Chap. XX.] Poelrij. 61 



love is the " main hinge of modern tragedy;" and 

 where this is not the case, the introduction of the 

 subject is considered as in some measure indispen- 

 sable. This fact may be accounted for in several 

 ways ; but perhaps the most probable reasons to 

 be assigned for it are the two following. The 

 progress of civilisation, by increasing the impor- 

 tance of the female sex, has rendered every thing 

 which concerns them, and particularly the passion 

 of love, with its consequences, a more prominent 

 object in society. The appearance of female per- 

 formers on the stage, which is a modern improve- 

 ment in the system of theatrical exhibition, pro- 

 bably also contributed to produce the same eifect. 

 But, whatever may have been the cause, the fact 

 is undeniably true. The unseasonable introduc- 

 tion of love-scenes into the Cato of Addison is 

 well knovv'n to diminish the consistency and dig- 

 iiity of that celebrated tragedy. The same may 

 be said of many other popular pieces. Still it 

 must be acknowledged that some modern dramas 

 of great excellence and popularity have been 

 formed without recurring to the aid of this pow- 

 erful passion. Of this, Home's Douglas and Vol- 

 taire's Merope are illustrious examples. But such 

 instances are certainly rare. 



In recounting the remarkable poetical publi- 

 cations of the age, it would be improper to pass 

 without notice two singular events, \\hich have 

 proved the sources of long-continued and violent 

 controversies in the literary world, and concern- 



