Let a play which would be inquired after, and though seen, represented anew, be neither shorter nor longer than the fifth act. Neither let a god interfere, unless a difficulty worthy a god's unraveling should happen; nor let a fourth person be officious to speak.

The poet does not forbid a fourth person to speak, but would have him say very little, as the Scholiast understands the precept. Indeed, a conversation of three people is most agreeable, because it is less confused and less divides the attention of an audience.

Let the chorus

The chorus was not introduced between the acts, merely to relieve the audience, but had a part in the play, and concurred with the other actors to carry on the plot, and support the probability of it. The Choriphaeus, or first person of the chorus, entered in the acts, and spoke for all those of whom the chorus was composed; officiumque virile defendat.Hor. Ars 193 The chorus filled up the intervals of the acts with their songs, which were composed of reflections upon what was past, or their apprehensions of what might happen.

sustain the part and manly

Officiumque virileHor. Ars 193. Heinsius takes virile adverbially, for viriliter. But this is thought harsh. What hinders, but that it may be taken adjectively? And then, agreeably to his interpretation, "officium virile" will mean a strenuous, diligent office, such as becomes a person interested in the progress of the action. The precept is leveled against the practice of those poets who, though they allow the part of a persona dramatis to the chorus, yet for the most part make it so idle and insignificant a one, as is of little consequence in the representation; by which means the advantage of probability, intended to be drawn from this use of the chorus, is, in great measure, forfeited.

character of an actor: nor let them sing any thing between the acts which is not conducive to, and fitly coherent with, the main design. Let them both patronize the good,

The chorus, says the poet, is to take the side of the good and virtuous; i. e. (see note on v. 193), 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 can not 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 reflections freely on the several events and distresses 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 toward 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.

and give them friendly advice, and regulate the passionate, and love to appease thou who swell [with rage]:

I read pacare tumentes, with Bentley, Orelli, and others.

let them praise the repast of a short meal, the salutary effects of justice, laws, and peace with her open gates; let them conceal what is told to them in confidence,

The Choriphaeus was present through the whole play, and was often necessarily intrusted with the secrets of the persons of the drama. To preserve the probability, the poets chose a chorus, that was obliged by their own interest to keep those secrets, and without acting contrary to their duty. Euripides hath greatly offended against this precept.

and supplicate and implore the gods that prosperity may return to the wretched, and abandon the haughty.

The flute,

Tibia non ut nunc orichalcoHor. Ars 202, etc. (From v. 202 to v. 220.) This 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,

I. 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, 1. From the expression itself, which can not, 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 theater 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. This then being clear, I observe,

II. That those two verses, Indoctus quid enim saperet liberque laborum,Rusticus urbane confusus, turpis honesto?(212-213) are, as they now stand, utterly inexplicable. This hath appeared long since, from the fruitless labors of the critics, and, above all, of Lambin, one of the best of them, who, after several repeated efforts to elucidate this place, leaves it just as dark and unintelligible as he found it. The interpretation, without them, stands thus: "The tibia," says the poet, "was at first low and simple. The first, as best agreeing to the then state of the stage, which required only a soft music to go along with and assist the chorus, there being no large and crowded theaters to fill in those days. And the latter, as suiting best to the then state of the times, whose simplicity and frugal manners exacted the severest temperance, as in every thing else, so in their dramatic ornaments and decorations. But, when conquest had enlarged the territory and widened the walls of Rome, and, in consequence thereof, a social spirit had dispelled that severity of manners, by the introduction of frequent festival solemnities, then, as was natural to expect, a freer and more varied harmony took place. And thus it was, that the tibicen, the musician who played to the declamation in the acts, instead of the rude and simpler strain of the old times, gave a richness and variety of tone; and instead of the old inactive posture, added the grace of motion to his art. Just in the same manner," continues he, "it happened to the lyre, i. e. the music in the chorus, which originally, as that of the tibia, was severe and simple; but, by degrees, acquired a quicker and more expressive modulation, such as corresponded to the more elevated and passionate turn of the poet's style, and the diviner enthusiasm of his sentiment."

