mon to the Drama. After all, on the whole merits of the Cause, it must be acknowledg'd that the Epick Poem is more for the Manners, and Tragedy for the Passions. The Passions, as I have said, are violent: and acute Distempers require Medicines of a strong and speedy operation. Ill habits of the Mind are like Chronical Diseases, to be corrected by degrees, and Cur'd by Alteratives: wherein though Purges are sometimes necessary, yet Diet, good Air, and moderate Exercise, have the greatest part. The Matter being thus stated, it will appear that both sorts of Poetry are of use for their proper ends. The Stage is more active, the Epick Poem works at greater leisure, yet is active too, when need requires. For Dialogue is imitated by the Drama, from the more active parts of it. One puts off a Fit like the Quinquina, and relieves us only for a time; the other roots out the Distemper, and gives a healthful habit. The Sun enlightens and chears us, dispels Fogs, and warms the ground with his daily Beams; but the Corn is sow'd, increases, is ripen'd, and is reap'd for use in process of time, and in its proper Season. I proceed from the greatness of the Action, to the Dignity of the Actours, I mean to the Persons employ'd in both Poems. There likewise Tragedy will be seen to borrow from the Epopee; and that which borrows is always of less Dignity, because it has not of its own. A Subject, tis true, may lend to his Soveraign, but the act of borrowing makes the King inferiour, because he wants, and the Subject supplies. And suppose the Persons of the Drama wholly Fabulous, or of the Poet's Invention, yet Heroick Poetry gave him the Examples of that Invention, because it was first, and Homer the common Father of the Stage. I know not of any one advantage, which Tragedy can boast above Heroick Poetry, but that it is represented to the view, as well as read: and instructs in the Closet, as
