The Art Of Poetry An Epistle To The Pisos

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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 a 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
outree_, 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
recte 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 recte videtur sentire Madius, dum putat potius in Romanorum
luxuriam invectum Horatium, quam de melodiae incremento tractasse,
cum_ 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 longa digressione extra, rem propositam in Romanos
inveberetur, cum de iis nihil aliud dicat, quam 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 nova, atque inufitata, 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.

"This is the application of what hath been said, in general, concerning
the refinement of theatrical music to the case of _tragedy_. Some
commentators say, and to _comedy._ But in this they mistake, as will
appear presently. M. _Dacier_ hath I know not what conceit about a
comparison betwixt the _Roman_ and _Greek_ stage. His reason is, _that
the lyre was used in the Greek chorus, as appears, he says, from
Sophocles himself playing upon this instrument himself in one of his
tragedies._ And was it not used too in the Roman chorus, as appears from
Nero's playing upon it in several tragedies? But the learned critic
did not apprehend this matter. Indeed from the caution, with which his
guides, the dealers in antiquities, always touch this point, it should
seem, that they too had no very clear conceptions of it. The case I take
to have been this: The _tibia_, as being most proper to accompany the
declamation of the acts, _cantanti fuccinere_, was constantly employed,
as well in the Roman tragedy as comedy. This appears from many
authorities. I mention only two from Cicero. _Quam multa_ [Acad. 1. ii.
7.] _quae nos fugiunt in cantu, exaudiunt in eo genere exercitati: Qui,
primo inflatu Tibicinis, Antiopam esse aiunt aut Andromacham, cum nos
ne suspicemur quidem_. The other is still more express. In his piece
entitled _Orator_, speaking of the negligence of the Roman writers, in
respect of _numbers_, he observes, _that there were even many passages
in their tragedies, which, unless the_ TIBIA _played to them, could not
be distinguished from mere prose: quae, nisi cum Tibicen accesserit,
orationi sint solutae simillima._ One of these passages is expressly
quoted from _Thyestes_, a tragedy of _Ennius_; and, as appears from
the measure, taken out of one of the acts. It is clear then, that the
_tibia_ was certainly used in the _declamation_ of tragedy. But now the
song of the tragic chorus, being of the nature of the ode, of course
required _fides_, the lyre, the peculiar and appropriated instrument
of the lyric muse. And this is clearly collected, if not from express
testimonies; yet from some occasional hints dropt by the antients. For,
1. the lyre, we are told, [Cic. De Leg. ii. 9. & 15.] and is agreed
on all hands, was an instrument of the Romon theatre; but it was not
employed in comedy, This we certainly know from the short accounts of
the music prefixed to Terence's plays. 2. Further, the _tibicen_, as
we saw, accompanied the declamation of the acts in tragedy. It remains
then, that the proper place of the lyre was, where one should naturally
look for it, in the songs of the chorus; but we need not go further than
this very passage for a proof. It is unquestionable, that the poet is
here speaking of the chorus only; the following lines not admitting
any other possible interpretation. By _fidibus_ then is necessarily
understood the instrument peculiarly used in it. Not that it need be
said that the _tibia_ was never used in the chorus. The contrary seems
expressed in a passage of Seneca, [Ep. ixxxiv.] and in Julius Pollux
[1. iv. 15. Sec. 107.] It is sufficient, if the _lyre_ was used solely, or
principally, in it at this time. In this view, the whole digression is
more pertinent, and connects better. The poet had before been speaking
of tragedy. All his directions, from 1. 100, respect this species of the
drama only. The application of what he had said concerning music, is
then most naturally made, I. to the _tibia_, the music of the acts; and,
2. to _fides_, that of the choir: thus confining himself, as the tenor
of this part required, to tragedy only. Hence is seen the mistake, not
only of M. Dacier, whose comment is in every view insupportable; but, as
was hinted, of Heinsius, Lambin, and others, who, with more probability,
explained this of the Roman comedy and tragedy. For, though _tibia_
might be allowed to stand for comedy, as opposed to _tragoedia_, [as in
fact, we find it in 1. ii. Ep. I. 98,] that being the only instrument
employed in it; yet, in speaking expressly of the music of the stage,
_fides_ could not determinately enough, and in contradistinction to
_tibia_, denote that of tragedy, it being an instrument used solely,
or principally, in the chorus; of which, the context shews, he alone
speaks. It is further to be observed, that, in the application here
made, besides the music, the poet takes in the other improvements of the
tragic chorus, these happening, as from the nature of the thing they
would do, at the same tine. _Notes on the Art of Poetry._

3l9.--with dance and flowing vest embellishes his part.]

