The Art of Poetry: To the Pisos (220)

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,[*] and attempted raillery with severity, still preserving the gravity [of tragedy]: because the spectator on festivals, when heated with wine[*] 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[*] 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[*] disdaining to prate forth trivial verses, like a matron commanded to dance on the festival days,[*] 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:[*] 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[*] 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,[*] 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[*] and fourth place. But this [kind of measure] rarely makes its appearance in the notable[*] 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.