I know not whether he that professes to regard no other laws than those
of nature, will not be inclined to receive tragi-comedy to his
protection, whom, however generally condemned, her own laurels have
hitherto shaded from the fulminations of criticism. For what is there in
the mingled drama which impartial reason can condemn? The connexion of
important with trivial incidents, since it is not only common but
perpetual in the world, may surely be allowed upon the stage, which
pretends only to be the mirror of life. The impropriety of suppressing
passions before we have raised them to the intended agitation, and of
diverting the expectation from an event which we keep suspended only to
raise it, may be speciously urged. But will not experience shew this
objection to be rather subtle than just? Is it not certain that the
tragick and comick affections have been moved alternately with equal
force, and that no plays have oftener filled the eye with tears, and the
breast with palpitation, than those which are variegated with interludes
of mirth?
I do not however think it safe to judge of works of genius merely by the
event. The resistless vicissitudes of the heart, this alternate
prevalence of merriment and solemnity, may sometimes be more properly
ascribed to the vigour of the writer than the justness of the design:
and, instead of vindicating tragi-comedy by the success of Shakspeare,
we ought, perhaps, to pay new honours to that transcendent and unbounded
genius that could preside over the passions in sport; who, to actuate
the affections, needed not the slow gradation of common means, but could
fill the heart with instantaneous jollity or sorrow, and vary our
disposition as he changed his scenes.
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