Chapter 8

It should seem from hence, that the common characters of Comedy, as well as the Gods and Heroes of Tragedy, had place in _the_ Satyrick Drama, cultivated in the days of Horace. Of the manner in which the antient writers sustained the part of Silenus, we may judge from _the_ CYCLOPS of Euripides, and _the_ Pastorals of Virgil.

Vossius attempts to shew from some lines of this part of the Epistle, [_Ne quicumque Deus, &c._] that _the_ satyrs were _subjoined_ to the Tragick scenes, not _incorporated_ with them: and yet at the same moment he tells us, and with apparent approbation, that Diomedes quotes our Poet to prove that they were blended with each other: _simul ut spectator_, inter res tragicas, seriasque, satyrorum quoque jocis, & lusibus, _delectaretur_.

I cannot more satisfactorily conclude all that I have to urge, on the subject of the Satyrick Drama, as here described by Horace, than by one more short extract from the notes of the ingenious author of the English Commentary, to the substance of which extract I give the most full assent. "The Greek Drama, we know, had its origin from the loose, licentious raillery of the rout of Bacchus, indulging to themselves the freest follies of taunt and invective, as would best suit to lawless natures, inspirited by festal mirth, and made extravagant by wine. Hence arose, and with a character answering to this original, the _Satiric Drama_; the spirit of which was afterwards, in good measure, revived and continued in the Old Comedy, and itself preferred, though with considerable alteration in the form, through all the several periods of the Greek stage; even when Tragedy, which arose out of it, was brought to its last perfection."

368.--_To a short syllable, a long subjoin'd, Forms an _IAMBICK FOOT.] _Syllaba longa, brevi subjetta, vocatur Iambus._

Horace having, after the example of his master Aristotle, slightly mentioned the first rise of Tragedy in the form of _a_ Choral Song, subjoining an account of _the_ Satyrick Chorus, that was _soon_ (mox _etiam_) combined with it, proceeds to speak particularly of the Iambick verse, which he has before mentioned generally, as the measure best accommodated to the Drama. In this instance, however, the Poet has trespassed against _the order and method_ observed by his philosophical guide; and by that trespass broken the thread of his history of the Drama, which has added to the difficulty and obscurity of this part of his Epistle. Aristotle does not speak of _the_ Measure, till he has brought Tragedy, through all its progressive stages, from the Dithyrambicks, down to its establishment by Aeschylus and Sophocles. If the reader would judge of the _poetical beauty_, as well as _logical precision_, of such an arrangement, let him transfer this section of the Epistle [beginning, in the original at v. 251. and ending at 274.] to the end of the 284th line; by which transposition, or I am much mistaken, he will not only disembarrass this historical part of it, relative to the Grascian stage, but will pass by a much easier, and more elegant, transition, to the Poet's application of the narrative to the Roman Drama,

The English reader, inclined to make the experiment, must take the lines of the translation from v. 268. to v. 403, both inclusive, and insert them after v. 418.

_In shameful silence loft the pow'r to wound._

It is further to be observed that this detail on _the_ IAMBICK is not, with strict propriety, annext to a critical history of _the_ SATYR, in which, as Aristotle insinuates insinuates, was used _the_ Capering _Tetrameter_, and, as the Grammarians observe, _Trisyllabicks_.

394.--PISOS! BE GRAECIAN MODELS, &c.]

Pope has imitated and illustrated this passage.

Be Homer's works your study and delight, Read them by day, and meditate by night; Thence form your judgment, thence your maxims bring, And trace the Muses upwards to their spring. Still with itself compar'd, his text peruse! And let your comment be the Mantuan Muse!

_Essay on Criticism._

404.--A KIND OF TRAGICK ODE, UNKNOWN BEFORE, THESPIS, 'TIS SAID, INVENTED FIRST. IGNOTUM _Tragicae_ GENUS INVENISSE _Camaenae_ _Dicitur, &c._

It is surprising that Dacier, who, in a controversial note, in refutation of Heinsius, has so properly remarked Horace's adherence to Aristotle, should not have observed that his history of the Drama opens and proceeds nearly in the same order. Aristotle indeed does not name Thespis, but we cannot but include his improvements among the changes, to which the Critick refers, before Tragedy acquired a permanent form under _AEschylus_. Thespis seems not only to have embodied _the_ CHORUS, but to have provided a theatrical apparatus for an itinerant exhibition; to have furnished disguises for his performers, and to have broken the continuity of _the_ CHORUS by an _Interlocutor_; to whom AEschylus adding another personage, thereby first created Dramatick Dialogue; while at the same time by a _further diminution of the_ CHORUS, by improving the dresses of the actors, and drawing them from their travelling waggon to a fixt stage, he created _a regular theatre_.

