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 locis Hor. 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 fabula Hor. 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 canorae Hor. 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 imbuerit Hor. 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 … Minerva Hor. 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.