(not as now, begirt with brass and emulous of the trumpet, but) slender and of simple form, with few stops, was of service to accompany and assist the chorus, and with its tone was sufficient to fill the rows that were not as yet too crowded, where an audience, easily numbered, as being small and sober, chaste and modest, met together. But when the victorious Romans began to extend their territories, and an ampler wall encompassed the city, and their genius was indulged on festivals by drinking wine in the day-time without censure; a greater freedom arose both to the numbers [of poetry], and the measure [of music].

Accessit numerisque modisque licentia major.Hor. Ars 211 M. Dacier is out again, when he takes licentia major in a bad sense, as implying lasciveté, a culpable and licentious refinement. The license here spoken of, with regard to numbers and sounds, like that in another place, which respects words (l. 51), is one of those which is allowed, when sumpta pudenter. The comparative major, which is a palliative, shows this; and is further justified by a like passage in Cicero de Oratore (I. iii. c. 48), where, speaking of this very license in poetry, he observes, that out of the heroic and iambic measure, which was at first strictly observed, there arose by degrees the anapaest, "procerior quidam numerus, et ille licentior et divitior dithyrambus"; evidently not condemning this change, but opposing it to the rigorous and confined measures of the elder poet. But the expression itself occurs in the piece entitled "Orator," in which, comparing the freedoms of the poetical and oratorical style, "in ea" (i. e. poetica), says he, "licentiam statuo majorem esse, quam in nobis faciendorum iungendorumque verborum." The poet says this license extended "numeris modisque," the former of which words will express that license of meter spoken of by Cicero, and which is further explained, v. 256, etc., where an account is given of the improvement of the iambic verse. HURD.

For what taste could an unlettered clown and one just dismissed from labors have, when in company with the polite; the base, with the man of honor? Thus the musician added

Sic priscae … arti tibicenHor. Ars 215, etc. — Sic etiam fidibusHor. Ars 216, etc. 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, lie says, from Sophocles 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 conception of it. The case I take to have been this: the tibia, as being most proper to accompany the declamation of the acts, cantanti succinere, was constantly employed, as well in the Roman tragedy as comedy. This appears from many authorities. I mention only two from Cicero. (Acad. 1. ii. 7)"Quam multa quae nos fugiunt in cantu, exaudiunt in eo genere exercitati: Qui, primo inflatu tibicinis, Antiopam esse aiunt aut Andromachem, 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 expressely 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 dropped by the ancients. For, 1. The lyre we are told (Cic. de Leg. ii. 9 and 15), and is agreed on all hands, was an instrument of the Roman theater; but it was not employed in comedy. This we certainly know from the short accounts of the music prefixed to Terrence'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, it is necessarily understood the instrument peculiarly used in it. In this view, the whole digression is more pertinent and connects better. The poet had before been speaking of tragedy. All his directions, from l. 100, respect this species of the drama only. The application of what he had said concerning music is then most naturally made, 1. 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 tragedy and comedy. For, though tibia might be allowed to stand for comedy, as opposed to tragoedia (as, in fact, we find it in II. Ep. 1. 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 shows, 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 must, at the same time.

new movements and a luxuriance to the ancient art, and strutting backward and forward, drew a length of train over the stage; thus likewise new notes were added to the severity of the lyre, and precipitate eloquence produced an unusual language [in the theater]: and the sentiments [of the chorus, then] expert in teaching useful things and prescient of futurity, differ hardly from the oracular Delphi.

Sententia Delphis.Hor. Ars 219Sententia is properly an aphorism taken from life, briefly representing either what is or what ought to be the conduct of it: "Oratio sumpta de vita, quae aut quid sit aut quid esse oporteat in vita, breviter ostendit."(Ad Herenn. Rhet. 1. iv.) These aphorisms are here mentioned, as constituting the peculiar praise and beauty of the chorus. This is finely observed, and was intended to convey an oblique censure on the practice of those poets, who stuff out every part of the drama alike with moral sentences, not considering that the only proper receptacle of them is the chorus, where indeed they have an extreme propriety, it being the peculiar office and character of the chorus to moralize.

