160

Signat humum; gestit paribus colludere, et iram
Colligit ac ponit temere, et mutatur in horas.
Inberbus juvenis, tandem custode remoto,
Gaudet equis canibusque et aprici gramine campi;
Cereus in vitium flecti, monitoribus asper,
Utilium tardus provisor, prodigus aeris,

Sublimis, cupidusque, et amata relinquere pernix.
Conversis studiis, aetas animusque virilis 166
Quaerit opes et amicitias, inservit honori;
Conmisisse cavet quod mox mutare laboret.
Multa senem circumveniunt incommoda ; vel quod
Quaerit, et inventis miser abstinet, ac timet uti;
Vel quòd res omnis timide gelideque ministrat, 171
Dilator, spe lentus, iners, pavidusque futuri ;
Difficilis, querulus, laudator temporis acti
Se puero, castigator, censorque minorum.
Multa ferunt anni venientes commoda secum,
Multa recedentes adimunt: ne forte seniles
Mandentur juveni partes, pueroque viriles.
Semper in adjunctis aevoque morabimur aptis.
Aut agitur res in scenis, aut acta refertur:

COMMENTARY,

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

175

185

Segnius inritant animos demissa per aurem, 180
Quam quae sunt oculis subjecta fidelibus, et quae
Ipse sibi tradit spectator. non tamen intus
Digna geri promes in scenam: multaque tolles
Ex oculis, quae mox narret facundia praesens :
Ne pueros coram populo Medea trucidet;
Aut humana palam coquat exta nefarius Atreus;
Aut in avem Procne vertatur, Cadmus in anguem.
Quodcunque ostendis mihi sic, incredulus odi.
Neve minor, neu sit quinto productior actu
Fabula, quae posci volt, et spectata reponi.
Nec Deus intersit, nisi dignus vindice nodus
Inciderit: nec quarta loqui persona laboret.
Actoris partes chorus, officiumque virile
Defendat neu quid medios intercinat actus,
Quod non proposito conducat et haereat apte.
Ille bonis faveatque et consilietur amice,
Et regat iratos, et amet pacare tumentis :
Ille dapes laudet mensae brevis, ille salubrem
Justitiam, legesque, et apertis otia portis :

COMMENTARY.

190

195

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. 198 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

Ille tegat conmissa, Deosque precetur et oret,
Ut redeat miseris, abeat fortuna superbis.
Tibia non, ut nunc, orichalco juncta, tubaeque
Aemula; sed tenuis, simplexque foramine pauco,
Aspirare et adesse choris erat utilis, atque
Nondum spissa nimis conplere sedilia flatu :
Quo sane populus numerabilis, utpote parvus
Et frugi castusque verecundusque coibat.
Postquam coepit agros extendere victor, et urbem
Laxior amplecti murus, vinoque diurno
Placari Genius festis inpune diebus;
Accessit numerisque modisque licentia major.
Indoctus quid enim saperet liberque laborum,
Rusticus urbano confusus, turpis honesto?

COMMENTARY.

200

205

210

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

VOL. I.

D

215

Sic priscae motumque et luxuriem addidit arti
Tibicen, traxitque vagus per pulpita vestem :
Sic etiam fidibus voces crevere severis,
Et tulit eloquium insolitum facundia praeceps;
Utiliumque sagax rerum, et divina futuri,
Sortilegis non discrepuit sententia Delphis.
Carmine qui tragico vilem certavit ob hircum, 220
Mox etiam agrestis Satyros nudavit, et asper
Incolumi gravitate jocum tentavit: eo quod
Inlecebris erat et grata novitate morandus
Spectator functusque sacris, et potus, et exlex.
Verum ita risores, ita commendare dicacis
Conveniet Satyros, ita vertere seria ludo;
Ne quicunque Deus, quicunque adhibebitur heros
Regali conspectus in auro nuper et ostro,

COMMENTARY.

225

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

Migret in obscuras humili sermone tabernas :
Aut, dum vitat humum, nubes et inania captet.
Effutire levis indigna tragoedia versus,
Ut festis matrona moveri jussa diebus,
Intererit Satyris paulum pudibunda protervis.
Non ego inornata et dominantia nomina solum
Verbaque, Pisones, Satyrorum scriptor amabo:
Nec sic enitar tragico differre colori;
Ut nihil intersit, Davusne loquatur et audax
Pythias emuncto lucrata Simone talentum,
An custos famulusque Dei Silenus alumni.
Ex noto fictum carmen sequar: ut sibi quivis 240
Speret idem; sudet multum, frustraque laboret
Ausus idem tantum series juncturaque pollet :
Tantum de medio sumtis accedit honoris.
Silvis deducti caveant, me judice, Fauni,
Ne velut innati triviis, ac pene forenses,
Aut nimium teneris juvenentur versibus umquam,
Aut inmunda crepent ignominiosaque dicta.
Offenduntur enim, quibus est equus, et pater, et res;
Nec, si quid fricti ciceris probat et nucis emtor,
Aequis accipiunt animis, donantve corona.

245

231

236

250

COMMENTARY.

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