tions, as will interest the audience in their fortunes.
And if, after all, in a larger sense, pity comprehends this concernment for the good, and terror includes detestation for the bad, then let us confider whether the English have not answered this end of tragedy, as well as the ancients, or perhaps better.
And here Mr. Rymer's objections against these plays are to be impartially weighed, that we may see whether they are of weight enough to turn the balance against our countrymen.
'Tis evident those plays, which he arraigns, have moved both those passions in a high degree upon the stage.
To give the glory of this away from the poet, and to place it upon the actors, seems unjust.
One reason is, because whatever actors they have found, the event has been the same; that is, the same passions have been always moved; which shews that there is something of force and merit in the plays themselves, conducing to the design of raising these two passions: and