_Traxitque vagus per pulpita vestem._

"This expresses not only the improvement arising from the ornament of
proper dresses, but from the grace of motion: not only the _actor_,
whose peculiar office it was, but the _minstrel_ himself, as appears
from hence, conforming his gesture in some sort to the music.

"Of the use and propriety of these gestures, or dances, it will not be
easy for us, who see no such things attempted on the modern stage, to
form any very clear or exact notions. What we cannot doubt of is,
1. That the several theatrical dances of the antients were strictly
conformable to the genius of the different species of composition, to
which they were applied. 2. That, therefore, the tragic dance, which
more especially accompanied the Chorus, must have been expressive of
the highest gravity and decorum, tending to inspire ideas of what is
_becoming, graceful, and majestic;_ in which view we cannot but perceive
the important assistance it must needs lend to virtue, and how greatly
it must contribute to set all her graces and attractions in the fairest
light. 3. This idea of the ancient tragic dance, is not solely formed
upon our knowledge of the conformity before-mentioned; but is further
collected from the name usually given to it, which was [Greek
transliteration: Emmeleia] This word cannot well be translated into our
language; but expresses all that grace and concinnity of motion, which
the dignity of the choral song required. 4. Lastly, it must give us a
very high notion of the moral effect of this dance, when we find the
severe Plato admitting it into his commonwealth. _Notes on the Art of
Poetry._"

326--he who the prize, a filthy goat, to gain,
at first contended in the tragick strain.
_Carmine qui tragico, vilem certavit ob bircum._

If I am not greatly deceived, all the Editors, and Commentators on this
Epistle, have failed to observe, that the _historical_ part of it,
relative to the Graecian Drama, commences at this verse; all of them
supposing it to begin, 55 lines further in the Epistle, on the mention
of Thespis; whom Horace as early, as correctly, describes to be the
first _improver_, not _inventor_ of Tragedy, _whose_ original he marks
_here._ Much confusion has, I think, arisen from this oversight, as I
shall endeavour to explain in the following notes; only observing this
place, that the Poet, having spoken particularly of all the parts of
Tragedy, now enters with the strictest _order_, and greatest propriety,
into its general history, which, by his strictures on the chorus, he
most elegantly, as well as forcibly, connects with his subject, taking
occasion to speak _incidentally_ of other branches of the Drama,
particularly the satyre, and the Old Comedy

323--_Soon too--tho' rude, the graver mood unbroke,_
Stript the rought satyrs, _and essay'd a joke.
Mox etiam_ agrestes saytros, &c.

"It is not the intention of these notes to retail the accounts of
others. I must therefore refer the reader, for whatever concerns the
history of the satiric, as I have hitherto done of the tragic and comic
drama, to the numerous dissertators on the ancient stage; and, above
all, so the case before us, to the learned Casaubon; from whom all that
hath been said to any purpose, by modern writers, hath been taken. Only
it will be proper to observe one or two particulars, which have been
greatly misunderstood, and without which if will be impossible, in any
tolerable manner, to explain what follows.

"I. The design of the poet, in these lines, is not to fix the origin of
the satyric piece, in ascribing the invention of it to Thespis. This
hath been concluded, without the least warrant from his own words, which
barely tell us, 'that the representation of tragedy was in elder Greece
followed by the _satires;_' and indeed the nature of the thing, as well
as the testimony of all antiquity, shews it to be impossible. For the
_satire_ here spoken of is, in all respects, a regular drama, and
therefore could not be of earlier date than the times of Aeschylus,
when the constitution of the drama was first formed. It is true indeed,
there was a kind of entertainment of much greater antiquity, which by
the antients is sometimes called _satyric,_ out of which (as Aristotle
assures us) tragedy itself arose, [Greek: *illegible] But then
this was nothing but a chorus of satyrs [Athenaeus, 1. xiv.] celebrating
the festivals of _Bacchus,_ with rude songs and uncouth dances; and had
little resemblance to that which was afterwards called _satiric;_ which,
except that it retained the chorus of satyrs, and turned upon some
subject relative to Bacchus, was of a quite different structure, and, in
every respect, as regular a composition as tragedy itself."

"II. There is no doubt but the poem, here distinguished by the name of
satyri, was in actual use on the Roman stage. This appeals from the turn
of the poet's whole criticism upon it. Particularly, his address to the
Pisos, 1. 235 and his observation of the offence which a loose dialogue
in this drama would give to a _Roman_ auditory, 1. 248, make it evident
that he had, in fact, the practice of his own stage in view."