It appears then that neither Horace, nor Aristotle, ascribe _the origin_ of Tragedy to Thespis. the Poet first mentions the rude beginning of Tragedy, (_carmen tragicum_) _the_ Goat-song; he then speaks of _the Satyrick Chorus_, soon after interwoven with it; and then proceeds to the _improvements_ of these Bacchic Festivities, by Thespis, and AEschylus; though their perfection and final establishment is ascribed by Aristotle to Sophocles. Dacier very properly renders this passage, _On dit que Thespis fut le premier jui inventa une especi de tragedie auparavant inconnue aux Grecs._ Thespis is said to be the first inventor of a species of Tragedy, before unknown to the Greeks.

Boileau seems to have considered this part of the Epistle in the same light, that I have endeavoured to place it.

La Tragedie informe & grossiere au naissant n'etoit qu'un simple Choeur, ou chacun en danfant, et du Dieu des Raisins entonnant les louanges, s'essorçoit d'attirer de fertiles vendanges. la le vin et la joie eveillant les esprits, _du plus habile chantre un Bouc étoit le prix._ Thespis sut le premier, qui barbouillé de lie, promena par les bourgs cette heureuse folie; et d'acteurs mal ornés chargeant un tombereau, amusa les passans d'un spectacle nouveau. aeschyle dans le Choeur jetta les personages; d'un masque plus honnéte habilla les visages: sur les ais d'un Theatre en public exhaussé, fit paroitre l'acteur d'un brodequin chaussé.

L'art poetique, _chant troisieme._

417.--_the sland'rous Chorus drown'd In shameful silence, lost the pow'r to wound._

Chorusque turpiter obticuit, _sublato jure nocendi._

"Evidently because, though the _jus nocendi_ was taken away, yet that was no good reason why the Chorus should entirely cease. M. Dacier mistakes the matter. _Le choeur se tût ignominuesement, parce-que la hi reprimasa licence, et que ce sut, à proprement parler, la hi qui le bannit; ce qu' Horace regarde comme une espece de siétrissure. Properly speaking,_ the law only abolished the abuse of the chorus. The ignominy lay in dropping the entire use of it, on account of this restraint. Horace was of opinion, that the chorus ought to have been retained, though the state had abridged it of the licence, it so much delighted in, of an illimited, and intemperate satire, _Sublatus chorus fuit,_ says Scaliger, _cujus illae videntur esse praecipuae partet, ut potissimum ques liberet, laedertnt."

Notes on the Art of Poetry._ If Dacier be mistaken in this instance, his mistake is common to all the commentators; not one of whom, the learned and ingenious author of the above he excepted, has been able to extract from these words any marks of Horace's predilection in favour of a Chorus, or censure of "its culpable omission" in Comedy. De Nores expresses the general sense of the Criticks on this passage.

[Turpiter.] _Quia lex, declaratâ Veteris Conaetdiae scriptorum improbitate, a maledicendi licentiâ deterruit.--Sicuti enim antea summâ cum laude Vetus Comediae, accepta est, ita postea summa est cum turpitudine vetantibus etiam legibus repudiata, quia probis hominibus, quia sapientibus, quia inte*s maledixerit. Quare Comaediae postea conscriptae ad hujusce Veteris differentiam sublato choro, novae appellatae sunt._

What Horace himself says on a similar occasion, of the suppression of the Fescennine verses, in the Epistle to Augustus, is perhaps the best comment on this passage.

--quin etiam lex Paenaque lata, malo quae nollet carmine quenquam-- describi: vertere modum formindine fustis ad bene dicendum delectandumque redacti.

421.---Daring their Graecian masters to forsake, And for their themes domestick glories take.

Nec minimum meruere decus, vestigia Graeca Ausi deserere, & celebrare domestica facta.

The author of the English Commentary has a note on this passage, replete with fine taste, and sound criticism.

