This Tragedian like _Æschylus_ does not often concern himself with _Amours_, and when he does, nothing can be more temperate, and decent. For example where the Incest of _Oedipus_ is described,[52] the Offensiveness of the Idea is screen'd off and broken by Metaphorical and distant Expressions. In another _Play_[53] _Creon_ resolves to put _Antigone_ to Death for presuming to bury _Polynices_. This Lady and _Hæmon_ _Creons_ Son were very far engaged; _Hæmon_ endeavours to disswade his Father from _Antigones_ Execution: He tells him the burying her Brother tho' against his Order, was a popular Action. And that the People would resent her being punish'd: But never so much as mentions his own Concern unless in one Line; which was so obscure that _Creon_ misunderstood him. _Antigone_ amongst her other Misfortunes laments her dying Young and Single, but says not one word about _Hæmon_. The _Poet_ takes care not to bring these two Lovers upon the _Stage_ together, for fear they might prove unmanagable? Had They been with us, they had met with kinder treatment. They might have had Interviews and Time and Freedom enough. Enough to mud their Fancy, to tarnish their Quality, and make their Passion Scandalous. In the Relation of _Hæmons_ Death, his Love is related too, and that with all the Life and _Pathos_ imaginable. But the Description is within the Terms of Honour: The tendernesses are Solemn, as well as Soft: They move to [54]Pity and Concern, and go no farther. In his _Trachiniæ_ the _Chorus_ owns the Force of Love next to irresistable; gently hints the Intrigues of the Gods, and then passes on to a handsome [55]Image of the Combat between _Achelous_ and _Hercules_. We see how lightly the _Poet_ touches upon an amorous Theme: He glides along like a Swallow upon the Water, and skims the Surface, without dipping a Feather.
_Sophocles_ will afford us no more, let us therefore take a view of _Euripides_. 'Tis the Method of this Author to decline the Singularities of the _Stage_, and to appear with an Air of Conversation. He delivers great Thoughts in Common Language, and is dress'd more like a Gentleman than a _Player_. His Distinction lies in the perspicuity of his Stile; In Maxim, and Moral Reflection; In his peculiar Happiness for touching the Passions, especially that of Pity; And lastly, in exhausting the Cause, and arguing _pro_ and _Con_, upon the streach of Reason. So much by way of Character. And as for the Matter before us He is entirely Ours. We have had an Instance or two already in _Electra_ and _Phædra_: To go on to the rest. In his _Hippolitus_ He calls _Whoring_, stupidness and playing the Fool. And to be Chast and regular, is with him, as well as with _Æschylus_, [Greek: Sôphronein]. As much as to say 'tis the Consequence of Sence, and right Thinking. _Phædra_ when her Thoughts were embarrass'd with _Hippolitus_, endeavours to disentangle her self by Argument.[56] She declaims with a great deal of Satyr against intemperate Women; she concluded rather to die then dishonour her Husband and Stain her Family. The Blemishes of Parents, as she goes on, often stuck upon their Children, and made them appear with Disadvantage. Upon this, the _Chorus_ is transported with the Virtue of her Resolution and crys out