mmon; and reflection must, therefore, have its place even in
tragedy. But to merit this place it must, by means of delivery, recover
what it wants in actual life; for if the two elements of poetry, the
ideal and the sensible, do not operate with an inward mutuality, they
must at least act as allies--or poetry is out of the question. If the
balance be not intrinsically perfect, the equipoise can only be
maintained by an agitation of both scales.

This is what the chorus effects in tragedy. It is in itself, not an
individual but a general conception; yet it is represented by a palpable
body which appeals to the senses with an imposing grandeur. It forsakes
the contracted sphere of the incidents to dilate itself over the past and
the future, over distant times and nations, and general humanity, to
deduce the grand results of life, and pronounce the lessons of wisdom.
But all this it does with the full power of fancy--with a bold lyrical
freedom which ascends, as with godlike step, to the topmost height of
worldly things; and it effects it in conjunction with the whole sensible
influence of melody and rhythm, in tones and movements.

The chorus thus exercises a purifying influence on tragic poetry,
insomuch as it keeps reflection apart from the incidents, and by this
separation arms it with a poetical vigor, as the painter, by means of a
rich drapery, changes the ordinary poverty of costume into a charm and
ornament.

But as the painter finds himself obliged to strengthen the tone of color
of the living subject, in order to counterbalance the material
influences--so the lyrical effusions of the chorus impose upon the poet
the necessity of a proportionate elevation of his general diction. It is
the chorus alone which entitles the poet to employ this fulness of tone,
which at once charms the senses, pervades the spirit, and expands the
mind. This one giant form on his canvas obliges him to mount all his
figures on the cothurnus, and thus impart a tragical grandeur to his
picture. If the chorus be taken away, the diction of the tragedy must
generally be lowered, or what is now great and majestic will appear
forced and overstrained. The old chorus introduced into the French
tragedy would present it in all its poverty, and reduce it to nothing;
yet, without doubt, the same accompaniment would impart to Shakspeare's
tragedy its true significance.

As the chorus gives life to the language--so also it gives repose to the
action