In the
conference between Malicorn and Melanax, Dryden has made much use of
his astrological knowledge; and its mystical terms give a solemnity to
the spirit's predictions, which was probably deepened by the poet's
secret belief in this visionary study. As he borrowed liberally from
Davila in the other parts of the play, he has not here disdained to
use the assistance of Pulci, from whose romantic poem he has
translated one or two striking passages, as the reader will find upon
consulting the notes. The last scene betwixt the necromancer and the
fiend is horribly fine: the description of the approach of the Evil
One, and the effect which his presence produces upon the attendants,
the domestic animals, and the wizard himself, is an instance, amongst
many, of the powerful interest which may be produced by a judicious
appeal to the early prejudices of superstition. I may be pardoned,
however, when I add, that such scenes are, in general, unfit for the
stage, where the actual appearance of a demon is apt to excite
emotions rather ludicrous than terrific. Accordingly, that of Dryden
failed in the representation. The circumstance, upon which the
destruction of the wizard turns, is rather puerile; but there are many
similar fables in the annals of popular superstition[4].
Lee's part of this play is, in general, very well written, and
contains less rant than he usually puts in the mouths of his
characters.
Pages:
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25