it was too horrid and unnatural to be perpetrated. The reader will collect this with pleasure, by turning to the fine song, which follows. It may be further observed, that Medea herself, in opening this last purpose of her rage to the chorus, exacts fidelity of them only, as they wished well to an injured queen, and were women;

Εἴπερ φρονεῖς εὖ δεσπόταις, γυνή τ ̓ ἔφυς.

which is beautifully contrived by the poet, to discriminate the two cases, and to intimate to us, that reasons of justice were now no longer to be pleaded.

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 OF 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.

202. TIBIA NON, UT NUNC, ORICHALEO, &c.] [from v. 202 to v. 220.] This is one of those many passages in the epistle, about which the cri tics 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, 1. From the expression itself; which cannot, without violence, be understood in any other way. For, as to the words licentia and præceps, 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 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. But what shall we say then to those lines, Indoctus quid enim saperet liberque laborum, Rusticus urbano confusus, turpis honesto?

which seem to imply a censure on these Improvements, as unworthy the approbation of wise men; contrary to what I have just now supposed to be the scope of this whole passage.

On the strictest attention, I believe we are to understand them as a Sneer, in passing, on what grave and philosophic men have observed of these refinements, which they constantly treat, as Corruptions. See note on v. 218. But the mixed auditories of these days, says the poet with his usual badinagé, were not so wise. Tis, as if he had said, "What I mention here as an improvement in dramatic music is, in the ideas and language of some grave men, an abuse and perversion of it to immoral purposes. It be so: but consider, for what sorts of people these theatrical entertainments were designed: for the ignorant clown and citizen, the plebeian and gentleman, huddled together into one confused mass, and crowding to the theatre, on a holyday, for some relief from their ordinary toils and occupations. And alas, what do these men know, or consider of this austere wisdom?

may

But the cast of the whole passage is, besides, such as favours the supposition of an intended Irony. Hence the Tibia non, ut nunc, orichalco vincta, &c. delivered in the usual tone of declaimers against

"

modern manners.. Hence the epithets, frugi castusque verecundusque, to denote the quality of those who assisted, of old, at these virtuous entertainments. And hence the enormity of that state of things, when the people were afterwards permitted to regale on holy days, impune. This intention too accounts for the terms licentia, luxuries, facundia, præceps, and others, which being of ambiguous interpretation, the poet purposely chose, to mimic, and humour, as it were, the objectors in their favourite language on this occasion. Till at last, impatient to continue the raillery any further, he concludes at once with an air of solemnity very proper to confound the impertinence of such criticism.

Utiliumque sagax rerum, et divina futuri Sortilegis non discrepuit sententia Delphis. All this the reader sees is agreeable to the poet's prescription elsewhere,

-Sermone opus est tristi, sæpe jocoso.

and indeed to his own practice on an hundred occasions. So that on the whole there is little doubt of his intention in the lines,

Indoctus quid enim saperet, &c.

At least, in this view the poet, I am apt to think, will be found intelligible and even elegant. Whereas, on any other supposition of his numerous commentators, I cannot see that the verses before us (as they here stand) have either propriety or common

sense,

The interpretation then of this whole passage, from v. 202 to 220, will stand thus. "The Tibia,

says the poet, was at first low and simple. The

first, as best agreeing to the state of the stage, "which required only a soft music to go along with, "and assist the chorus; there being no large and "crowded theatres to fill in those days. And the

latter, as suiting best to the 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 fes"tival solemnities; then, as was natural to expect, a "freer and more varied harmony took place. Nor let "it be objected that this freer harmony was itself an "abuse, a corruption of the severe and moral music of "ancient times. Alas! we were not as yet so wise, "to see the inconveniencies 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? "But, leaving the Philosopher to speculate at his

ease, on this matter, thus, in fact, it was, "that "the Tibicen, the musician, who played to the de"clamation in the acts, instead of the rude and sim

pler strain of the old times, gave a richness and "variety of tone; and, instead of the old inactive