Part 6

"See also _Aristotle_ [Greek*: oes. ooiaet. k. iae.] The judgment of two such critics, and the practice of wise antiquity, concurring to establish this precept concerning the Chorus, it should thenceforth, one would think, have become a fundamental rule and maxim of the stage. And so indeed it appeared to some few writers. The most admired of the French tragic poets ventured to introduce it into two of his latter plays, and with such success that, as one observes, _It should, in all reason, have disabused his countrymen on this head: l'essai heureux de M. Racine, qui les [choeurs] a fait revivre dans_ athalie _et dans _esther_, devroit, il semble, nous avoir detrompez sur cet article._ [P. Brumoi, vol. i. p. 105.] And, before him, our _Milton_, who, with his other great talents, possessed a supreme knowledge of antiquity, was so struck with its use and beauty, as to attempt to bring it into our language. His _Sampson Agonistes_ was, as might be expected, a master- piece. But even his credit hath not been sufficient to restore the Chorus. Hear a late Professor of the art declaring, _De _Choro _nihil disserui, quia non est essentialis dramati, atque à neotericis penitus_, et, me judice, merito repudiatur. [Prael. Poet. vol. ii. p. 188.] Whence it hath come to pass that the chorus hath been thus neglected is not now the enquiry. But that this critic, and all such, are greatly out in their judgments, when they presume to censure it in the ancients, must appear (if we look no further) from the double use, insisted on by the poet, For, 1. A _chorus _interposing, and bearing a part in the progress of the action, gives the representation that _probability_, [Footnote: _Quel avantage ne peut il [le poete] pas tirer d'une troupe d'acteurs, qui remplissent sa scene, qui rendant plus sense la continuité de l'action qui la sont paroitre VRAISEMBLABLE puisqu'il n'est pas naturel qu'elle sa passe sans point. On ne sent que trop le vuide de notre Théatre sans choeurs. &c. _[Les Théatre des Grècs. i. p. 105 ] and striking resemblance of real life, which every man of sense perceives, and _feels_ the want of upon our stage; a want, which nothing but such an expedient as the chorus can possibly relieve. And, 2. The importance of its other office [l. 196] to the _utility _of the representation, is so great, that, in a moral view, nothing can compensate for this deficiency. For it is necessary to the truth and decorum of characters, that the _manners_, bad as well as good, be drawn in strong, vivid colours; and to that end that immoral sentiments, forcibly expressed and speciously maintained, be sometimes _imputed _to the speakers. Hence the sound philosophy of the chorus will be constantly wanting, to rectify the wrong conclusions of the audience, and prevent the ill impressions that might otherwise be made upon it. Nor let any one say, that the audience is well able to do this for itself: Euripides did not find even an Athenian theatre so quick-sighted. The story is well known, [Sen. Ep. 115.] that when this painter of the _manners _was obliged, by the rules of his art, and the character to be sustained, to put a run of bold sentiments in the mouth of one of his persons, the people instantly took fire, charging the poet with the _imputed _villainy, as though it had been his _own_. Now if such an audience could so easily misinterpret an attention to the truth of character into the real doctrine of the poet, and this too, when a Chorus was at hand to correct and disabuse their judgments, what must be the case, when the _whole _is left to the sagacity and penetration of the people? The wiser sort, it is true, have little need of this information. Yet the reflexions of sober sense on the course and occurrences of the representation, clothed in the noblest dress of poetry, and enforced by the joint powers of harmony and action (which is the true character of the Chorus) might make it, even to such, a no unpleasant or unprofitable entertainment. But these two are a small part of the uses of the chorus; which in every light is seen so important to the truth, decorum, and dignity of the tragic scene, that the modern stage, which hath not thought proper to adopt it, is even, with the advantage of, sometimes, the justest moral painting and sublimest imagery, but a very faint shadow of the old; as must needs appear to those who have looked into the ancient models, or, diverting themselves of modern prejudices, are disposed to consult the dictates of plain sense. For the use of such, I once designed to have drawn into one view the several important benefits arising to the drama from the observance of this rule, but have the pleasure to find myself prevented by a sensible dissertation of a good French writer, which the reader will find in the VIII tom. of the History of the Academy of Inscriptions end Belles Lettres.--Or, it may be sufficient to refer the English reader to the late tragedies of Elfrida and Caractacus; which do honour to modern poetry, and are a better apology, than any I could make, for the ancient Chorus.----Notes on the Art of Poetry.

