[339]Sat I. ad finem.[340]Lib. II. Sat. I.℣1.[341]℣2.[342]Lib. I. Sat. I.[343]Lib. I. Ep. I.[344]Sat. I℣1.[345]℣17.[346]℣19.[347]℣158.[348]Modern Satires will always appear with an Advantage, which the Ancients want,viz.we are better acquainted with the Characters; which is a Reason why they will please best, not of their real Excellence.[349]Oldham.[350]Boileau.[351]De Art. Poet.℣180.[352]Hor. De Art. Poet.℣3.[353]Instit. Poet L. II. c. 7.[354]Virg. Eclog. VII.℣5.[355]And yet it seems to be an agreed Point among many of the Learned, that the Plays of the Ancients were acted in a Kind of Recitative set to the Flute. See this proved byCrusius, in his Lives of theRomanPoets, in the Introduction to Dramatic Poets, § IV. Dr.Bentley, in his Preface toTerence, takes it for granted. See, likewise,Cic. ad. Brutum, § 55. The Objections which Dr.Trappmakes against it, would hold, in some Degree, against Chanting: And perhaps both may be accounted for, from the same prudential Reason,viz.That the Voice, when continued for some Time very elevated, naturally falls into a Tone, and yet it was necessary it should be very elevated in the ancient Theatre, which was very large, as well as in Cathedrals. To prevent the Disagreeableness of this, it was regulated by a sort of Music.[356]Hor. De Art. Poet.℣322.[357]Juv. Sat. III.[358]Æn. L. VI.[359]Juv. Sat. III.[360]Lib. II. c. II.[361]L. II℣380.[362]℣139, —℣155.[363]De Art. Poet.℣126.[364]The forecited Author, Mr.Crusius, thinks them to have been of great Use and Expediency to the Ancients; Their Stage being very large, and their Plays acted by Day-light, the natural Features of the Face, at such a Distance, and without the Help of false Lights, could not appear distinguishable enough, to express the several Characters. Besides the adapting Masks to each Character, very much contributed to the Entertainment of the Audience; since hereby they could better imagine they saw the Persons represented in the Play, than we can, who are still apt to lose the Character in the Player; not to mention this other Disadvantage of the same Face appearing in the different Characters of Prince and Pimp, Hero and Villain, old and young."Ibid.Sect. III. So that what they lost in expressing the Variety of Passion, they gain'd in the Variety of Character.[365]De Art. Poet.℣23.[366]℣99.[367]℣112.[368]Shakespear.[369]Horat. ad Aug.℣166.[370]De Art. Poet.℣131.[371]℣119.[372]JohnEarl ofRochester.[373]Nat. Lec.[374]℣125.[375]℣128.[376]Materiam vulgarem, notam, & e medio petitam.ButRoscommonabove, and, I think, most of the Commentators, makecommuniato be the same with what follows,ignota indictaque, i.e.common, till you took them, such as were no-body's Property before. In this Sense,Horace, as Dr.Trappsays, contradicts his Opinion of new Subjects being better than old.[377]Ad Aug.℣213.[378]Lib. I. Ep. I. 32.[379]De Art. Poet.℣31.[380]℣179.[381]Besides, in the ancient Tragedy the Chorus justified Soliloquies, who were supposed to be humane By-standers, where the Scene was laid: Among the Rules given to the Chorus inHorace, one is, that they should keep secret what they heard,Ille tegat commissa, Ar. Poet.℣200.[382]Instit. Poet. Lib. II. cap. 5.[383]De Arte Poet.℣192.[384]Instit. Poet. Lib. II. c. 5.[385]De Art. Poet.℣189.[386]Inst. Poet. L. II. c. 5.[387]Inst. Poet. L. II. p. 24.[388]Nor, with Submission, doesVossiussuppose them inconsistent.[389]Poet. L. I. c. 9.[390]Inst. Poet. L. II. c. 5.[391]Auctio Davisiana.[392]Poet. L. I. c. 9.[393]Περι ὑψουϛ, c. V.[394]As to the prior Antiquity of Comedy or Tragedy, History must be our only Guide; for I think it cannot be suppos'd that either of them existed, before Mankind knew what State and Magnificence was. Both had their Rise from the Songs at the Feasts ofBacchus.Susarionis said to be the Inventor of the first, andThespisof the latter. SoMarm. Arundel. &c.And yetHoracesays,Successit vetus his Comœdia, having spoken before of Tragedy and Satire; which is reconcil'd by supposingEpicharmus(who liv'd later thanThespis) theInventorof Comedy inHorace's Judgment, because he was the firstWriterof it. SeeBentley's Answer to Boyle, p. 238, 199, 200.[395]Lib. I. Sat. IV.