PREFACE

TO

ALBION AND ALBANIUS.".

F

Ir wit has truly been defined a propriety of thoughts and words,' then that definition will extend to all sorts of poetry; and amongst the rest, to this present entertainment of an Opera. Propriety of thought is that fancy which arises

This Opera, which was performed at the Queen's Theatre in Dorset Gardens, (as that playhouse was called after the accession of King James II.) was first printed in folio, in 1685.

It appears from Mr. Bindley's copy of the Prologue, that the first night of its representation was the third of June, 1685. Unfortunately for its success, the Duke of Monmouth landed in the west on the eleventh of that month; which so occupied every one's attention, that the piece, after being represented six times, was discontinued, and probably the theatre was closed for the season. six representations not having produced to the theatre half the charge which it occasioned, it involved the company (as Downes the prompter informs us) in a considerable debt.

The

7 Our author has already given us this definition of wit, as he calls it, in the Preface to his STATE OF INNOCENCE;

naturally from the subject, or which the poet adapts to it. Propriety of words is the clothing of those thoughts with such expressions as are naturally proper to them; and from both these, if they are judiciously performed, the delight of poetry results. An Opera is a poetical tale or fiction, represented by vocal and instrumental

this

and Pope, in one of his letters to Mr. Cromwell, has adopted it. It is however certainly not only no definition, but not even a description of wit." It may be expected," says Addison, (SPECT. N° 62.) "since I am upon subject, that I should take notice of Mr. Dryden's definition of wit; which, with all the deference that is due to the judgment of so great a man, is not so properly a definition of wit, as of good writing in general. Wit, as he defines it, is a propriety of words and thoughts adapted to the subject. If this be a true definition of wit, I am apt to think that Euclid is the greatest wit that ever set pen to paper. It is certain, there never was a greater propriety of words and thoughts adapted to the subject, than what that author has made use of in his ELEMENts. I shall only appeal to any reader, if this definition agrees with notion he has of wit: if it be a true one, I am any sure Mr. Dryden was not only a better poet, but a greater wit, than Mr. Cowley, and Virgil a much more facetious man than either Ovid or Martial."

Perhaps the following definition of wit by Mr. Corbyn Morris, is the best that has hitherto been given of this subtle exercise of the fancy:" It is (says that writer) the lustre resulting from the quick elucidation of one subject, by a just and unexpected arrangement of it with another subject." ESSAY ON WIT, HUMOUR, RAILLERY, &c. 8vo. 1744.

musick, adorned with scenes, machines, and dancing. The supposed persons of this musical drama are generally supernatural, as gods, and goddesses, and heroes, which at least are descended from them, and are in due time to be adopted into their number. The subject, therefore, being extended beyond the limits of human nature, admits of that sort of marvellous and surprising conduct, which is rejected in other plays. Human impossibilities are to be received as they are in faith; because where gods are introduced, a Supreme Power is to be understood, and second causes are out of doors; yet propriety is to be observed even here. The gods are all to manage their peculiar provinces; and what was attributed by the heathens to one power ought not to be performed by any other. Phoebus must foretel, Mercury must charm with his caduceus, and Juno must reconcile the quarrels of the marriage-bed. To conclude, they must all act according to their distinct and peculiar characters.

If the persons represented were to speak upon the stage, it would follow of necessity that the expressions should be lofty, figurative, and majestical; but the nature of an Opera denies the frequent use of those poetical ornaments: for vocal musick, though it often admits a loftiness of sound, yet always exacts an harmonious sweetness; or to distinguish yet more justly, the recitative part of the Opera requires a more masculine beauty of expression and sound. The other, which

for want of a proper English word, I must call the songish part, must abound in the softness and variety of numbers, its principal intention being to please the hearing, rather than to gratify the understanding. It appears indeed preposterous at first sight, that rhyme, on any consideration, should take place of reason; but in order to resolve the problem, this fundamental proposition must be settled, that the first inventors of any art or science, provided they have brought it to perfection, are, in reason, to give laws to it; and, according to their model, all after-undertakers are to build. Thus, in epick poetry, no man ought to dispute the authority of Homer, who gave the first being to that masterpiece of art, and endued it with that form of perfection in all its parts, that nothing was wanting to its excellency. Virgil, therefore, and those very few who have succeeded him, endeavoured not to introduce or innovate any thing in a design already perfected, but imitated the plan of the inventor; and are only so far true heroick poets, as they have built on the foundations of Homer. Thus Pindar, the author of those odes, which are so admirably restored by Mr. Cowley in our language, ought for ever to be the standard of them; and we are bound, according to the practice of Horace and Mr. Cowley, to copy him.

Now, to apply this axiom to our present purpose. Whosoever undertakes the writing of an Opera, (which is a modern invention, though built