"This judgment of the poet, recommending domestic subjects, as fittest for the stage, may be inforced from many obvious reasons. As, 1. that it renders the drama infinitely more _affecting:_ and this on many accounts, 1. As a subject, taken from our own annals, must of course carry with it an air of greater probability, at least to the generality of the people, than one borrowed from those of any other nation. 2. As we all find a personal interest in the subject. 3. As it of course affords the best and easiest opportunities of catching our minds, by frequent references to our manners, prejudices, and customs. And of how great importance this is, may be learned from hence, that, even in that exhibition of foreign characters, dramatic writers have found themselves obliged to sacrifice sacrifice truth and probability to the humour of the people, and to dress up their personages, contrary to their own better judgment, in some degree according to the mode and manners of their respective countries [Footnote: "L'etude égale des poëtes de différens tems à plaire à leurs spectateurs, a encore inssué dans la maniere de peindre les caracteres. Ceux qui paroissent sur la scene Angloise, Espagnols, Françoise, sont plus Anglois, Espagnols, ou François que Grecs ou Romains, en un mot que ce qu'ils doivent être. II ne faut qu'en peu de discernement pour s'appercevoir que nos Césars et nos Achilles, en gardant même un partie de leur charactere primitif, prennent droit de naturalité dans le païs où ils sont transplantez, semblables à ces portraits, qui sortent de la main d'un peintre Flamand, Italien, ou François, et qui portent l'empreinte du pais. On veut plaire à sa nation, et rien ne plait tant que le resemblance de manieres et de enie." P. Brumoy, vol. i. p. 200.] And, 4. as the writer himself, from an intimate acquaintance with the character and genius of his own nation, will be more likely to draw the manners with life and spirit.

"II. Next, which should ever be one great point in view, it renders the drama more generally useful in its moral destination. For, it being conversant about domestic acts, the great instruction of the fable more sensibly affects us; and the characters exhibited, from the part we take in their good or ill qualities, will more probably influence our conduct.

"III. Lastly, this judgment will deserve the greater regard, as the conduct recommended was, in fact, the practice of our great models, the Greek writers; in whose plays, it is observable, there is scarcely a single scene, which lies out of the confines of Greece.

"But, notwithstanding these reasons, the practice hath, in all times, been but little followed. The Romans, after some few attempts in this way (from whence the poet took the occasion of delivering it as a dramatic precept), soon relapsed into their old use; as appears from Seneca's, and the titles of other plays, written in, or after the Augustan age. Succeeding times continued the same attachment to Grecian, with the addition of an equal fondness for Roman, subjects. The reason in both instances hath been ever the same: that strong and early prejudice, approaching somewhat to adoration, in favour of the illustrious names of those two great states. The account of this matter is very easy; for their writings, as they furnish the business of our younger, and the amusement of our riper, years; and more especially make the study of all those, who devote themselves to poetry and the stage, insensibly infix in us an excessive veneration for all affairs in which they were concerned; insomuch, that no other subjects or events seem considerable enough, or rise, in any proportion, to our ideas of the dignity of the tragic scene, but such as time and long admiration have consecrated in the annals of their story. Our Shakespeare was, I think, the first that broke through this bondage of classical superstition. And he owed this felicity, as he did some others, to his want of what is called the advantage of a learned education. Thus uninfluenced by the weight of early prepossession, he struck at once into the road of nature and common sense: and without designing, without knowing it, hath left us in his historical plays, with all their anomalies, an exacter resemblance of the Athenian stage, than is any where to be found in its most processed admirers and copyists.

"I will only add, that, for the more successful execution of this rule of celebrating domestic acts, much will depend on the aera, from whence the subject is taken. Times too remote have almost the same inconveniences, and none of the advantages, which attend the ages of Greece and Rome. And for those of later date, they are too much familiarized to us, and have not as yet acquired that venerable cast and air, which tragedy demands, and age only can give. There is no fixing this point with precision. In the general, that aera is the fittest for the poet's purpose, which, though fresh enough in pure minds to warm and interest us in the event of the action, is yet at so great a distance from the present times, as to have lost all those mean and disparaging circumstances, which unavoidably adhere to recent deeds, and, in some measure, sink the noblest modern transactions to the level of ordinary life."

_Notes on the Art of Poetry._

The author of the essay on the writings and genius of Pope elegantly forces a like opinion, and observes that Milton left a list of thirty-three subjects for Tragedy, all taken from the English Annals.

