry.

Q. Can you mention the principal?

A. The Iliad and Odyssey of Homer, the Eneid of Virgil, the Jerusalem Delivered of Tasso, and the Paradise Lost of Milton.

Q. Can you mention the subjects of each of these?

A. The subject of the Iliad is the destruction of Troy; of the Odyssey, the wanderings of Ulysses; of the Eneid, the settlement of Eneas in Italy; of the Jerusalem, its deliverance from Mussulman oppression; and of Paradise Lost, the fall of man from his primitive state of innocence.

CHAPTER XLVII.

Of Dramatic Poetry.

Q. What do you understand by Dramatic Poetry?

A. Poetry founded upon a regular plot or story, and fitted to be represented by action on the stage.

Q. In what does it differ from epic poetry?

A. In its containing no narrative on the part of the poet, being all spoken or done by the different characters whom he introduces.

Q. What is the greatest excellence of dramatic poetry?

A. Its being in accordance with nature, and making a nearer approach to the character of real life.

Q. What then are the chief objects of dramatic poetry?

A. Men and manners, with all the various passions, virtues and vices, incident to human

nature.

Q. How many sorts of dramatic poetry are there?

A. Chiefly two,-tragedy and comedy.

Q. What constitutes the difference between these?

A. Tragedy is founded principally upon the loftier passions, virtues, vices, successes, and distresses of mankind; comedy, on their whims, fancies, humours, vagaries, foibles and follies.

Q. What are the passions which they chiefly awaken?

A. Terror, pity and indignation, are the passions chiefly excited by tragedy; ridicule and contempt, those principally produced by comedy.

Q. What knowledge would the dramatic writer require particularly to possess?

A. An intimate acquaintence with life and character, as well as with all the different movements and operations of the human heart. Q. What must be the style of dramatic poetry?

A. Its style must depend altogether upon the nature of the subject, and the character of the different actors.

Q. Who may be regarded as the best dramatic writer?

A. He who best displays the workings of human passion, and preserves every character most distinct.

Q. Is tragedy a very common species of composition?

A. Very much so; it greatly prevailed among the Greeks and the Romans, and has found a place in the literature of every nation in Europe.