what he has pilfered from them! The man makes me quite sick! A few pages of the good archdeacon are enough in conscience to satisfy any one."
There was at the table a person of learning and taste, who supported what the marchioness had advanced. They next began to talk of tragedies. The lady desired to know how it came about that there were several tragedies, which still continued to be played, though they would not bear reading? The man of taste explained very clearly how a piece may be in some manner interesting without having a grain of merit. He showed, in a few words, that it is not sufficient to throw together a few incidents that are to be met with in every romance, and that to dazzle the spectator the thoughts should be new, without being far-fetched; frequently sublime, but always natural; the author should have a thorough knowledge of the human heart and make it speak properly; he should be a complete poet, without showing an affectation of it in any of the characters of his piece; he should be a perfect master of his language, speak it with all its purity, and with the utmost harmony, and yet so as not to make the sense a slave to the rhyme. "Whoever," added he, "neglects any one of these rules, though he may write two or three tragedies with tolerable success, will never be reckoned in the number of good authors. There are very few good tragedies; some are idyls, in very well-written and harmonious dialogue; and others a chain of political reasonings that set one
