that both sorts of poetry are of use for their proper ends. The
stage is more active, the epic 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
cheers us, dispels fogs, and warms the ground with his daily beams;
but the corn is sowed, increases, is ripened, and is reaped for use
in process of time and in its proper season.

I proceed from the greatness of the action to the dignity of the
actors--I mean, to the persons employed 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, it is true, may lend to his sovereign; but the act
of borrowing makes the king inferior, because he wants and the
subject supplies. And suppose the persons of the drama wholly
fabulous, or of the poet's invention, yet heroic 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 heroic poetry but that it is represented to
the view as well as read, and instructs in the closet as well as on
the theatre. This is an uncontended excellence, and a chief branch
of its prerogative; yet I may be allowed to say without partiality
that herein the actors share the poet's praise. Your lordship knows
some modern tragedies which are beautiful on the stage, and yet I am
confident you would not read them. Tryphon the stationer complains
they are seldom asked for in his shop. The poet who flourished in
the scene is damned in the ruelle; nay, more, he is not esteemed a
good poet by those who see and hear his extravagances with delight.