similar to Irene: and the strongest censure, ever passed on this tragedy, was conveyed in Garrick's application of Johnson's own severe, but correct critique, on the wits of Charles, in whose works "Declamation roar'd, while passion slept d." "Addison speaks the language of poets," says Johnson, in his preface to Shakespeare, " and Shakespeare of men. We find in Cato innumerable beauties, which enamour us of its author, but we see nothing that acquaints us with human sentiments, or human actions; we place it with the fairest and the noblest progeny which judgment propagates by conjunction with learning; but Othello is the vigorous and vivacious offspring of observation, impregnated by genius. Cato affords a splendid exhibition of artificial and fictitious manners, and delivers just and noble sentiments, in diction easy, elevated and harmonious; but its hopes and fears communicate no vibration to the heart: the composition refers us only to the writer; we pronounce the name of Cato, but we think on Addison." The critic's remarks on the same tragedy, in his Life of Addison, are as applicable as the above to his own production. "Cato is rather a poem in dialogue than a drama; rather a succession of just sentiments in elegant language, than a representation of natural affections, or of any state probable or possible in human life. Nothing here 'excites or assuages emotion:' here is no magical power of raising phantastick terrour or wild anxiety.' The events are expected without solicitude, and are remembered without joy or sorrow. Of the agents we have no care; we consider not what they are doing, or what they are suffering; we wish only to know what they have to say." But, while we thus pronounce Johnson's failure in the production of dramatic effect, we will not withhold our tribute of admiration from Irene, as a moral piece. For, although a remark of Fox's on an unpublished tragedy of Burke's, that it was rather rhetorical than poetical, may be applied to the work under consideration; still it abounds, throughout, with the most elevated and dignified lessons of morality and virtue. The address of d Prologue at the opening of Drury lane theatre, 1747. Demetrius to the aged Cali, on the dangers of procrastination ©; Aspasia's reprobation of Irene's meditated apostasy; and the allusive panegyric on the British constitution, may be enumerated, as examples of its excellence in sentiment and diction. Lastly, we may consider Irene, as one other illustrious proof, that the most strict adherence to the far-famed unities, the most harmonious versification, and the most correct philosophy, will not vie with a single and simple touch of nature, expressed in simple and artless language. "But how rich in reputation must that author be, who can spare an Irene, and not feel the loss h." e Act iii. scene ii. "To-morrow's action!" &c. Act iii. scene viii. "Reflect, that life and death," &c. 8 Act i. scene ii. "If there be any land, as fame reports," &c. ↳ Dr. Young's remark on Addison's Cato. See his Conjectures on Original Composition. Works, vol. v. PROLOGUE. YE glitt'ring train, whom lace and velvet bless, From grov'ling bus'ness and superfluous care, If truths, like these, with pleasing language join; IRENE; A TRAGEDY. ACT I.-SCENE I. DEMETRIUS and LEONTIUS, in Turkish habits. LEONTIUS. AND, is it thus Demetrius meets his friend, DEMETRIUS. Till breathless fury rested from destruction, LEONTIUS. Yet Greece enjoys no gleam of transient hope, Urg'd by th' imperious soldiers' fierce command, DEMETRIUS. That wealth, too sacred for their country's use! |