The poet, who first tried his skill in tragic verse for the paltry [prize of a] goat, soon after exposed to view wild satyrs naked,

There was a kind of tragic comedies among the Greeks, which they called Satyrs, because the chorus was formed of Satyrs, who sung the praises of Bacchus between the acts, and said a thousand low pleasantries. The only piece of this kind remaining to us is the Cyclops of Euripides, in which Ulysses is the principal actor. The Romans, in imitation of the Greek Satyrs, had their Atellanae, so called from Atella, the city where they were first played.

and attempted raillery with severity, still preserving the gravity [of tragedy]: because the spectator on festivals, when heated with wine

Potus et exlex.Hor. Ars 224 The lines, Indoctus quid enim saperet liberque laborum Rusticus urbane confusus, turpis honesto(212-213) were, I observed, certainly misplaced. They should, I think, come in here, where their sense is extremely pertinent. The poet had been speaking of the satyric drama, which, says he, was added to the tragic, eo quod Illecebris erat, et grata novitate morandus Spectator, functusque sacris, et potus, et exlex.(223-225) But why, it might be asked, this compliance, in so false a taste, with a drunken, lawless rabble? The answer is natural and to the purpose. "Because their theaters necessarily consisted of a mixed assembly, every part of which was to be considered in the public diversions." The question then hath an extreme propriety, "Indoctus quid enim saperet liberque laborum, Rusticus urbane confusus, turpis honesto?" The rusticus and turpis demanded the satyric piece. It was the necessary result of this mixutre; as, to gratify the better sort, the urbanus and honestus, the tragic drama was exhibited. It is some prejudice in favor of this conjecture, that it explains to us, what would otherwise appear very strange, that such gross ribaldry, as we know the Atellanes consisted of, could ever be endured by the politest age of Rome. But scenical representations being then intended, not as in our days, for the entertainment of the better sort, but on certain great solemnities, indifferently for the diversion of the whole city, it became necessary to consult the taste of the multitude, as well as of those, quibus est equus et pater et res.Hor. Ars 248

and disorderly, was to be amused with captivating shows and agreeable novelty. But it will be expedient so to recommend the bantering, so the rallying satyrs, so to turn earnest into jest; that none who shall be exhibited as a god, none who is introduced as a hero lately

This proves that the same actor, as M. Dacier observes, who had been an Orestes or Ulysses in the tragic part, played the same chraracter in the comic or Atellanae. Thus Plautus in the prologue to his Menechmes, "this town, during this play, shall be Epidamnum, and when it has been acted, it may be any other city. As in a company of players, the same person shall, at different times, be a pander, a youth, an old man, a beggar, a king, a parasite, a soothsayer."(72-76) St. Jerome hath finely imitated this passage: "our vices oblige us to play many characters, for every vice wears a different mask. Thus in a theater, the same person plays a robust and nervous Hercules, a dissolute Venus, and a furious Cyclops."

conspicuous in regal purple and gold, may deviate into the low style of obscure, mechanical shops; or, [on the contrary,] while he avoids the ground, affect cloudy mist and empty jargon. Tragedy

Indigna tragoedia versus.Hor. Ars 231 Horace means the Atellanae, which were in so much esteem, that the persons, who acted in them, were not ranked with the comedians, nor were obliged to unmask on the stage when they played ill, as others were; and, as a peculiar honor, they were allowed to enlist in the army. Therefore low and trivial verses were beneath the dignity of the Atellanae.

disdaining to prate forth trivial verses, like a matron commanded to dance on the festival days,

Young women were usually chosen to dance in honor of the gods, but in some festivals, as in that of the great goddess, the pontiffs obliged married women to dance. Hence the poet says iussa.

will assume an air of modesty, even in the midst of wanton satyrs. As a writer of satire, ye Pisos, I shall never be fond of unornamented and reigning terms:

Dominantia verba.Hor. Ars 234 What the Greeks call κύρια, as if they were masters of the thing they would express; as we say in English, "calling things by their proper names."

nor shall I labor to differ so widely from the complexion of tragedy, as to make no distinction, whether Davus be the speaker. And the bold Pythias, who gained a talent by gulling Simo; or Silenus, the guardian and attendant of his pupil-god [Bacchus]. I would so execute a fiction

