In what sense, then, is the word correctness used { 340}by those who say, with the author of the Pursuits of Literature, that Pope was the most correct of English Poets, and that next to Pope came the late Mr. Gifford? What is the nature and value of that correctness, the praise of which is denied to Macbeth, to Lear, and to Othello, and given to Hoole’s translations and to all the Seatonian prize-poems? We can discover no eternal rule, no rule founded in reason and in the nature of things, which Shakspeare does not observe much more strictly than Pope. But if by correctness be meant the conforming to a narrow legislation which, while lenient to the _mala in se_, multiplies, without the shadow of a reason, the _mala prohibita_, if by correctness be meant a strict attention to certain ceremonious observances, which are no more essential to poetry than etiquette to good government, or than the washings of a Pharisee to devotion, then, assuredly, Pope may be a more correct poet than Shakspeare; and, if the code were a little altered, Colley Cibber might be a more correct poet than Pope. But it may well be doubted whether this kind of correctness be a merit, nay, whether it be not an absolute fault.
It would be amusing to make a digest of the irrational laws which bad critics have framed for the government of poets. First in celebrity and in absurdity stand the dramatic unities of place and time. No human being has ever been able to find any thing that could, even by courtesy, be called an argument for these unities, except that they have been deduced from the general practice of the Greeks. It requires no very profound examination to discover that the Greek dramas, often admirable as compositions, are, as exhibitions of human character and human life, far inferior to the English plays of the age of Elizabeth. { 341}Every scholar knows that the dramatic part of the Athenian tragedies was at first subordinate to the lyrical part. It would, therefore, have been little less than a miracle if the laws of the Athenian stage had been found to suit plays in which there was no chorus.
All the greatest masterpieces of the dramatic art have been composed in direct violation of the unities, and could never have been composed if the unities had not been violated. It is clear, for example, that such a character as that of Hamlet could never have been developed within the limits to which Alfieri confined himself. Yet such was the reverence of literary men during the last century for these unities that Johnson who, much to his honour, took the opposite side, was, as he says, “frightened at his own temerity,” and “afraid to stand against the authorities which might be produced against him.”