85 Musa dedit fidibus Divos, puerosque Deorum, Et tragicus plerumque dolet sermone pedestri. COMMENTARY. 90 95 to know [from y. 86 to 89] how far, each may partake of the spirit of other, without destroying that natural and necessary difference, which ought to subsist betwixt them all. To explane this, which is a point of great nicety, he considers [from v. 89 to 99] the case of dramatic poetry; the two species of which are as distinct from each other, as any two can be, and yet there are times, when the features of the one will be allowed to resemble those of the other. For, 1. Comedy, in the passionate parts, will admit of a tragic elevation: and, 2. Tragedy, in its soft distressful scenes, condescends to the ease of familiar conversation. But the poet had a further view in chusing this instance. For he gets by this means into the main of his subject, which was dra 101 Si curat cor spectantis tetigisse querela, COMMENTARY. 105 matic poetry, and, by the most delicate transition imaginable, proceeds [from 1. 89 to 323] to deliver a series of rules, interspersed with historical accounts, and enlivened by digressions, for the regulation and improvement of the ROMAN STAGE. PART II. DIRECTIONS FOR THE REGULATION AND IMPROVEMENT OF THE ROMAN STAGE. HAVING fixed the distinct limits and provinces of the two species of the drama, the poet enters directly on his subject, and considers, I. [from v. 99 to 119] the properties of the TRAGIC STYLE; which will be different, 1. [to v. 111] according to the internal state and character of the speaker: thus one sort of expression will become the angry; another, the sorrowful; this, the Post effert animi motus interprete lingua. Jura neget sibi nata, nihil non arroget armis. 111 115 121 Si quid inexpertum scenae conmittis, et audes 125 COMMENTARY. gay, that, the severe. And, 2. [from v. 111 to 119] according to the outward circumstances of rank, age, office, or country. II. Next [to v. 179] he treats of the CHARACTERS, which are of two sorts. 1. Old ones, revived: and 2. Invented, or new ones. In relation to the first [from v. 119 to 125] the precept is, to follow fame; that is, to fashion the character according to the received, standing idea, which tradition and elder times have consecrated; that idea being the sole test, whereby to judge of it. 2. In respect of the latter [from v. 125 to 128] the great Rectius Iliacum carmen deducis in actus, 130 Non circa vilem patulumque moraberis orbem ; COMMENTARY. 140 requisite is uniformity, or consistency of representation. But the formation of quite new characters is a work of great difficulty and hazard. For here, there is no generally received and fixed archetype to work after, but every one judges, of common right, according to the extent and comprehension of his own idea. Therefore [to v. 136] he advises to labour and refit old characters and subjects; particularly those, made known and authorized by the practice of Homer and the epic writers; and directs, at the same time, by what means to avoid that servility and unoriginal air, so often charged upon such pieces. I said characters and subjects, for his me thod leading him to guard against servility of imitation in point of characters, the poet chose to dispatch the whole affair of servile imitation at once, and therefore [to v. 136] includes subjects, as well as characters. Non fumum ex fulgore, sed ex fumo dare lucem COMMENTARY. 150 But this very advice, about taking the subjects and characters from the epic poets, might be apt to lead into two faults, arising from the ill conduct of those poets themselves. For, 1. [to v. 146] the dignity and importance of a subject, made sacred by antient fame, had sometimes occasioned a boastful and ostentatious beginning, than which nothing can be more offensive. And, 2. The whole story being composed of great and striking particulars, injudicious writers, for fear of losing any part of it, which might serve to adorn their work, had been led to follow the round of plain historic order, and so had made the disposition of their piece uninteresting and unartful. Now both these improprieties, which appear so shocking in the epic poem, must needs, with still higher reason, deform the tragic. For, taking its rise, not from the flattering views of the poet, but the real situation of the actor, its opening must of necessity, be very simple and unpretending. And being, from its short term of action, unable naturally to prepare and bring about many events, it, of course, confines itself to one; as also for the sake of producing a due distress |