It is not enough that Aristotle has said so, for Aristotle drew his models of tragedy from Sophocles and Euripides; and if he had seen ours, might have changed his mind. And chiefly we have to say, (what I hinted on pity and terror, in the last paragraph save one,) that the punishment of vice and reward of virtue are the most adequate ends of tragedy, because most conducing to good example of life. Now pity is not so easily raised for a criminal, (and the ancient tragedy always represents its chief person such,) as it is for an innocent man; and the suffering of innocence and punishment of the offender is of the nature of English tragedy: contrarily, in the Greek, innocence is unhappy often, and the offender escapes. Then we are not touched with the sufferings of any sort of men so much as of lovers, and this was almost unknown to the ancients: so that they neither administered poetical justice, of which Mr Rymer boasts, so well as we; neither knew they the best common-place of pity, which is love. He therefore unjustly blames us for not building on what the ancients left us; for it seems, upon consideration of the premises, that we have wholly finished what they began. My judgment on this piece is this; that it is extremely learned, but that the author of it is better read in the Greek than in the English poets; that all writers ought to study this critique, as the best account I have ever seen of the ancients; that the model of tragedy he has here given is excellent, and extreme correct; but that it is not the only model of all tragedy, because it is too much circumscribed in plot, characters, &c.; and lastly, that we may be taught here justly to admire and imitate the ancients, without giving them the preference, with this author, in prejudice to our own country. Want of method in this excellent treatise, makes the thoughts of the author sometimes obscure. His meaning, that pity and terror are to be moved, is, that they are to be moved as the means conducing to the ends of tragedy, which are pleasure and instruction. And these two ends may be thus distinguished. The chief end of the poet is to please; for his immediate reputation depends on it. The great end of the poem is to instruct, which is performed by making pleasure the vehicle of that instruction; for poesy is an art, and all arts are made to profit. Rapin. The pity which the poet is to labour for, is for the criminal, not for those or him whom he has murdered, or who have been the occasion of the tragedy. The terror is likewise in the punishment of the same criminal, who, if he be represented too great an offender, will not be pitied; if altogether innocent, his punishment will be unjust. Another obscurity is, where he says, Sophocles perfected tragedy by introducing the third actor;[155] that is, he meant, three kinds of action; one company singing, or speaking; another playing on the music; a third dancing.