[From A Short View of Tragedy (1692).]
Rymer (?1643-1713) was at Cambridge as late as 1662, though there is no record of his having taken a degree. He first appeared as a critic in the long preface to his translation of Rapin's Reflections on Aristotle's Treatise of Poesie (1674). There he comments that while in the earlier part of the century criticism flourished in France, in England 'many great Wits flourished, but Ben Johnson, I think, had all the Critical learning to himself; and till of late years England was as free from criticks, as it is from Wolves, that a harmless well-meaning Book might pass without any danger' (sig. A3v). In 1677 he published his own heroic tragedy, Edgar, and his commentary on The Tragedies of the Last Age. A Short View of Tragedy followed in 1692; in the same year, on the death of Shadwell, Rymer became historiographer royal, and began his monumental collection of records of treaties entered into by the English crown, Foedera , which occupied him up to his death.
At the beginning of The Tragedies of the Last Age Rymer had announced that he would examine 'the choicest and most applauded English Tragedies of this last age', listing Rollo, A King and No King, The Maid's Tragedy (all by Fletcher or Beaumont and Fletcher), Othello, Julius Caesar, and Catiline (pp. 1-2). Having dealt with the first three, he finds he has made up a volume, but promises comments on the rest, with some reflections on Paradise Lost (pp. 141, 143). Meanwhile he closes by anticipating what he wishes to say on behalf of Catiline:
... that though the contrivance and oeconomy is faulty enough, yet we there find (besides what is borrow'd from others) more of Poetry and good thought, more of Nature and of Tragedy, then peradventure can be scrap't together from all those other Plays.
Nor can I be displeas'd with honest Ben, when he rather chooses to borrow a Melon of his Neighbour, than to treat us with a Pumpion of his own growth. (p. 143)
In A Short View of Tragedy Rymer keeps his promise to give a critical account of Othello - this occupies about a third of the volume - but his comments on Catiline are briefer, and less admiring, than the remarks in The Tragedies of the Last Age would lead one to expect. Jonson, in Rymer's modified view, shares the absurdities of the drama of his age rather than serves as an exception to them. He is grouped with Shakespeare in following less fortunate models than Gorboduc, and with Shakespeare and Fletcher in offering 'bloody spectacles' in tragedy (pp. 84-5). The Alchemist may 'give some shadow' of The Clouds, but nowhere in English drama is there as much of Aristophanes' spirit as in Rabelais (p. 24). Remarking on the idle raptures men of business are made to spout in Shakespeare, Rymer adds: 'It was then a strange imagination in Ben. Johnson, to go stuff out a Play with Tully's Orations' (p. 6). His extended treatment of Catiline begins with a contrast with Shakespeare to Jonson's advantage, but quickly turns to the absurdities Rymer perceives in the play.
*****************************************To gain attention Aristotle told us, it was necessary that an Orator be a good Man; therefore he that writes Tragedy should be careful that the persons of his Drama, be of consideration and importance, that the Audience may readily lend an Ear, and give attention to what they say, and act. Who would thrust into a crowd to hear what Mr. Iago, Roderigo, or Cassio, is like to say? From a Venetian Senate, or a Roman Senate one might expect great matters: But their Poet was out of sorts; he had it not for them; the Senators must be no wiser than other folk.
Ben. Johnson, knew to distinguish men and manners, at an other rate. In Catiline we find our selves in Europe, we are no longer in the Land of Savages, amongst Blackamoors, Barbarians, and Monsters.
The Scene is Rome and first on the Stage appears Sylla's Ghost. Dost thou not feel me, Rome? Not yet? [I. 1 ]
One would, in reason, imagine the Ghost is in some publick open place, upon some Eminence, where Rome is all within his view: But it is a surprizing thing to find that this ratling Rodomontado speech is in a dark, close, private sleeping hole of Catiline's.
Yet the Chorus, is of all wonders the strangest. The Chorus is always present on the Stage, privy to, and interessed in all that passes, and thereupon make their Reflections to Conclude the several Acts.
Sylla's Ghost, tho never so big, might slide in at the Key-hole; but how comes the Chorus into Catilins Cabinet?
