a first impression, and a representative impression, of Greek tragedy. So
far, in relation to the ends proposed, and the means selected. Finally,
these persons will be curious to know the issue of such an experiment. Let
the purposes and the means have been bad or good, what was the actual
success? And not merely success, in the sense of the momentary acceptance
by half a dozen audiences, whom the mere decencies of justice must have
compelled to acknowledge the manager's trouble and expense on their
behalf; but what was the degree of satisfaction felt by students of the
Athenian [4] tragedy, in relation to their long-cherished ideal? Did the
representation succeed in realizing, for a moment, the awful pageant of
the Athenian stage? Did Tragedy, in Milton's immortal expression,

------come sweeping by
In sceptred pall?

Or was the whole, though successful in relation to the thing attempted, a
failure in relation to what ought to have been attempted? Such are the
questions to be answered.

* * * * *

The first elementary idea of a Greek tragedy, is to be sought in a serious
Italian opera. The Greek dialogue is represented by the recitative, and
the tumultuous lyrical parts assigned chiefly, though not exclusively, to
the chorus on the Greek stage, are represented by the impassioned airs,
duos, trios, choruses, &c. on the Italian. And there, at the very outset,
occurs a question which lies at the threshold of a Fine Art,--that is of
_any_ Fine Art: for had the views of Addison upon the Italian opera had
the least foundation in truth, there could have been no room or opening
for any mode of imitation except such as belongs to a _mechanic_ art.