must have three parts, namely: a suitable commencement, or exordium; a full recital of the facts and adjuncts, and an appropriate conclu

sion.

4.

Truth and probability of the subject denote, that the substance of the story must be true; and though some of the facts and ornaments may be partly fictitious; yet they must not appear absurd, and impossible, by reason of conflicting adjuncts of time, place, or object.

5. Successful termination of the subject means, that the action of the hero, which constitutes the most conspicuous part of the narrative, should be crowned with success in the Epic Poem, Novel, Romance, and Comic Drama; and in the Tragic Drama, on the contrary, should meet with a fatal result.

¶ II. QUALITIES DEMANDED BY THE OBJECT.

1. Since the object of the narrator in the Epic Poem, Novel, Romance and Drama, is to inform, amuse, instruct, and to incite the hearer, or reader, to follow virtue and shun vice; it fol

(4.) What does the truth and probability of the subject denote?

(5.) What does successful termination of the subject mean? (1.) What are the qualities required by the object of the

writer of an epic poem, novel, romance, and drama?

lows, that the qualities required by the object are, first, perspicuity, as in historical narrations; second, copious use of the ornaments mentioned under No. 5, of this article; third, vivid representations, and strong rhetorical figures, calculated to excite the affections of the mind, in conformity with the object; fourth, freedom from all vulgarity and obscenity, in representations, descriptions and expressions.

¶ III. QUALITIES OF THE PLOT.

I. Plot in a general sense is," the plan conceived by the narrator for reciting his tale ;" in a more particular sense is, "the plan of the story or play, comprising a complication of incidents, which are at last unfolded by unexpected means."

2. Hence, the plot must have three parts, viz: the commencement, or first complication of the story or play; the middle, properly termed, "knot, or intrigue;" and the end or solution of the knot.

3. The complication of incidents must be thorough, gradual, and natural; and the solution of the knot must be natural and unexpected.

(1.) Define again the meaning of the word plot, in its general and particular sense.

(2.) How many parts must a plot have?

(3.) How must the complication of facts proceed, and how must be the solution of the knot?

4. Although the complication of incidents must be very thorough; yet, the primary thread of the narrative, marked by the principal action of the hero, must be clear, and easily distinguished from secondary actions, through the whole course of the narrative: like a gold thread interwoven with others of inferior material, which is easily discerned by the eye throughout a whole piece of cloth or silk.

5. But, such a complication of facts, and clear thread of narration, are not easily accomplished; hence, they mark above all the superior ability of a writer. For that purpose, it is very necessary, that the narrative be not encumbered with many and long episodes.

¶ IV. QUALITIES OF THE ORNAMENTS, OF FICTITIOUS AND SEMI-FICTITIOUS NARRATIONS.

1. The ornaments peculiar to the Epic Poem, Novel, Romance, and Drama, are specially seven : FIRST: Peripetia; a Greek word, which,

(4.) What must be observed in regard to the main thread, which marks the action of the hero in a narration? To what must it be similar?

(5.) Are clearness and complication of facts, requisites easily fulfilled in a fictitious narration ?

What is necessary for that purpose?

(1.) How many are the peculiar ornaments of the Epic poem, Novel, Romance, and Drama ?

66

with respect to the present subject, means а sudden turn of events, from happy into unhappy, or vice versa." Such is the sudden change related in the Bible of the condition of Joseph's brothers, caused by Joseph's revelation of himself to them; whereby, from extreme calamity and sorrow, they passed to extreme fortune and joy.

2. It is evident, that in order that this ornament may prove effective, the turn, or change of affairs, must be great, unexpected, and very probable.

3.

SECOND: Recognition; whereby either one, or both persons recognize each other. In the first case, is called simple; in the latter, is called double recognition. The recognition of Joseph by his brothers is an example of the simple recognition. The double, however, is preferable, in a drama especially.

4. THIRD: Episode; from the Greek episodos, equivalent to inway, or inlet, is “a secondary action or narrative, naturally connected

What is the first ornament, Peripetia? Give an example. (2.) What is required to make this ornament effective? (3) What is the second ornament, Recognition?

How many-fold is recognition? Which is preferable, the simple or double recognition?

(4.) Define the ornament, Episode.

with the primary one; and which is introduced for the sake of variety and additional interest, by a short suspension of the main narrative." Hence, it appears, that the episode is a digression from the principal narration; which, therefore, beside all the other qualities belonging to poetical narrations, must be short and well connected with the principal one; it must be like a secondary road, which has its termini on the main one; that, though, it leads the traveler out of his direct way for a while; yet the diversion is only short, and well worth the pleasure of the excursion.

5. FOURTH: Machine. This word, applied to semi-fictitious narrations, signifies, "the use and application of extraordinary means, or agencies, for the accomplishment of a thing above the human power." Heathen poets were wont to employ, frequently, the agency of their gods, in human affairs, and made them, often unnecessarily, come down from Mount Olympus; which, we should think, must have been rather

What are the requisites of the episode? Give an illustration by a similitude.

(5.) Describe the fourth ornament, Machine.

What agencies did heathen poets frequently employ in human affairs?

Might the same be used in our times? What may be employed instead?