THE
PREFACE.
If wit has truly been defined, "a propriety of thoughts and words,[1]"
then that definition will extend to all sorts of poetry; and, among
the rest, to this present entertainment of an opera. Propriety of
thought is that fancy which arises naturally from the subject, or
which the poet adapts to it; propriety of words is the clothing of
those thoughts with such expressions as are naturally proper to them;
and from both these, if they are judiciously performed, the delight of
poetry results. An opera is a poetical tale, or fiction, represented
by vocal and instrumental music, adorned with scenes, machines, and
dancing. The supposed persons of this musical drama are generally
supernatural, as gods, and goddesses, and heroes, which at least are
descended from them, and are in due time to be adopted into their
number. The subject, therefore, being extended beyond the limits of
human nature, admits of that sort of marvellous and surprising
conduct, which is rejected in other plays. Human impossibilities are
to be received as they are in faith; because, where gods are
introduced, a supreme power is to be understood, and second causes are
out of doors; yet propriety is to be observed even here. The gods are
all to manage their peculiar provinces; and what was attributed by the
heathens to one power, ought not to be performed by any other.
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