Though it is not my intention to agitate, in this place, the long disputed question concerning the expediency, or inexpediency, of the Chorus, yet I cannot dismiss the above note without some farther observation. In the first place then I cannot think that _the judgment of two such Criticks_ as Aristotle and Horace, can be decisively quoted, _as concurring with the practice of wise antiquity,_ to establish the chorus. Neither of these _two Criticks_ have taken up the question, each of them giving directions for the proper conduct of _the Chorus,_ considered as an established and received part of Tragedy, and indeed originally, as they both tell us, _the whole_ of it. Aristotle, in his Poeticks, has not said much on the subject and from the little he has said, more arguments might perhaps be drawn, in favour of the omission, than for the introduction of _the Chorus._ It is true that he says, in his 4th chapter, that "Tragedy, after many changes, paused, _having gained its natural form:"_ [Greek transliteration: 'pollha': moiazolas metazalousa ae tragodia epausto, hepei hesche taen heauiaes phusin]. This might, at first sight, seem to include his approbation of the Chorus, as well as of all the other parts of Tragedy then in use: but he himself expressly tells us in the very same chapter, that he had no such meaning, saying, that "to enquire whether Tragedy be perfect in its parts, either considered in itself, or with relation to the theatre, was foreign to his present purpose." [Greek: To men oun epischopein, eiapa echei aedae hae tragodia tois ikanos, ae ou, auto te kath auto krinomenon, kai pros ta theatra, allos logos.]

In the passage from which Horace has, in the verses now before us, described the office, and laid down the duties of the CHORUS, the passage referred to by the learned Critick, the words of Aristotle are not particularly favourable to the institution, or much calculated to recommend the use of it. For Aristotle there informs us, "that Sophocles alone of all the Grecian writers, made _the_ CHORUS conducive to the progress of the fable: not only even Euripides being culpable in this instance; but other writers, after the example of Agathon, introducing Odes as little to the purpose, as if they had borrowed whole scenes from another play."

[Greek: Kai ton chorus de ena dei upolazein tan upochriton. Kai morion einai tch olch, chai sunagonis*e mae osper par Euripidae, all osper para Sophochlei. Tois de loipois ta didomena mallon ta muthch, ae allaes Tragadias esi di o emzolima adchoi, protch arxanto Agrathonos tch toichtch Kai tch diaphsrei, ae aemzot ma adein, ae raesin ex allch eis allo armotteen, ae eteitodion oleos [per. poiaet. ch. iii.]]

On the whole therefore, whatever may be the merits, or advantages of _the_ CHORUS, I cannot think that the judgment of Aristotle or Horace can be adduced as recommendation of it. As to _the probability given to the representation, by CHORUS interposing and bearing a part in the action;_ the Publick, who have lately in a troop of singers assembled on the stage, as a Chorus, during the whole of presentations of Elfrida and Caractacus, are competent to decide for themselves, how far such an expedient, gives a more _striking resemblance of human life,_ than the common usage of our Drama. As to its importance in a _moral_ view, to correct the evil impression of vicious sentiments, _imputed_ to the speakers; the story told, to enforce its use for this purpose, conveys a proof of its efficacy. To give due force to sentiments, as well as to direct their proper tendency, depends on the skill and address of the Poet, independent of _the_ Chorus,