423.--_Whether the gown prescrib'd a stile more mean, or the inwoven purple rais'd the scene.

Vel qui praetextas, vel qui docuere togatas._

The gown (_Toga_) being the common Roman habit, signisies _Comedy;_ and the inwoven purple _(praetexta)_ being appropriated to the higher orders, refers to Tragedy. _Togatae_ was also used as a general term to denote all plays, which the habits, manners, and arguments were Roman; those, of which the customs and subjects were Graecian, like the Comedies of Terence, were called _Palliatae_.

429.--But you, bright heirs of the Pompilian Blood, Never the verse approve, &c.

Vos, O Pompilius Sanguis, &c.

The English commentary exhibits a very just and correct analysis of this portion of the Epistle, but neither here, nor in any other part of it, observes the earnestness with which the poet, on every new topick, addresses his discourse _the Pisos;_ a practice, that has not passed unnoticed by other commentators.

[On this passage De Nores writes thus. _Vos O Pompilius Sanguis!] Per apostrophen_ sermonem convertit ad pisones, eos admonens, ut sibi caveant _ab bujusmodi romanorum poetarum errore videtur autem_ eos ad attentionem excitare _dum ait, Vos O! et quae sequntur._

434.--_Because_ DEMOCRITUS, _&c.] Excludit sanos Helicone poetas Democritus._

_De Nores_ has a comment on this passage; but the ambiguity of the Latin relative renders it uncertain, how far the Critick applies particularly to _the Pisos_, except by the _Apostrophe_ taken notice of in the last note. His words are these. _Nisi horum_ democriticorum _opinionem horatius hoc in loco refutasset, frustra de poetica facultate_ in hac AD PISONES EPISTOLA _praecepta literis tradidisset, cùm arte ipsâ repudiatâ_, ab his _tantummodo insaniae & furori daretur locus._

443.--_Which no vile_ _CUTBERD'S razor'd hands profane. Tonfori_ LYCINO.]

_Lycinus_ was not only, as appears from Horace, an eminent Barber; but said, by some, to have been created a Senator by Augustus, on account of his enmity to Pompey.

466.--ON NATURE'S PATTERN TOO I'LL BID HIM LOOK, AND COPY MANNERS FROM HER LIVING BOOK.]

_Respicere examplar vitae, morumque jubebo_ doctum imitatorem, _& veras hinc ducere voces._

This precept seeming, at first sight, liable to be interpreted as recommending _personal imitations_, De Nores, Dacier, and the Author of the English Commentary, all concur to inculcate the principles of Plato, Aristotle, and Cicero, shewing that the truth of representation (_verae voces_) must be derived from an imitation of _general nature_, not from copying _individuals_. Mankind, however, being a mere collection of _individuals_, it is impossible for the Poet, not to found his observations on particular objects; and his chief skill seems to consist in the happy address, with which he is able to _generalize_ his ideas, and to sink the likeness of the individual in the resemblance of universal nature. A great Poet, and a great Painter, have each illustrated this doctrine most happily; and with their observations I shall conclude this note.

Chacun peint avec art dans ce nouveau miroir, S'y vit avec plaisir, ou crut ne s'y point voir. L'Avare des premiers rit du tableau fidele D'un Avare, souvent tracé sur son modéle; Et mille fois un Fat, finement exprimé, Méconnut le portrait, sur lui-méme formé.

BOILEAU, _L'Art Poet_. ch. iii.

"Nothing in the art requires more attention and judgment, or more of that power of discrimination, which may not improperly be called Genius, than the steering between general ideas and individuality; for tho' the body of the whole must certainly be composed by the first, in order to communicate a character of grandeur to the whole, yet a dash of the latter is sometimes necessary to give an interest. An individual model, copied with scrupulous exactness, makes a mean stile like the Dutch; and the neglect of an actual model, and the method of proceeding solely from idea, has a tendency to make the Painter degenerate into a mannerist.

"It is necessary to keep the mind in repair, to replace and refreshen those impressions of nature, which are continually wearing away.

