DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.48955#0188
1S2 THE THREE UNITIES. Ch. XXIII.
adjusted to his subjeffi; for every thing in the Or-
lando Furiojo is wild and extravagant.
Though to Rate facts in order of time is natu-
ral, yet that order may be varied for the sake of
conspicuous beauties ’. If, for example , a noted
Rory, cold and simple in its sirst movements, be
made the subjed of an epic poem, the reader may
be hurried into the heart of adlion; reserving the
preliminaries for a conversation-piece, if thought
necessary ; and that method, at the same time,
hath a peculiar beauty from being dramatic \
But a privilege that deviates from nature ought to
be sparingly indulged; and yet romance - writers
make no dissiculty of presenting to the reader3
without the leas! preparation , unknown persons
engaged in some arduous adventure equally un-
known. In Cajjandra, two personages , who aster-
ward are discovered to be the heroes of the sable,
Rart up completely aimed upon the banks os the
Euphrates, and engage in a smgle combat
A play analyzed, is a chain of connected fads ,
3 See chap. I. 4 See chap. Bi.
5 I am sensible that a commencement os this sort is much
reliflied by readers dispoled to the marvellous. Their cu-
riosity is railed , and they are much tickled in its gratisica-
tion. But curiolity is at an end with the first reading, be-
cause Rie personages are no longer unknown ; and theresore
at the second reading, a commencement io artificial loses its
power even over the vulgar. A writer of genius prefers la-
sling beauties.
f
I ■ •
adjusted to his subjeffi; for every thing in the Or-
lando Furiojo is wild and extravagant.
Though to Rate facts in order of time is natu-
ral, yet that order may be varied for the sake of
conspicuous beauties ’. If, for example , a noted
Rory, cold and simple in its sirst movements, be
made the subjed of an epic poem, the reader may
be hurried into the heart of adlion; reserving the
preliminaries for a conversation-piece, if thought
necessary ; and that method, at the same time,
hath a peculiar beauty from being dramatic \
But a privilege that deviates from nature ought to
be sparingly indulged; and yet romance - writers
make no dissiculty of presenting to the reader3
without the leas! preparation , unknown persons
engaged in some arduous adventure equally un-
known. In Cajjandra, two personages , who aster-
ward are discovered to be the heroes of the sable,
Rart up completely aimed upon the banks os the
Euphrates, and engage in a smgle combat
A play analyzed, is a chain of connected fads ,
3 See chap. I. 4 See chap. Bi.
5 I am sensible that a commencement os this sort is much
reliflied by readers dispoled to the marvellous. Their cu-
riosity is railed , and they are much tickled in its gratisica-
tion. But curiolity is at an end with the first reading, be-
cause Rie personages are no longer unknown ; and theresore
at the second reading, a commencement io artificial loses its
power even over the vulgar. A writer of genius prefers la-
sling beauties.
f
I ■ •