This precept (from v. 240 to 244) is analogous to that before given (v. 129) concerning tragedy. It directs to form the Satyrs out of a known subject. The reasons are, in general, the same for both. Only one seems peculiar to the Satyrs. For, the cast of them being necessarily romantic, and the persons those fantastic beings called satyrs, the τὸ ὅμοιον, or probable, will require the subject to have gained a popular belief, without which the representation must appear unnatural. Now, these subjects which have gained a popular belief, in consequence of old tradition, and their frequent celebration in the poets, are what Horace calls nota; just as newly invented subjects, or, which comes to the same thing, such as had not been employed by other writers, indicta, he, on a like occasion, terms ignota. The connection lies thus. Having mentioned Silenus in v. 239, one of the commonest characters in this drama, an objection immediately offers itself; "But what good poet will engage in subjects and characters so trite and hackneyed?" The answer is, ex note fictum carmen sequarHor. Ars 240, i. e. however trite and well known this and some other characters, essential to the Satyr, are and must be; yet will there be still room for fiction and genius to show itself. The conduct and disposition of the play may be wholly new, and above the ability of common writers, tantum series iuncturaque pollet.Hor. Ars 242

taken from a well-known story, that any body might entertain hopes of doing the same thing; but, on trial, should sweat and labor in vain. Such power has a just arrangement and connection of the parts: such grace may be added to subjects merely common. In my judgment the Fauns, that are brought out of the woods, should not be too gamesome with their tender strains, as if they were educated in the city, and almost at the bar; nor, on the other hand, should blunder out their obscene and scandalous speeches. For [at such stuff] all are offended, who have a horse,

Quibus est equusHor. Ars 248, etc., the knights who have a horse, kept at public expense; quibus est pater,Hor. Ars 248 people of birth, patricians; quibus est resHor. Ars 248, they who have wealth, and are therefore distinguished from knights and patricians.

a father, or an estate: nor will they receive with approbation, nor give the laurel crown, as the purchasers of parched peas and nuts are delighted with.

A long syllable put after a short one is termed an iambus, a lively measure, whence also it commanded the name of trimeters to be added to iambics, though it yielded six beats of time, being similar to itself from first to last. Not long ago, that it might come somewhat slower and with more majesty to the ear, it obligingly and contentedly admitted into its paternal heritage the steadfast spondees; agreeing however, by social league, that it was not to depart from the second

The iambic yields only the odd places to the spondee, the first, third, and fifth, but preserves the second, fourth, and sixth for itself. This mixture renders the verse more noble, and it may be still trimeter, the second foot being iambic. The comic poets, better to disguise their verse, and make it appear more like common conversation, inverted the tragic order, and put spondees in the even places.

and fourth place. But this [kind of measure] rarely makes its appearance in the notable

Ironically spoken.

trimeters of Accius, and brands the verse of Ennius brought upon the stage with a clumsy weight of spondees, with the imputation of being too precipitate and careless, or disgracefully accuses him of ignorance in his art.

It is not every judge that discerns inharmonious verses, and an undeserved indulgence is [in this case] granted to the Roman poets. But shall I on this account run riot and write licentiously? Or should not I rather suppose, that all the world are to see my faults; secure, and cautious [never to err] but with hope of being pardoned? Though, perhaps, I have merited no praise, I have escaped censure.

Ye [who are desirous to excel,] turn over the Grecian models by night, turn them by day. But our ancestors commended both the numbers of Plautus, and his strokes of pleasantry; too tamely, I will not say foolishly, admiring each of them; if you and I but know how to distinguish a coarse joke from a smart repartee, and understand the proper cadence, by [using] our fingers and ears.

Thespis

Thespis. A native of Icarius, a village in Attica, to whom the invention of the drama has been ascribed. Before his time there were no performers except the chorus. He led the way to the formation of a dramatic plot and language, by directing a pause in the performance of the chorus, during which he came forward and recited with gesticulation a mythological story. Comp. note Epist. ii. 1. 163. The date is thus given by the Par. Chron. Boeckh.: Ἀφ' οὖ Θέσπισ ὁ ποιητὴσ ἐφάνη, πρῶτοσ ὃσ ἑδίδαξε δρᾶμα ἐν ἄστει καὶ ἐτέθη ὁ τράγοσ ἆθλον ἔτη ΗΗΠΔΔ, ἄρχοντοσ Ἀθήνησιε Quod ad annum attinet, consistendum sane in Olymp. 61, eiusque tribus prioribus annis. Boeckh. in Chr.

is said to have invented a new kind of tragedy, and to have carried his pieces about in carts, which [certain strollers], who had their faces besmeared with lees of wine, sang and acted. After him Aeschylus, the inventor of the vizard mask and decent robe, laid the stage over with boards of a tolerable size, and taught to speak in lofty tone, and strut in the buskin. To these succeeded the old comedy, not without considerable praise: but its personal freedom degenerated into excess and violence, worthy to be regulated by law; a law was made accordingly, and the chorus, the right of abusing being taken away, disgracefully became silent.