"A circumstance mentioned in the life of Guido, is well worth the attention of Artists: He was asked from whence he borrowed his idea of beauty, which is acknowledged superior to that of every other Painter; he said he would shew all the models he used, and ordered a common Porter to sit before him, from whom he drew a beautiful countenance; this was intended by Guido as an exaggeration of his conduct; but his intention was to shew that he thought it necessary to have _some model_ of nature before you, however you deviate from it, and correct it from the idea which you have formed in your mind of _perfect beauty_.

"In Painting it is far better to have a _model_ even to _depart_ from, than to have nothing fixed and certain to determine the idea: There is something then to proceed on, something to be corrected; so that even supposing that no part is taken, the model has still been not without use.

"Such habits of intercourse with nature, will at least create that _variety_ which will prevent any one's prognosticating what manner of work is to be produced, on knowing the subject, which is the most disagreeable character an Artist can have."

_Sir Joshua Reynolds's Notes on Fresnoy._

480.--ALBIN'S HOPEFUL.] _Filius ALBINI_

Albinus was said to be a rich Usurer. All that is necessary to explain this passage to the English reader, is to observe, that _the Roman Pound consisted of Twelve Ounces._

487.--_Worthy the _Cedar _and the_ Cypress.]

The antients, for the better preservation of their manuscripts, rubbed them with the juice of _Cedar,_ and kept them in cases of _Cypress._

496.--Shall Lamia in our sight her sons devour, and give them back alive the self-same hour?]

_Neu pranse Lamiae vivum puerum extrabat alvo._

Alluding most probably to some Drama of the time, exhibiting so monstrous and horrible an incident.

503.--The Sosii] Roman booksellers.

523.--Chaerilus.] A wretched poet, who celebrated the actions, and was distinguished by the patronage, of Alexander.

527.--If Homer seem to nod, or chance to dream.]

It may not be disagreeable to the reader to see what two poets of our own country have said on this subject.

--foul descriptions are offensive still, either for being _like,_ or being _ill._ For who, without a qualm, hath ever look'd on holy garbage, tho' by Homer cook'd? Whose railing heroes, and whose wounded Gods, make some suspect he snores, as well as nods. But I offend--Virgil begins to frown, And Horace looks with indignation down: My blushing Muse with conscious fear retires, and whom they like, implicitly admires.

--Roscommon's _Essay on Translated Verse._ A prudent chief not always must display Her pow'rs in equal ranks, and fair array: But with th' occasion and the place comply, Conceal his force, nay seem sometimes to fly. Those oft are stratagems, which errors seem, Nor is it Homer nods, but we that dream. POPE'S _Essay on Criticism._

530.--POEMS AND PICTURES ARE ADJUDC'D ALIKE.]

_Ut pictura poesis._

Here ends, in my opinion, the _didactick_ part of this Epistle; and it is remarkable that it concludes, as it begun, with a reference to the Analogy between Poetry and Painting. The arts are indeed congenial, and the same general principles govern both. Artists might collect many useful hints from this Epistle. The Lectures of the President of the Royal Academy are not rarely accommodated to the study of Painters; but Poets may refine their taste, and derive the most valuable instruction, from the perusal of those judicious and elegant discourses.

535.--O THOU, MY PISO'S ELDER HOPE AND PRIDE!]

O MAJOR JUVENUM!

We are now arrived at that portion of the Epistle, which I must confess I am surprised, that any Commentator ever past, without observing the peculiar language and conduct of the Poet. There is a kind of awful affection in his manner, wonderfully calculated to move our feelings and excite our attention. The Didactick and the Epistolary stile were never more happily blended. The Poet assumes the air of a father advising his son, rather than of a teacher instructing his pupils. Many Criticks have thrown out a cursory observation or two, as it were extorted from them by the pointed expressions of the Poet: but none of them, that I have consulted, have attempted to assign any reason, why Horace, having closed his particular precepts, addresses all the remainder of his Epistle, on the nature and expediency of Poetical pursuits, to _the Elder Piso only. I have endeavoured to give the most natural reason for this conduct; a reason which, if I am not deceived, readers the whole of the Epistle interesting, as well as clear and consistent; a reason which I am the more inclined to think substantial, as it confirms in great measure the system of the Author of the English Commentary, only shewing _the reflections on the drama in _this Epistle, as well as in the Epistle to Augustus, to be _incidental_, rather than the _principal subject_, _and main design_, of the Poet,

_Jason De Nores_, in this instance, as in most others, has paid more attention to his Author, than the rest of the Commentators. His note is as follows.