[ 44 ] 



which explains itfelf; but not by a label iffuing from the 

 mouth of the portrait. In fadt thofe prefatory fcenes are ap- 

 pendages perfedly diftindl from the play, of which they no more 

 conftitute a part than fuch a label is part of the figure to which 

 it is affixed. For that alone can properly be faid to belong to 

 the drama, which tends in fome degree to accelerate the cata- 

 ftrophe. This is the bond which muft unite the feveral members 

 into one uniform whole. And where this bond is wanting, any 

 other that can be fubflituted muft be equally ridiculous and vain. 

 The attempt to incorporate difcordant parts can only ferve to 

 raife our laughter or difguft. Some however of the antient 

 prologues told too much ; for the end of information is fufficiently 

 anfwered, when we know fo much as may qualify us for taking 

 part in the various incidents which the poet reprefents, and at 

 the fame time are ignorant of fo much as will keep alive our 

 dcfire of knowing more. There is a point between too much 

 and too little knowledge, from which a deviation on either fide 

 muft tend to reprefs curiofity or anticipate conjedure. 



But though I wifh that the antient prologue fhould take place 

 of thofe forced foliloquies and improbable dialogues which have 

 been the difgrace of the ftage ; and though I think that in the 

 management of it, no fmall degree of judgment may be fhewn ; 

 yet that drama which afpires to perfedion, muft afpire at the 

 fame time to independence — muft be fomething in itfelf abfolute, 

 and unindebted to the affiftance of an interpreter. For the know- 

 ledge which we collect ourfelves always yields more fatisfadtion 

 than that which we derive from others. To efied this, indeed, 

 an uncommon felicity in the fable muft concur in fome meafure 



with 