Our poets have left no species [of the art] unattempted; nor have those of them merited the least honor, who dared to forsake the footsteps of the Greeks, and celebrate domestic facts; whether they have instructed us in tragedy, or comedy.

Vel qui praetextas, vel qui docuere togatas.Hor. Ars 288 There hath been much difficulty here in settling a very plain point. The question is, whether praetextas means tragedy or a species of comedy. The answer is very clear from Diomedes, whose account is, in short, this: "Togatae is a general term for all sorts of Latin plays adopting the Roman customs and dresses; as Palliatae is for all adopting the Grecian. Of the Togatae, the several species are, 1. Praetexta or praetextata, in which the Roman kings or generals were introduced, and is so called because the praetexta was the distinguishing habit of such persons; 2. Tabernaria, frequently called Togata, though that word, as we have seen, had properly a larger sense. 3. Atellana. 4. Planipedis." He next marks the difference of these several sorts of the Togatae from the similar corresponding ones of the Palliatae, which are these: 1. "Tragoedia, absolutely so styled. 2. Comoedia. 3. Satyri. 4. μῖμοσ." (These four sorts of the Palliatae were also probably in use at Rome; certainly, at least, the two former.) It appears then from thence, that praetextata was properly the Roman tragedy. But he adds, "Togata praetextata a tragoedia differt" and it is also said, "to be only like tragedy, tragoediae similis." What is this difference and this likeness? The explanation follows. "Heroes are introduced into tragedy, such as Orestes, Chryses, and the like. In the praetextata, Brutus, Decius, or Marcellus." So then we see when Grecian characters were introduced, it was called simply tragoedia; when Roman, praetextata; yet both, tragedies. The sole difference lay in the persons being foreign or domestic. The correspondence in every other respect was exact. The same is observed of the Roman comedy; when it adopted Greek characters, it was called comoedia; when Roman, togata tabernaria, or togata, simply.

Nor would Italy be raised higher by valor and feats of arms, than by its language, did not the fatigue and tediousness of using the file disgust every one of our poets. Do you, the descendants of Pompilius, reject that poem, which many days and many a blot have not ten times subdued to the most perfect accuracy. Because Democritus believes that genius is more successful than wretched art, and excludes from Helicon all poets who are in their senses, a great number do not care to part with their nails or beard, frequent places of solitude, shun the baths. For he will acquire, [he thinks,] the esteem and title of a poet, if he neither submits his head, which is not to be cured by even three Anticyras, to Licinius the barber. What an unlucky fellow am I, who am purged for the bile in spring-time! Else nobody would compose better poems; but the purchase is not worth the expense. Therefore I will serve instead of a whetstone, which though not able of itself to cut, can make steel sharp: so I, who can write no poetry myself, will teach the duty and business [of an author]; whence he may be stocked with rich materials; what nourishes and forms the poet; what gives grace, what not; what is the tendency of excellence, what that of error.

To have good sense, is the first principle and fountain of writing well. The Socratic papers will direct you in the choice of your subjects; and words will spontaneously accompany the subject, when it is well conceived. He who has learned what he owes to his country, and what to his friends; with what affection a parent, a brother, and a stranger, are to be loved; what is the duty of a senator, what of a judge; what the duties of a general sent out to war; he, [I say,] certainly knows how to give suitable attributes to every character. I should direct the learned imitator to have a regard to the mode of nature and manners, and thence draw his expressions to the life.

Truth, in poetry, means such an expression as conforms to the general nature of things; falsehood, that which, however suitable to the particular instance in view, doth yet not correspond to such general nature. To attain to this truth of expression in dramatic poetry two things are prescribed: 1. A diligent study of the Socratic philosophy; and, 2, A masterly knowledge and comprehension of human life. The first, because it is the peculiar distinction of this school "ad veritatem vitae propius accedere."(Cic. de. Or. i. 51.) And the latter as rendering the imitation more universally striking.

