Page:Elfrida, a Dramatic Poem - Mason (1752).djvu/11

deviations from the practice of the antients may be reasonably defended. For we were long since agreed, that, where Love does not degenerate into episodical gallantry, but makes the foundation of the distress, it is, from the universality of its influence, a passion very proper for Tragedy. And I have seen you too much mov'd at the representation of some of our best Tragedies of private story, to believe you will condemn me for making the other deviation.

Am glad, you approve the method, I have taken, of softening the rigor of the old Drama. If I have, indeed, softened it sufficiently for the modern taste, without parting with any of the essentials of the Greek method, I have obtain'd my purpose: which was to obviate some of the popular objections made to the antient form of Tragedy. For the current opinion, you know, is, that by the strict adherence to the Unities, it restrains the genius of the poet; by the simplicity of its conduct, it diminishes the pathos of the fable; and, by the admission of a continued chorus, prevents that agreeable embarras, which awakens our attention, and interests our passions.

The universal veneration, which we pay to the name of Shakespear, at the same time that it has improv'd our relish for the higher beauties of Poetry, has undoubtedly been the ground-work of all this false criticism. That disregard, which, in compliance merely with the taste of the times, he shew'd of all the neces-sary