℣1.[396]℣281.[397]Inst. L. II. c. 27. p. 139, 140.[398]Poetic. L.I. c. V. p. 27.[399]P. 123.[400]P. 45, & 367.[401]P. 45.[402]P. 125.[403]P. 110.[404]No more than he himself was aware. He observes, if, as St.Jeromesays, it is a Copy of common Life, for the Improvement of the Audience, it need not be mix'd with Mirth, were it not for the Sake of pleasing them.[405]Vossiustakes Care to tell us, that this Definition is suited to the Old Comedy; and gives us others fromCamerariusandJul. Scaliger, that comprehend the New.[406]De Poetica, cap. V.[407]In Poet. Arist. p. 58, 59.[408]L. I. Sat. X.℣14.[409]Cap. V.[410]Andria, Act. I. Scen. penult.[411]De Art.℣93.[412]Act. V. Scen. IV. 12.[413]Ad August.℣185.[414]℣168.[415]Inst. Poet. L. II. c. XXIV.[416]Ibid. c. XXV.[417]Lipsiuswas ofVarro's Mind, who says, in a Letter toA. Schottus,Terentium amo, admiror; sed Plautum magis. This blind Love forPlautus, led him into a strange Affectation of his Style, for which he was expos'd byHenry Stephens, in his Book entitled,De Lipsii Latinitate Polæstra.[418]Ad Aug.℣59.[419]A Mistake.Vossius, L. II. c. XXIII. citesAntonius Lullius Balearismelioris notæ Rhet.[420]Lib. I. Sat. I. 69.[421]De Art. Poet.℣220.[422]Another Reason against it is, that Τρυγωδια never signifiesTragedy, butComedyonly.Casaubon, indeed,de Satyr. Poesi, says, it originally comprehended both. But his Opinion depends solely on theEtymolog. Mag.which is contradicted by all the other Lexicographers. The Authorities he produces fromAristotleandAthenæus, make nothing for his Purpose. SeeBentleyagainstBoyle, p. 306, 307, 308. Which I mention the rather, because the ingenious Mr.Crusiushas not in this, and some other Instances, profited by that learned Author's Observations.[423]SeeVossiusInst. Poet. L. II. c. XI.[424]Περι ὑψουϛ, cap. VI.[425]Inst. Poet. L. II. c. XI.[426]Besides the Chorus, the Monologues, call'dCantica, were set to Music; the Dialogues in a Kind of Recitative. SeeCrusius,ubi supra, § IV.[427]Art. Poet.℣179.[428]Ibid.[429]Art. Poet.℣89.[430]℣231.[431]Trist. L. II.℣381.[432]C. XIV.[433]Ep. III. L. I.℣14.[434]Act. III. Scen. I.[435]Inst. Poet. Lib. II. c. XIV.[436]Art. Poet.℣93.[437]Sat. VI.℣635.[438]Art. Poet.℣338.[439]Ad Aug.℣210.[440]Lib. II. c. XIII. p. 68.[441]I am at a Loss here to know whatVossiusmeans, who seems to intimate, that in theHecubaofEuripides, the Death ofÆgisthusadded to the Terror and Distress of the Play. But asAgamemnonhimself is one of the Persons in the Drama, there could be no Thoughts of revenging a Death, which had not happen'd. In theElectra, there is an account ofÆgisthus's Death; but that Incident is not of so much Consequence there, asVossiusseems to make it in the Tragedy he alludes to. It is therefore most probable, that what is here said relates to theElectraofSophocles; where the concluding Scene represents the meeting ofOrestesandÆgisthus, and the latter is conducted off the Stage, only to be put to Death in the same Place where he kill'dAgamemnon. A short Sentence has probably been originally left out inVossius, which would have clear'd this Matter, in Words to this Effect;Sic tristis exitus in Sophoclis Electra, ubi Ægisthus, &c. It is much our Author, who, upon many other Occasions, has censur'dVossius, should pass over a Mistake of this Nature.[442]Vossiusguards against all the Inconsistence he is here charg'd with, which is no more than this; That it isessentialto a Tragedy, form'd κατα την τεχνην, to end unfortunately, but not so to one madead populum. He borrow'd his Sentiment fromAristotle, De Arte Poetica, εστιν δε ουχ ἁυτη απο τραγωιδιαϛ ἡδονη, αλλα μαλλον τηϛ κωμωιδιαϛ οικειαthis is not a Pleasure that arises from Tragedy, but rather of the Nature of Comedy, c. XIV. Ed. Heins. al. XIII.[443]Epist. Ded. to theSpanish Fryar.[444]Inst. Poet. L. II. C. XIII. p. 61.[445]Those Tragedies that are writ according to thenicest Rules of Art, he said before, upon the Authority ofAristotle, doNOTend happily: And upon the same Authority he says, insuchPlays the Characters are neither extremely wicked, nor perfectly virtuous.Aristotle, as a Heathen, was right in his Opinion, according to Dr.Trapp's Theory;Vossius, who follows him throughout, is not inconsistent. As to the Opinion in general, I will not pretend to determine, since it isdignus vindice nodus.