Sometimes a play, that is showy with common-places,

Interdum speciosa locisHor. Ars 319, etc. The poet's science in ethics will principally show itself in these two ways: 1. in furnishing proper matter for general reflection on human life and conduct; and, 2, in a due adjustment of the manners. By the former of these two applications of moral knowledge a play becomes, what the poet calls, speciosa locis, i. e. (for the term is borrowed from the rhetoricians) striking in its moral topics: a merit of the highest importance on the ancient stage, and which, if prudently employed in subserviency to the latter more essential requisite of the drama, a just expression of the manners, will deserve to be so reputed at all times, and on every theater. The danger is, lest a studied, declamatory moral, affectedly introduced, or indulged to access, should prejudice the natural exhibition of the characters, and so convert the image of human life into an unaffecting, philosophical dialogue.

Moratque recta fabulaHor. Ars 319, etc. This judgment of the poet, in regard of the superior efficacy of manners, is generally thought to be contradicted by Aristotle; who, in treating this subject, observes, "that let a piece be ever so perfect in the manners, sentiments, and style, it will not so well answer the end and purpose of tragedy, as if defective in these, and finished only in the fable and composition." M. Dacier thinks to clear this matter by saying, "that what Aristotle remarks holds true of tragedy, but not of comedy, of which alone Horace is here speaking." But granting that the artificial contexture of the fable is less necessary to the perfection of comedy than of tragedy, yet, the tenor of this whole division, exhorting to correctness in general, makes it unquestionable that Horace must intend to include both. The case, as it seems to me, is this. The poet is not comparing the respective importance of the fable and manners, but of the manners and diction, under this word including also numbers. He gives them the preference not to a good plot, nor even to fine sentiments, but to versus inopes rerum nugaeque canoraeHor. Ars 322. The art he speaks of, is the art of expressing the thoughts properly, gracefully, and harmoniously: the pondus is the force and energy of good versification. Venus is a general term including both kinds of beauty. Fabula does not mean the fable (in distinction from the rest), but simply a play.

and where the manners are well marked, though of no elegance, without force or art, gives the people much higher delight and more effectually commands their attention, than verse void of matter, and tuneful trifles. To the Greeks, covetous of nothing but praise, the muse gave genius; to the Greeks the power of expressing themselves in round periods. The Roman youth learn by long computation to subdivide a pound into an hundred parts. Let the son of Albinus tell me, if from five ounces one be subtracted, what remains? He would have said the third of a pound. Bravely done! you will be able to take care of your own affairs. An ounce is added: what will that be? Half a pound.

When this sordid rust

Aerugo et cura peculi cum semel imbueritHor. Ars 330, etc. This love of gain, to which Horace imputes the imperfect state of the Roman poetry, hath been uniformly assigned, by the wisdom of ancient times, as the specific bane of arts and letters. Longinus and Quinctilian account, from hence, for the decay of eloquence, Galen of physic, Petronius of painting, and Pliny of the whole circle of the liberal arts. For being, as Longinus calls it, νόσημα μικροποῖον, a disease which narrows and contracts the soul, it must, of course, restrain the generous efforts and expansions of genius; cramp the free powers and energies of the mind, and render it unapt to open itself to wide views, and to the projection of great, extensive designs. It is so in its consequences. For, as one says elegantly, when the passion of avarice grows general in a country, the temples of honor are soon pulled down, and all men's sacrifices are made to fortune.

and hankering after wealth has once tainted their minds, can we expect that such verses should be made as are worthy of being anointed with the oil of cedar, and kept in the well-polished cypress?

To preserve their books, the ancients rubbed them with oil of cedar, and kept them in cases of cypress, because these kinds of wood were not liable to corruption.