Monsieur Dacier, as well as the author of the above note, censures the modern stage for having rejected the Chorus, and having lost thereby _at least half its probability, and its_ greatest ornament; so that our Tragedy is _but a very faint shadow of the_ old. Learned Criticks, however, do not, perhaps, consider, that if it be expedient to revive _the_ Chorus, all the other parts of the antient Tragedy must be revived along with it. Aristotle mentions Musick as one of the six parts of Tragedy, and Horace no sooner introduces _the_ CHORUS, but he proceeds to _the _pipe _and _lyre. If a Chorus be really necessary, our Dramas, like those of the antients, should be rendered wholly _musical_; the _Dancers _also will then claim their place, and the pretentions of Vestris and Noverre may be admitted as _classical_. Such a spectacle, if not more _natural_ than the modern, would at least be consistent; but to introduce a groupe of _spectatorial actors_, speaking in one part of the Drama, and singing in another, is as strange and incoherent a medley, and full as _unclassical_, as the dialogue and airs of _The Beggar's Opera!_

290.--_Chaunting no Odes between the acts, that seem_ unapt, _or _foreign _to the _general theme.]

_Nec quid medios, &c._

On this passage the author of the English Commentary thus remarks. "How necessary this advice might be to the writers of the Augustan age cannot certainly appear; but, if the practice of Seneca may give room for suspicion, it should seem to have been much wanted; in whom I scarcely believe _there is_ one single instance, _of the _Chorus being employed in a manner, consonant to its true end and character."

The learned Critick seems here to believe, and the plays under the name of Seneca in some measure warrant the conclusion, that _the _Chorus of the Roman Stage was not calculated to answer the ends of its institution. Aristotle has told us just the same thing, with an exception in favour of Sophocles, of the Grecian Drama. And are such surmises, or such information, likely to strengthen our prejudices on behalf of _the _CHORUS, or to inflame our desires for its revival?

292.----LET IT TO VIRTUE PROVE A GUIDE AND FRIEND.]

_Ille bonis saveatque, &c._

"_The Chorus_," says the poet, "_is to take the side of the good and virtuous_, i. e. is always to sustain a moral character. But this will need some explanation and restriction. To conceive aright of its office, we must suppose the _Chorus _to be a number of persons, by some probable cause assembled together, as witnesses and spectators of the great action of the drama. Such persons, as they cannot be wholly uninterested in what passes before them, will very naturally bear some share in the representation. This will principally consist in declaring their sentiments, and indulging their reflexions freely on the several events and mistresses as they shall arise. Thus we see the _moral_, attributed to the Chorus, will be no other than the dictates of plain sense; such as must be obvious to every thinking observer of the action, who is under the influence of no peculiar partialities from _affection_ or _interest_. Though even these may be supposed in cases, where the character, towards which they _draw_, is represented as virtuous."

"A Chorus, thus constituted, must always, it is evident, take the part of virtue; because this is the natural and almost necessary determination of mankind, in all ages and nations, when acting freely and unconstrained." _Notes on the Art of Poetry._

297.--FAITHFUL AND SECRET.]--_Ille tegat commissa._

On this _nice part_ of the duty of _the_ CHORUS the author of the English Commentary thus remarks.

"This important advice is not always easy to be followed. Much indeed will depend on the choice of the subject, and the artful constitution of the fable. _Yet, with all his care, the ablest writer will sometimes find himself embarrassed by the_ Chorus. i would here be understood to speak chiefly of the moderns. For the antients, though it has not been attended to, had some peculiar advantages over us in this respect, resulting from the principles and practices of those times. For, as it hath been observed of the ancient epic Muse, that she borrowed much of her state and dignity from the false _theology_ of the pagan world, so, I think, it may be justly said of the ancient tragic, that she has derived great advantages of probability from its mistaken _moral_. If there be truth in this reflection, it will help to justify some of the ancient choirs, that have been most objected to by the moderns."

After two examples from Euripides; in one of which the trusty CHORUS conceals the premeditated _suicide_ of Phaedra; and in the other abets Medea's intended _murder of her children_, both which are most ably vindicated by the Critick; the note concludes in these words.