Aurelia is soon after with him too, but the Poet had perhaps provided her some Truckle-bed in a dark Closet by him.
In short, it is strange that Ben. who understood the turn of Comedy so well; and had found the success, should thus grope in the dark, and jumble things together without head or tail, without any rule or proportion. without any reason or design. Might not the Acts of the Apostles, or a Life in Plutarch, be as well Acted, and as properly called a Tragedy, as any History of a Conspiracy?
Corneille tells us, in the Examen of his Melite, that when first he began to write, he thought there had been no Rules: So had no guide but a little Common sence, with the Example of Mr. Hardy, and some other, not more regular than he. This Common sence (says he) which was all my rule, brought me to find out the unity of Action to imbroyl four Lovers by one and the same intreague. Ben. Johnson, besides his Common sence to tell him that the Unity of Action was necessary; had stumbl'd (I know not how) on a Chorus; which is not to be drawn through a Key-hole, to be lugg'd about, or juggl'd with an hocus pocus hither and thither; nor stow'd in a garret, nor put into quarters with the Breentford Army [of The Rehearsal], so must of necessity keep the Poet to unity of place; And also to some Conscionable time, for the representation: Because the Chorus is not to be trusted out of sight, is not to eat or drink till they have given up their Verdict, and the Plaudite is over.
One would not talk of rules, or what is regular with Shakespear, or any followers, in the Gang of the Strouling Fraternity; but it is lamentable that Ben. Johnson, his Stone and his Tymber, however otherwise of value, must lye a miserable heap of ruins, for want of Architecture, or some Son of Vitruvius, to joyn them together. He had read Horace, had Translated that to the Pisones:
Nec verbum verbo curabis reddere, fidus interpres.
Ben. --
Being a Poet, thou may'st feign, create,And this other precept.
Nec circa vilem, patulumque morabe[r]is Orbem.
Ben. --
The vile, broad-trodden ring forsake.What is there material in this Catiline, either in the Manners, in the. Thoughts, or in the Expression, (three parts of Tragedy) which is not word for word translation? In the Fable, or Plot (which is the first, and principal part) what see we, but the vile broad trodden ring? Vile, Horace calls it, as a thing below, and too mean for any man of wit to busie his head withal. Patulum, he calls it, because it is obvious, and easie for any body to do as much as that comes to. 'Tis but to plodd along, step by step in the same tract: 'Tis drudgery only for the blind Horse in a Mill. No Creature sound of Wind and Limb, but would chuse a nobler Field, and a more generous Career.
Homer, we find, slips sometime into a Tract of Scripture, but his Pegasus is not stabl'd there, presently up he springs, mounts aloft, is on the wing, no earthly bounds, or barriers to confine him.
For Ben, to sin thus against the clearest light and conviction, argues a strange stupidity: It was bad enough in him, against his Judgment and Conscience, to interlard so much fiddle-faddle, Comedy, and Apocryphal matters in the History: Because, forsooth, - his nam plebecula gaudet.
Where the Poet has chosen a subject of importance sufficient and proper for Tragedy, there is no room for this petty interlude and diversion. Had some Princes come express from Salankemen (remote as it is) to give an account of the battel, whilst the story was hot and new, and made a relation accurate, and distinctly, with all the pomp, and advantage of the Theatre, wou'd the Audience have suffer'd a Tumbler or Baboon, a Bear, or Rope dancer to have withdrawn their attention; or to have interrupted the Narrative; tho' it had held as long as a Dramatick Representation. Nor at that time wou'd they thank a body for his quibbles, or wit out of season: This mans Feather, or that Captains Embroidered Coat might not be touched upon but in a very short Parenthesis.
(158-64)
Pierre Corneille, Writings on the Theatre, ed. H.T. Barnwell (Oxford 1965), p. 80. Alexandre Hardy (?1569-1632) wrote numerous tragedies and tragi-comedies.
'Do not seek to render word for word as a slavish translator': Horace, Ars Poetica, ll. 133-4.
'Do not linger along the easy and open pathway': Ars Poetica, 1. 132.
`Tis in such things the rabble delights': Horace, Epistolae, 2. 1. 186.