Poets wish either to profit or to delight; or to deliver at once both the pleasures and the necessaries of life. Whatever precepts you give, be concise; that docile minds may soon comprehend what is said, and faithfully retain it. All superfluous instructions flow from the too full memory. Let whatever is imagined for the sake of entertainment, have as much likeness to truth as possible; let not your play demand belief for whatever [absurdities] it is inclinable [to exhibit]: nor take out of a witch's belly a living child that she had dined upon. The tribes of the seniors rail against every thing that is void of edification: the exalted knights disregard poems which are austere. He who joins the instructive with the agreeable, carries off every vote,

Omne tulit punctum.Hor. Ars 343 Alluding to the manner of voting at the comitia by putting a point over the name of a candidate.

by delighting and at the same time admonishing the reader. This book gains money for the Sosii; this crosses the sea, and continues to its renowned author a lasting duration.

Yet there are faults, which we should be ready to pardon: for neither does the string [always] form the sound which the hand and conception [of the performer] intends, but very often returns a sharp note when he demands a flat; nor will the bow always hit whatever mark it threatens. But when there is a great majority of beauties in a poem, I will not be offended with a few blemishes, which either inattention has dropped, or human nature has not sufficiently provided against. What therefore [is to be determined in this matter]? As a transcriber, if he still commits the same fault though he has been reproved, is without excuse; and the harper who always blunders on the same string, is sure to be laughed at; so he who is excessively deficient becomes another Choerilus; whom, when I find him tolerable in two or three places, I wonder at with laughter; and at the same time am I grieved whenever honest Homer grows drowsy But it is allowable, that sleep should steal upon [the progress of] a long work.

As is painting, so is poetry: some pieces will strike you more if you stand near, and some, if you are at a greater distance: one loves the dark; another, which is not afraid of the critic's subtle judgment, chooses to be seen in the light; the one has pleased once the other will give pleasure if ten times repeated. 0 ye elder of the youths, though you are framed to a right judgment by your father's instructions, and are wise in yourself, yet take this truth along with you, [and] remember it; that in certain things a medium and tolerable degree of eminence may be admitted: a counselor and pleader at the bar of the middle rate is far removed from the merit of eloquent Messala, nor has so much knowledge of the law as Casselius Aulus, but yet he is in request; [but] a mediocrity in poets

This judgment, however severe it may seem, is according to the practice of the best critics. We have a remarkable instance in the case of Apollonius Rhodius, who though, in the judgment of Quinctilian, the author of no contemptible poem, yet on account of that equal mediocrity which every where prevails in him, was struck out of the list of good writers by such sovereign judges of poetical merit as Aristophanes and Aristarchus. (Quinct. L. x. c. 1.)

neither gods, nor men, nor [even] the booksellers' shops have endured. As at an agreeable entertainment discordant music, and muddy perfume, and poppies mixed with Sardinian

Sardinia was full of bitter herbs, from whence the honey was bitter. White poppy seed, roasted, was mingled with honey by the ancients.

honey give offense, because the supper might have passed without them; so poetry, created and invented for the delight of our souls, if it comes short ever so little of the summit, sinks to the bottom.

He who does not understand the game, abstains from the weapons of the Campus Martius: and the unskillful in the tennis-ball, the quoit, and the troques keeps himself quiet; lest the crowded ring should raise a laugh at his expense: notwithstanding this, he who knows nothing of verses presumes to compose. Why not! He is free-born, and of a good family; above all, he is registered at an equestrian sum of moneys, and clear from every vice. You, [I am persuaded,] will neither say nor do any thing in opposition to Minerva:

Invita … MinervaHor. Ars 385. Cicero, de Off. i. 31, explains this phrase: "adversante et repugnante natura." And yet the meaning here is not very evident. Does Horace say that young Piso will neither do nor say any thing contrary to his natural endowments; implying that he will not attempt poetry, as his abilities are inadequate? Or does he mean to compliment him on his capabilities, by saying that there is nothing which he will attempt, in which genius will not favor and assist him? The latter appears to be the correct interpretation. Thus the obvious meaning of invita Minerva is — Minerva refusing her assistance, or discountenancing the attempt; and the interpretation-natural endowments refusing their assistance, or marring the effort.

such is your judgment, such your disposition. But if ever you shall write any thing, let it be submitted to the ears of Metius [Tarpa], who is a judge, and your father's, and mine; and let it be suppressed till the ninth year, your papers being laid up within your own custody. You will have it in your power to blot out what you have not made public: a word once sent abroad can never return.