"In sum, though these acts of severe avenging justice might not be according to the express letter of the laws, or the more refined conclusions of the PORCH or ACADEMY; yet there is no doubt, that they were, in the general account, esteemed fit and reasonable. And, it is to be observed, in order to pass a right judgment on the ancient Chorus, that, though in virtue of their office, they were obliged universally to sustain a moral character; yet this moral was rather political and popular, than strictly legal or philosophic. Which is also founded on good reason. The scope and end of the ancient theatre being to serve the interests of virtue and society, on the principles and sentiments, already spread and admitted amongst the people, and not to correct old errors, and instruct them in philosophic truth."

One of the censurers of Euripides, whose opinion is controverted in the above note, is Monsieur Dacier; who condemns _the_ CHORUS in this instance, as not only violating their _moral_ office, but _transgressing the laws_ of Nature _and of_ God, _by a fidelity_; so vicious _and_ criminal, _that these women_, [_the_ Chorus!] _ought to fly away in the Car of Medea, to escape the punishment due to them_. The Annotator above, agrees with the Greek Scholiast, that _the Corinthian women (the_ Chorus) _being free_, properly desert the interests of Creon, and keep Medea's secrets, _for the sake of justice_, according to their custom. Dacier, however, urges an instance of their _infidelity_ in the ION of Euripides, where they betray the secret of Xuthus to Creusa, which the French Critick defends on account of their attachment to their mistress; and adds, that the rule of Horace, like other rules, is proved by the exception. "Besides (continues the Critick in the true spirit of French gallantry) should we so heavily accuse the Poet for not having made _an assembly of women_ keep a secret?" _D'ailleurs, peut on faire un si grand crime à un poete, de n'avoir pas fait en sorte qu'une troupe de femmes garde un secret?_ He then concludes his note with blaming Euripides for the perfidy of Iphigenia at Tauris, who abandons these faithful guardians of her secret, by flying alone with Orestes, and leaving them to the fury of Thoas, to which they must have been exposed, but for the intervention of Minerva.

On the whole, it appears that the _moral importance_ of _the_ CHORUS must be considered _with some limitations_: or, at least, that _the_ CHORUS is as liable to be misused and misapplied, as any part of modern Tragedy.

300.--_The_ pipe _of old_.]--_Tibi, non ut nunc, &c._

"This, says the author of the English Commentary, is one of those many passages in the epistle, about which the critics have said a great deal, without explaining any thing. In support of what I mean to offer, as the true interpretation, I observe,

"That the poet's intention certainly was not to censure the _false_ refinements of their stage-music; but, in a short digressive history (such as the didactic form will sometimes require) to describe the rise and progress of the _true_. This I collect, I. From _the expression itself_; which cannot, without violence, be understood in any other way. For, as to the words _licentia_ and _praeceps_, which have occasioned much of the difficulty, the _first_ means a _freer use_, not a _licentiousness_, properly so called; and the _other_ only expresses a vehemence and rapidity of language, naturally productive of a quicker elocution, such as must of course attend the more numerous harmony of the lyre:--not, as M. Dacier translates it, _une eloquence temeraire et outrée_, an extravagant straining and affectation of style. 2. From _the reason of the thing_; which makes it incredible, that the music of the theatre should then be most complete, when the times were barbarous, and entertainments of this kind little encouraged or understood. 3. From _the character of that music itself_; for the rudeness of which, Horace, in effect, apologizes in defending it only on the score of the imperfect state of the stage, and the simplicity of its judges."

The above interpretation of this part of the Epistle is, in my opinion, extremely just, and exactly corresponds with the explication of De Nores, who censures Madius for an error similar to that of Dacier. _Non rectè sentire videtur Madius, dum putat potius_ in Romanorum luxuriam_ invectum horatium, quam_ de melodiae incremento _tractasse_.

The musick, having always been a necessary appendage to _the_ Chorus, I cannot (as has already been hinted in the note on I. 100 of this version) confider the Poet's notice of the Pipe and Lyre, as a _digression_, notwithstanding it includes a short history of the rude simplicity of the Musick in the earlier ages of Rome, and of its subsequent improvements. _The_ Chorus too, being originally _the whole_, as well as afterwards a legitimate _part_ of Tragedy, the Poet naturally traces the Drama from its origin to its most perfect state in Greece; and afterwards compares its progress and improvements with the Theatre of his own country. Such is, I think, the natural and easy _method_ pursued by Horace; though it differs in some measure from the _order_ and _connection_ pointed out by the author of the English Commentary.

