ABSTRACT
The greatest part of our modern writers of Tragedy seem to think it enough to write mere blank verse, no matter however hard it be, however void of swelling and harmony. Even those of them who write the best numbers study to be solemn and pompous throughout, and affect a monotony of heroic Versification from the first appearance of the heroine with her confidante to her last fatal exit, without the least regard to the variety of passions which express themselves in quick or slow, flowing or interrupted, in languishing or impetuous movements.
