Preface

The death of Antony and Cleopatra is a subject which has been treated by the greatest wits of our nation, after Shakespeare; and by all so variously, that their example has given me the confidence to try myself in this bow of Ulysses amongst the crowd of suitors, and, withal, to take my own measures, in aiming at the mark. I doubt not but the same motive has prevailed with all of us in this attempt; I mean the excellency of the moral: For the chief persons represented were famous patterns of unlawful love; and their end accordingly was unfortunate. All reasonable men have long since concluded, that the hero of the poem ought not to be a character of perfect virtue, for then he could not, without injustice, be made unhappy; nor yet altogether wicked, because he could not then be pitied. I have therefore steered the middle course; and have drawn the character of Antony as favourably as Plutarch, Appian, and Dion Cassius would give me leave; the like I have observed in Cleopatra. That which is wanting to work up the pity to a greater height, was not afforded me by the story; for the crimes of love, which they both committed, were not occasioned by any necessity, or fatal ignorance, but were wholly voluntary; since our passions are, or ought to be, within our power. The fabric of the play is regular enough, as to the inferior parts of it; and the unities of time, place, and action, more exactly observed, than perhaps the English theatre requires. Particularly, the action is so much one, that it is the only one of the kind without episode, or underplot; every scene in the tragedy conducing to the main design, and every act concluding with a turn of it. The greatest error in the contrivance seems to be in the person of Octavia; for, though I might use the privilege of a poet, to introduce her into Alexandria, yet I had not enough considered, that the compassion she moved to herself and children was destructive to that which I reserved for Antony and Cleopatra; whose mutual love being founded upon vice, must lessen the favour of the audience to them, when virtue and innocence were oppressed by it. And, though I justified Antony in some measure, by making Octavia’s departure to proceed wholly from herself; yet the force of the first machine still remained; and the dividing of pity, like the cutting of a river into many channels, abated the strength of the natural stream. But this is an objection which none of my critics have urged against me; and therefore I might have let it pass, if I could have resolved to have been partial to myself. The faults my enemies have found are rather cavils concerning little and not essential decencies; which a master of the ceremonies may decide betwixt us. The French poets, I confess, are strict observers of these punctilios: They would not, for example, have suffered Cleopatra and Octavia to have met; or, if they had met, there must have only passed betwixt them some cold civilities, but no eagerness of repartee, for fear of offending against the greatness of their characters, and the modesty of their sex. This objection I foresaw, and at the same time contemned; for I judged it both natural and probable, that Octavia, proud of her new-gained conquest, would search out Cleopatra to triumph over her; and that Cleopatra, thus attacked, was not of a spirit to shun the encounter: And it is not unlikely, that two exasperated rivals should use such satire as I have put into their mouths; for, after all, though the one were a Roman, and the other a queen, they were both women. It is true, some actions, though natural, are not fit to be represented; and broad obscenities in words ought in good manners to be avoided: expressions therefore are a modest clothing of our thoughts, as breeches and petticoats are of our bodies. If I have kept myself within the bounds of modesty, all beyond, it is but nicety and affectation; which is no more but modesty depraved into a vice. They betray themselves who are too quick of apprehension in such cases, and leave all reasonable men to imagine worse of them, than of the poet.

Honest Montaigne goes yet further: Nous ne sommes que ceremonie; la ceremonie nous emporte, et laissons la substance des choses. Nous nous tenons aux branches, et abandonnons le tronc et le corps. Nous avons appris aux dames de rougir, oyans seulement nommer ce qu’elles ne craignent aucunement a faire: Nous n’osons appeller a droit nos membres, et ne craignons pas de les employer a toute sorte de debauche. La ceremonie nous defend d’exprimer par paroles les choses licites et naturelles, et nous l’en croyons; la raison nous defend de n’en faire point d’illicites et mauvaises, et personne ne l’en croit. My comfort is, that by this opinion my enemies are but sucking critics, who would fain be nibbling ere their teeth are come.

Yet, in this nicety of manners does the excellency of French poetry consist. Their heroes are the most civil people breathing; but their good breeding seldom extends to a word of sense; all their wit is in their ceremony; they want the genius which animates our stage; and therefore it is but necessary, when they cannot please, that they should take care not to offend. But as the civilest man in the company is commonly the dullest, so these authors, while they are afraid to make you laugh or cry, out of pure good manners