314.--For what, alas! could the unpractis'd ear Of rusticks revelling o'er country cheer, A motley groupe; high, low; and froth, and scum, Distinguish but shrill squeak, and dronish hum? --_Indoctus quid enim saperet, liberque laborum, Rusticus urbano confusus, turpis honesto?_

These lines, rather breaking in upon the continuity of the history of theatrical musick, _create_ some obscurity, which has given birth, to various interpretations. The author of the English Commentary, who always endeavours to dive to the very bottom of his subject, understands this couplet of Horace as a _sneer_ on those grave philosophers, who considered these _refinements_ of the musick as _corruptions_. He interprets the passage at large, and explains the above two lines in these words. "Nor let it be objected than this _freer harmony_ was itself an abuse, a corruption of the severe and _moral_ musick of antient times. Alas! we were not as yet so _wise_, to see the inconveniences of this improvement. And how should we, considering the nature and end of these theatrical entertainments, and the sort of men of which our theatres were made up?"

This interpretation is ingenious; but Jason De Nores gives, I think, a more easy and unforced explanation of this difficult passage, by supposing it to refer (by way of _parenthesis_) to what had just been said of the original rude simplicity of the Roman theatrical musick, which, says the Poet, was at least as polished and refined as the taste of the audience. This De Nores urges in two several notes, both which I shall submit to the reader, leaving it to him to determine how far I am to be justified in having adapted my version to his interpretation.

The first of these notes contains at large his reproof of Madius for having, like Dacier, supposed the Poet to censure the improvements that he manifestly meant to commend.

_Quare non recté videtur sentire Madius, dum putat potius in Romanorum luxuriam invectum Horatium, quàm de melodiae incremento tractasse, cùm_ seipsum interpretans, _quid fibi voluerit per haec, luce clarius, ostendat,_

Tibia non ut nunc orichalco vincta, tubaeque AEmula. Et, Sic priscae motumque, & luxuriam addidit arti Tibicen, traxitque vagus per pulpita vestem: Sic etiam fidibus voces crevere feveris, Et tulit eloquium infolitum fecundia praeceps.

_Ad quid enim tam longâ digressione extra, rem propositam in Romanos inveberetur, cùm de iis nihil alîud dicat, quàm eos genio ac valuptatibus indulgere: cum potius_ veteres Romanos insimulare videatur ionorantiae, quod ignoraverint soni et musices venustatem et jucunditatem, illa priori scilicet incondita et rudi admodum contenti, _dum ait_; Indoctus quid enim saperet, liberque laborum, Rusticus urbano confusus, turpis honesto?

The other note is expressly applied by way of comment on this passage itself.

[Indoctus quidenim saperet?] Reddit rationem quasiper digressionem, occurrens tacitae objectioni quare antea apud Romanos musica melodia parva aut nulla pene fuerat: quia, inquit, indocti ignarique rerum omnium veteres illi nondum poterant judicare de melodia, utpote apud eos re novâ, atque inufitatâ, neque illius jucunditatem degustare, quibus verbis imperitiam eorum, rusticatatemque demonstrat.

Upon the whole De Nores appears to me to have given the true sense of the passage. I am no friend to licentious transpositions, or arbitrary variations, of an author's text; yet I confess, I was strongly tempted, in order to elucidate his perplexed passage, to have carried these two lines of Horace four lines back, and to have inserted them immediately after the 207th verse.

_Et frugi, castus, verecundusque coibat._

The English reader, who wishes to try the experiment, is desired to read the four lines, that compose my version, immediately after the 307th line,

_With modest mirth indulg'd their sober taste._

3l8.--The Piper, _grown luxuriant in his art._]

320.--_Now too, its powers increas'd_, The Lyre severe.]

Sic priscae--arti tibicen, &c. sic fidibus, &c.