"III. For the absolute merit of these satires, the reader will judge
of it himself by comparing the Cyclops, the only piece of this kind
remaining to us from antiquity, with the rules here delivered by Horace.
Only it may be observed, in addition to what the reader will find
elsewhere [_n._ 1. 223.] apologized in its favour, that the double,
character of the satires admirably fitted it, as well for a sensible
entertainment to the wise, as for the sport and diversion of the vulgar.
For, while the grotesque appearance and jesting vein of these fantastic
personages amused the one, the other saw much further; and considered
them, at the same time, as replete with science, and informed by a
spirit of the most abstruse wisdom. Hence important lessons of civil
prudence, interesting allusions to public affairs, or a high, refined
moral, might, with the highest probability, be insinuated, under the
slight cover of a rustic simplicity. And from this instructive cast,
which from its nature must be very obscure, if not impenetrable, to us
at this day, was, I doubt not, derived the principal pleasure which the
antients found in this species of the drama. If the modern reader would
conceive any thing of the nature and degree of this pleasure, he may
in part guess at it, from reflecting on the entertainment he himself
receives from the characters of the clowns in Shakespeare; _who_, as the
poet himself hath characterized them, _use their folly, like a stalking
horse, and, under the presentation of that, shoot their wit._" [_As you
like it._]--_Notes on the Art of Poetry._ [Footnote: This, and all the
extracts, which are quoted, _Notes on the Art of Poetry_, are taken from
the author of the English Commentary. ]

This learned note, I think, sets out with a misapprehension of the
meaning of Horace, by involving his _instructions_ on the Satyrick
drama, with his account of its _Origin_. Nor does he, in the most
distant manner, insinuate, tho' Dacier has asserted the same thing, that
_the_ satyrs owed their first introduction to _Thespis_; but relates,
that the very Poets, who contended in _the Goat-Song_, to which tragedy
owes its name, finding it too solemn and severe an entertainment for
their rude holiday audience, interspersed the grave strains of tragedy
with comick and _satyrical_ Interludes, producing thereby a kind of
medley, something congenial to what has appeared on our own stage, under
the name of Tragi-comedy. Nor, if I am able to read and comprehend the
context, so the words of Horace tell us, "that the representation of
Tragedy was, in 'elder Greece,' _followed_ by _the_ satyrs." The Satyrs
composed a part of the Tragedy in its infancy, as well as in the days
of Horace, if his own words may be quoted as authority. On any other
construction, his directions, concerning* the conduct of the _God_ or
_Hero_ of the piece, are scarcely reconcilable to common sense; and it
is almost impossible to mark their being incorporated with the Tragedy,
in more expressive terms or images, than by his solicitude to prevent
their broad mirth from contaminating its dignity or purity._Essutire
leves indigna_ tragaedia _versus ut sestis matrona moveri jussa diebus,_
intererit satyris _paulum pudibunda_ protervis.

_The_ cyclops of Euripides, the only Satyrick drama extant, written at
a much later period, than that of which Horace speaks in this place,
cannot, I think, convey to us a very exact idea of _the Tragick
Pastorals_, whose _origin_ he here describes. _The_ cyclops, scarce
exceeding 700 lines, might be played, according to the idea of some
criticks, after another performance: but that cannot, without the
greatest violence to the text, be supposed of the Satyrick piece here
mentioned by Horace. The idea of _farces_, or _after-pieces_, tho' an
inferior branch of the Drama, is, in fact, among the refinements of
an improved age. The writers of an early period throw their dramatick
materials, serious and ludicrous, into one mass; which the critical
chymistry of succeeding times separates and refines. The modern stage,
like the antient, owed its birth to the ceremonies of Religion. From
_Mysteries_ and _Moralities_, it proceeded to more regular Dramas,
diversifying their serious scenes, like _the_ Satyrick poets, with
ludicrous representations. This desire of _variety_ was one cause of the
agrestes satyros. _Hos autem loco chori introductor intelligit, non, us
quidam volunt, in ipsa tragoedia, cum praesertim dicat factum, ut grata
novitate detinerentur spectatores: quod inter unum & alterum actum sit,
chori loco. in tragoedia enim ipsa, cum flebilis, severa, ac gravis sit,
non requiritur bujusmodi locorum, ludorumque levitas, quae tamen inter
medios actus tolerari potest, & boc est quod ait, incolumi gravitate.
Ea enim quae funt, quaeve dicuntur inter medios actus, extra tragordiam
esse intelligentur, neque imminuunt tragoedioe gravi*tem._--DE NORES.

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