MACHINERY, in epic and dramatic poetry, is when the poet introduces the use of machines; or brings some supernatural being upon the stage, in order to solve some difficulty or to perform some exploit out of the reach of human power.
The ancient dramatic poets never made use of machines, unless where there was an absolute necessity for so doing; whence the precept of Horace,
Nec Deus interstit, nisi dignus vindice nodus
Inciderit.
It is quite otherwise with epic poets, who introduce machines in every part of their poems; so that nothing is done without the intervention of the gods. In Milton's Paradise Lost, by far the greater part of the ac-
Machul
Mackenzie.
tors are supernatural personages: Homer and Virgil do nothing without them; and, in Voltaire's Henriade, the poet has made excellent use of St. Louis.
As to the manner in which these machines should act, it is sometimes invisibly, by simple inspirations and suggestions; sometimes by actually appearing under some human form; and, lastly, by means of dreams and oracles, which partake of the other two. However, all these should be managed in such a manner as to keep within the bounds of probability.
Plate
CCXCVIII.
MACHUL, an instrument of music among the Hebrews. Kircher apprehends that the name was given to two kinds of instruments, one of the stringed and the other of the pulsatile kind. That of the former sort had six chords; though there is great reason to doubt whether an instrument requiring the aid of the hair-bow, and so much resembling the violin, be so ancient. The second kind was of a circular form, made of metal, and either hung round with little bells, or furnished with iron rings suspended on a rod or bar that passed across the circle. Kircher supposes that it was moved to and fro by a handle fixed to it, and thus emitted a melancholy kind of murmur.