On Time and Place, On Comedy and Tragedy, by Sir Philip Sidney|
Our tragedies and comedies, not without cause cried out against, observing rules neither of honest civility nor skilful poetry. Excepting Gorboduc (again I say of those that I have seen), which notwithstanding as it is full of stately speeches and well-sounding phrases, climbing to the height of Seneca his style, and as full of notable morality, which it doeth most delightfully teach, and so obtain the very end of poesy; yet, in truth, it is very defectious in the circumstances, which grieves me, because it might not remain as an exact model of all tragedies. For it is faulty both in place and time, the two necessary companions of all corporal actions. For where the stage should always represent but one place, and the uttermost time presupposed in it should be, both by Aristotle's precept and common reason, but one day; there is both many days and many places inartificially imagined.
But if it be so in Gorboduc, how much more in all the rest? Where you shall have Asia of the one side, and Afric of the other, and so many other under kingdoms, that the player, when he comes in, must ever begin with telling where he is, or else the tale will not be conceived. Now shall you have three ladies walk to gather flowers, and then we must believe the stage to be a garden. By and by, we hear news of shipwreck in the same place, then we are to blame if we accept it not for a rock. Upon the back of that comes out a hideous monster with fire and smoke, and then the miserable beholders are bound to take it for a cave; while, in the meantime, two armies fly in, represented with four swords and bucklers, and then what hard heart will not receive it for a pitched field?
Now of time they are much more liberal; for ordinary it is, that two young princes fall in love, after many traverses she is got with child, delivered of a fair boy, he is lost, groweth a man, falleth in love, and is ready to get another child; and all this in two hours' space; which, how absurd it is in sense, even sense may imagine; and art hath taught, and all ancient examples justified, and at this day the ordinary players in Italy will not err in. Yet will some bring in an example of Eunuchus in Terence, that containeth matter of two days, yet far short of twenty years. True it is, and so was it to be played in two days, and so fitted to the time it set forth. And though Plautus have in one place done amiss, let us hit it with him, and not miss with him. But they will say, how then shall we set forth a story which contains both many places and many times? And do they not know that a tragedy is tied to the laws of poesy, and not of history; not bound to follow the story, but having liberty either to feign a quite new matter or to frame the history to the most tragical conveniency? Again, many things may be told which cannot be showed-if they know the difference betwixt reporting and representing. As for example, I may speak, though I am here, of Peru, and in speech digress from that to the description of Calicut; but in action I cannot represent it without Pacolet's horse. And so was the manner the ancients took, by some Nuntius° to recount things done in former time, or other place.
Lastly, if they will represent an history they must not (as Horace saith) begin ab ovo,° but they must come to the principal point of that one action which they will represent. By example this will be best expressed. I have a story of young Polydorus, delivered, for safety's sake, with great riches, by his father Priamus to Polymnestor, King of Thrace, in the Trojan war time. He, after some years, heaving of the overthrow of Priamus, for to make the treasure his own, murthereth the child; the body of the child is taken up by Hecuba; she, the same day, findeth a sleight to be revenged most cruelly of the tyrant. Where, now, would one of our tragedy-writers begin, but with the delivery of the child? Then should he sail over into Thrace, and so spend I know not how many years, and travel numbers of places. But where doth Euripides? Even with the finding of the body; leaving the rest to be told by the spirit of Polydorus. This needs no further to be enlarged; the dullest wit may conceive it.
But, besides these gross absurdities, how all their plays be neither right tragedies nor right comedies, mingling kings and clowns, not because the matter so carrieth it, but thrust in the clown by head and shoulders to play a part in majestical matters, with neither decency nor discretion; so as neither the admiration and commiseration, nor the right sportfulness, is by their mongrel tragic-comedy obtained. I know Apuleius° did somewhat so, but that is a thing recounted with space of time, not represented in one moment; and I know the ancients have one or two examples of tragic-comedies as Plautus hath Amphytrio. But, if we mark them well, we shall find that they never, or very daintily, match hornpipes and funerals. So falleth it out, that having indeed no right comedy in that comical part of our tragedy, we have nothing but scurrility, unworthy of any chaste ears; or some extreme show of doltishness, indeed fit to lift up a loud laughter, and nothing else; where the whole tract of a comedy should be full of delight, as the tragedy should be still maintained in a well-raised admiration.
But our comedians think there is no delight without laughter, which is very wrong; for though laughter may come with delight, yet cometh it not of delight, as though delight should be the cause of laughter. But well may one thing breed both together. Nay, rather in themselves they have, as it were, a kind of contrariety. For delight we scarcely do, but in things that have a conveniency to ourselves, or to the general nature; laughter almost ever cometh of things most disproportioned to ourselves and nature. Delight hath a joy in it either permanent or present; laughter hath only a scornful tickling. For example, we are ravished with delight to see a fair woman, and yet are far from being moved to laughter. We laugh at deformed creatures, wherein certainly we cannot delight. We delight in good chances; we laugh at mischances. We delight to hear the happiness of our friends and country, at which he were worthy to be laughed at that would laugh; we shall, contrarily, sometimes laugh to find a matter quite mistaken, and go down the hill against the bias, in the mouth of some such men as, for the respect of them, one shall be heartily sorry he cannot choose but laugh, and so is rather pained than delighted with laughter. Yet deny I not but that they may go well together; for as in Alexander's picture well set out we delight without laughter, and in twenty mad antics we laugh without delight. So in Hercules painted, with his great beard and furious countenance, in a woman's attire, spinning at Omphale's commandment, it breeds both delight and laughter; for the representing of so strange a power in love procures delight, and the scornfulness of the action stirreth laughter.
But I speak to this purpose, that all the end of the comical part be not upon such scornful matters as stir laughter only, but mix with it that delightful teaching which is the end of poesy. And the great fault, even in that point of laughter, and forbidden plainly by Aristotle, is, that they stir laughter in sinful things, which are rather execrable than ridiculous; or in miserable, which are rather to be pitied than scorned. For what is it to make folks gape at a wretched beggar, and a beggarly clown; or against law of hospitality, to jest at strangers because they speak not English so well as we do? What do we learn? Since it is certain,
Nil habet infelix paupertas durius in se,
Quam quod ridiculos hominess facit.
But rather a busy loving courtier, and a heartless threatening Thraso; a self-wise-seeming schoolmaster; a wry-transformed traveler-these, if we saw walk in stage-names, which we play naturally, therein were delightful laughter, and teaching delightfulness; as in the other, the tragedies of Buchanan do justly bring forth a divine admiration.
Gorboduc, an English tragedy, published in 1565. Seneca, Roman philosopher, poet, and tragic dramatist (ca. 4 B.C.-A.D. 65).
Eunuchus, a Roman comedy, performed in 162 B.C. Terence, Roman comic playwright (ca. 190-159 B.C.). Calicut, seaport in India.
Pacolet, a magic horse from a French romance of 1495.
Horace, Roman poet (65-8 B.C.)
ab ovo, literally "from the egg"; i.e., from the beginning.
Apuleius, Roman author (born ca. A.D. 125).
Omphale, Hercules' mistress.
Nil habit . . . facit, "unhappy poverty has in it nothing worse than the fact that it makes men ridiculous."
Thraso, a stock character of the braggart.
Source: Sir Philip Sidney, "On Time and Place, On Comedy and Tragedy," in Defence of Poesy.