PART II.

DIRECTIONS FOR THE REGULATION AND IMPROVEMENT OF THE ROMAN STAGE.

Having fixed the distinct limits and provinces of the two species of the drama, the poet enters directly on his subject, and considers, I. [from v. 99 to 119] the properties of the TRAGIC STYLE; which will be different, 1. [to v. 111] according to the _internal state and character_ of the speaker: thus one sort of expression will become the _angry_; another, the _sorrowful_; this, the _gay_, that, the _severe_. And, 2. [from v. 111 to 119] according to the outward circumstances of _rank_, _age_, _office_, or _country_.

II. Next [to v. 179] he treats of the CHARACTERS, which are of two sorts. 1. _Old ones, revived_: and 2. _Invented, or new ones_. In relation to the _first_ [from v. 119 to 125] the precept is, to _follow fame_; that is, to fashion the character according to the _received, standing idea_, which tradition and elder times have consecrated; that idea being the sole test, whereby to judge of it. 2. In respect of the _latter_ [from v. 125 to 128] the great requisite is _uniformity_, or _consistency of representation_. But the formation of quite _new characters_ is a work of great difficulty and hazard. For here, there is no generally received and fixed _archetype_ to work after, but every one judges, of common right, according to the extent and comprehension of his own idea. Therefore [to v. 136] he advises to labour and refit _old characters and subjects_; particularly those, made known and authorized by the practice of Homer and the epic writers; and directs, at the same time, by what means to avoid that _servility and unoriginal air_, so often charged upon such pieces. I said _characters and subjects_, for his method leading him to guard against servility of imitation in point of _characters_, the poet chose to dispatch the whole affair of _servile imitation_ at once, and therefore [to v. 136] includes _subjects_, as well as _characters_.

But this very advice, about taking the subjects and characters from the epic poets, might be apt to lead into two faults, arising from the ill conduct of those poets themselves. For, 1. [to v. 146] the dignity and importance of a subject, made sacred by antient fame, had sometimes occasioned a boastful and ostentatious beginning, than which nothing can be more offensive. And, 2. The whole story being composed of great and striking particulars, injudicious writers, for fear of losing any part of it, which might serve to adorn their work, had been led to follow the _round of plain historic order_, and so had made the disposition of their piece _uninteresting and unartful_. Now both these improprieties, which appear so shocking in the _epic poem_, must needs, with still higher reason, deform the _tragic_. For, taking its rise, not from the flattering views of the _poet_, but the real situation of the _actor_, its opening must of necessity, be very simple and unpretending. And being, from its short term of action, unable naturally to prepare and bring about many events, it, of course, confines itself to _one_; as also for the sake of producing a due _distress_ in the plot; which can never be wrought up to any _trying_ pitch, unless the whole attention be made to fix on _one_ single object. The way to avoid both these faults, will be to observe (for here the imitation cannot be too close) the well-judged practice of Homer.

Having thus considered the affair of _imitation_, and shewn how _old characters_, and, to carry it still further, _old_ subjects, may be successfully treated, he resumes the head of _characters_, and proceeds more fully [from v. 153 to 179] to recommend it as a point of principal concern in the drawing of them, to be well acquainted with the manners, agreeing to the several successive periods and stages of human life. And this with propriety: for, though he had given a hint to this purpose before,

_Maturusne senex, an adhuc florente juventâ Fervidus_,

yet, as it is a point of singular importance, and a regard to _it_, besides other distinctions, must be constantly had in the draught of every character, it well deserved a separate consideration.

III. These instructions, which, in some degree, respect all kinds of poetry, being dismissed; he now delivers some rules more peculiarly relative to the case of the _drama_. And, as the _misapplication of manners_, which was the point he had been considering, was destructive of _probability_, this leads the poet, by a natural order, to censure some other species of misconduct, which have the _same effect_. He determines then, 1. [from v. 179 to 189] The case of _representation_ and _recital_: or what it is, which renders some things more fit to be _acted_ on the stage, others more fit to be _related_ on it. Next, 2. In pursuance of the same point, _viz. probability_ [to v. 193] he restrains the use of _machines_; and prescribes the number of _acts_, and of _persons_, to be introduced on the stage at the same time. And, 3. lastly, the _persona dramatis_, just mentioned, suggesting it to his thoughts, he takes occasion from thence to pass on to the _chorus_ [from v. 193 to 202] whose double office it was, 1. To sustain the part of a _persona dramatis_ in the acts; and, 2. To connect the _acts_ with songs, persuading to good morals, and suitable to the subject. Further, tragedy being, originally, nothing more than a _chorus_ or song, set to music, from which practice the harmony of the regular chorus in aftertimes had its rise, he takes occasion to digress [from v. 202 to 220] in explaining the simplicity and barbarity of the _old_, and the refinements of the _later_, music. The application of this account of the dramatic music to the case of the tragic chorus, together with a short glance at the other improvements of _numbers, stile, &c._ necessarily connected with it, gives him the opportunity of going off easily into a subject of near affinity with this, _viz._ the _Roman satiric piece_; which was indeed a species of tragedy, but of so extraordinary a composition, as to require a set of rules, and instructions, peculiar to itself. A point, in which they agreed, but which was greatly misunderstood or ill-observed by his countrymen, was the kind of verse or measure employed in them. This therefore, by a disposition of the most beautiful method, he reserves for a consideration by itself, having, first of all, delivered such rules, as seemed necessary about those points, in which they essentially differed. He explains then [from v. 220 to 225] the _use and end_ of the _satires_, shewing them to be designed for the exhilaration of the rustic youth, on their solemn festivities, after the exhibition of the graver, tragic shews. But, 2. To convert, as far as was possible, what was thus a necessary sacrifice to the taste of the multitude into a tolerable entertainment for the better sort, he lays down [from v. 225 to 240] the exactest description or idea of this sort of poem; by means of which he instructs us in the due temperature and decorum of the satyric style. 3. Lastly, [from v. 240 to 251] he directs to the choice of proper subjects, and defines the just character of those principal and so uncommon _personages_ in this drama, the _satyrs_ themselves. This being premised, he considers, as was observed, what belongs in common to this with the regular tragedy [from v. 251 to 275] the laws and use of the _iambic_ foot; reproving, at the same time, the indolence or ill-taste of the Roman writers in this respect, and sending them for instruction to the Grecian models.

Having introduced his critique on the _stage-music_, and _satyric drama_, with some account of the rise and progress of _each_, the poet very properly concludes this whole part [from v. 275 to 295] with a short, incidental history of the principal improvements of the _Greek tragedy and comedy_; which was artfully contrived to insinuate the defective state of the Roman drama, and to admonish his countrymen, how far they had gone, and what yet remained to complete it. And hence with the advantage of the easiest transition he slides into the last part of the epistle; the design of which, as hath been observed, was to reprove an _incorrectness and want of care_ in the Roman writers. For, having just observed their _defect_, he goes on, in the remaining part of the epistle, to sum up the several causes, which seem to have produced it. And this gives him the opportunity, under every head, of prescribing the proper remedy for each, and of inserting such further rules and precepts for good writing, as could not so properly come in before. The whole is managed with singular address, as will appear from looking over particulars.