Poetry. 225 



Another peculiarity of modern dramatic pro- 

 ductions, especially of the Tragic kind, is, that 

 they abound more in love than the ancient models. 

 In the ancient tragedies this subject was rarely 

 mentioned or alluded to; still more seldom did 

 any of them turn upon it. On the contrary, love 

 is the <c main hinge of modern tragedy;" and 

 where this is not the case, the introduction of the 

 subject is considered as in a measure indispensable. 

 This fact may be accounted for in several ways. 

 But, perhaps, the most probable reasons to be as- 

 signed for it are the two following. The progress 

 or civilization, by increasing the importance of 

 the female sex, has rendered every thing which 

 concerns them, and particularly the passion of love y 

 with its consequences, a more prominent object in 

 society. The appearance of female performers on 

 the stage, which is a modern improvement in the 

 system of theatrical exhibition, probably also con- 

 tributed to produce the same effect. But whatever 

 may have been the cause, the fact is undeniably 

 true. The unseasonable introduction of love-scenes 

 into the Cato of Addison, is well known to di- 

 minish the consistency and dignity of that cele- 

 brated tragedy. The same may be said of many 

 other popular pieces. Still it must be acknow- 

 ledged, that some modern dramas of great excel- 

 lence and popularity have been formed without 

 recurring to the aid of this powerful passion. Of 

 this Home's Douglas, and Voltaire's Merope, 

 are illustrious examples. But such instances are 

 certainly rare. 



In recounting the remarkable poetical publica- 

 tions of the age, it would be improper to pass 

 without notice two singular events, which have 

 proved the sources of long-continued and violent 



VOL. II. *g 



