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As the chorus gives life to the language–so also it gives repose to the action; but it is that beautiful and lofty repose which is the characteristic of a true work of art. For the mind of the spectator ought to maintain its freedom through the most impassioned scenes; it should not be the mere prey of impressions, but calmly and severely detach itself from the emotions which it suffers. The commonplace objection made to the chorus, that it disturbs the illusion, and blunts the edge of the feelings, is what constitutes its highest recommendation; for it is this blind force of the affections which the true artist deprecates–this illusion is what he disdains to excite. If the strokes which tragedy inflicts on our bosoms followed without respite, the passion would overpower the action. We should mix ourselves with the subject-matter, and no longer stand above it. It is by holding asunder the different parts, and stepping between the passions with its composing views, that the chorus restores to us our freedom, which would else be lost in the tempest. The characters of the drama need this intermission in order to collect themselves; for they are no real beings who obey the impulse of the moment, and merely represent individuals–but ideal persons and representatives of their species, who enunciate the deep things of humanity.

Thus much on my attempt to revive the old chorus on the tragic stage. It is true that choruses are not unknown to modern tragedy; but the chorus of the Greek drama, as I have employed it–the chorus, as a single ideal person, furthering and accompanying the whole plot–if of an entirely distinct character; and when, in discussion on the Greek tragedy, I hear mention made of choruses, I generally suspect the speaker’s ignorance of his subject. In my view the chorus has never been reproduced since the decline of the old tragedy.

I have divided it into two parts, and represented it in contest with itself; but this occurs where it acts as a real person, and as an unthinking multitude. As chorus and an ideal person it is always one and entire. I have also several times dispensed with its presence on the stage. For this liberty I have the example of Aeschylus, the creator of tragedy, and Sophocles, the greatest master of his art.

Another license it may be more difficult to excuse. I have blended together the Christian religion and the pagan mythology, and introduced recollections of the Moorish superstition. But the scene of the drama is Messina–where these three religions either exercised a living influence, or appealed to the senses in monumental remains. Besides, I consider it a privilege of poetry to deal with different religions as a collective whole. In which everything that bears an individual character, and expresses a peculiar mode of feeling, has its place. Religion itself, the idea of a Divine Power, lies under the veil of all religions; and it must be permitted to the poet to represent it in the form which appears the most appropriate to his subject.