[446]They are very easy to be found in c. XIV. ofAristotle's Art of Poetry, according toDan. Heinsius's Edition; c. XIII. in others. All thatVossiushas advanc'd above, is only a Comment on that Chapter. DoesVossiussay thebestTragedies are conformable to these Rules? So doesAristotle, ἡ μεν κατα την τεχνην καλλιστη τραγωδια εκ ταυτηϛ τηϛ συστασεωϛ εστι, p. m. 270,&c.That we are not affected with Compassion or Terror at the Sufferings of the Wicked? so doesAristotle, ουτε ελεεινο, ουτε φοβερον φαινεται το συμβαινον, p. 269. That a middle Character is to be chosen? so doesAristotle, ὁ μεταξυ αρα τουτων λοιποϛ, εσι δεγοιουτοϛ,&c.[447]RatioinVossius, is not us'd forprudentia, as Dr.Trappseems to take it, but in the same Sense with that noted Saying,ratio ultima regum, the last Expedient, or Resort of Kings. The Instances alledg'd illustrate this:Medeais forc'd to kill her BrotherAbsyrtus, to secure her own Escape; and her Children afterwards, to prevent them from falling into such Hands as would execute greater Cruelties upon them. The Circumstance ofOedipus, made unfortunate not by real Crimes, is very well describ'd by Mr.Lee:To you, good Gods, I make my last Appeal,To clear my Virtues, or my Crimes reveal:If in the Maze of Fate I blindly run,And backward trod those Paths I ought to shun,Impute my Errors to your own Decree;My Hands are guilty, but my Heart is free.[448]Inst. Poet. L. II. c. XI. p. 47.[449]Inst. Poet. L. II. c. XIII. p. 65.[450]Ter. And. Act I. Scen. I.[451]Inst. Poet. L. II. c. XI. p. 47.[452]Poet. Lib. III. p. 373.[453]Both borrow their Solution fromAristotle, c. IV. who tells us, that thePleasurethe Mind takes is, inlearningthe Likeness between the Representation and the Original.[454]Lib. II.℣1.[455]See this beautifully illustrated, in Mr.Pope'sEthic Epistles, III. 270,&c.[456]Mr.Addisonhas treated this Subject with great Accuracy, inThe Spectator, Vol VI. No. 418.[457]Preface to myEnglishTranslation ofVirgil'sÆneis.[458]Ibid.[459]The Reader will understand this Distinction much better by the Examples which the Author has mention'd in his Preface to theÆneis; and I shall, for that Reason, take the Liberty to transcribe some of them. "The Storm, in the first Book ofVirgil, driving the Fleet on the Coast ofCarthage, is an Incident, not an Episode, because the Hero himself, and the whole Body of his Forces, are concern'd in it; and so it is a direct, and not a collateral Part of the main Action. The Adventures ofNisusandEuryalus, in the 9th Book, are Episodes, not Incidents;i.e.not direct Parts of the main Action."[460]Thus prov'd byBossu: TheIliadbegins with the Plague, which lasts ten Days. The Poet allows for the Recovery of theGrecians10, Battles that follow 5, Funeral Rites ofPatroclus11, and ofHector11; in all, 47.[461]TheOdyssey, according to the same Author, Book III. c. XII. takes up 58 Days. And theÆneisis reduc'd within half a Year, or a single Campaign, beginning where Dr.Trappdoes. I know not howBossucame to be so misrepresented.[462]Art. Poet.℣73.[463]Book II. c. XIX.[464]℣103.[465]De Art. Poet.℣121.[466]Ibid.℣121.[467]Περι Ποιητκηϛ, cap. XXIII.[468]Æn. L. III.℣26.[469]℣34.[470]℣59.[471]Il. XIX.℣407.[472]Æn. III. 664.[473]Ibid. 672.[474]Æn. VII. 808.[475]Περι Ποιητκηϛ, c. IX.[476]Ibid.[477]Lib I. Ep. II. 3.[478]De Art.℣317.[479]℣73.
[339]Sat I. ad finem.
[339]Sat I. ad finem.
[340]Lib. II. Sat. I.℣1.
[340]Lib. II. Sat. I.℣1.
[341]℣2.
[341]℣2.
[342]Lib. I. Sat. I.
[342]Lib. I. Sat. I.
[343]Lib. I. Ep. I.
[343]Lib. I. Ep. I.
[344]Sat. I℣1.
[344]Sat. I℣1.
[345]℣17.
[345]℣17.
[346]℣19.
[346]℣19.
[347]℣158.
[347]℣158.
[348]Modern Satires will always appear with an Advantage, which the Ancients want,viz.we are better acquainted with the Characters; which is a Reason why they will please best, not of their real Excellence.
[348]Modern Satires will always appear with an Advantage, which the Ancients want,viz.we are better acquainted with the Characters; which is a Reason why they will please best, not of their real Excellence.
[349]Oldham.
[349]Oldham.
[350]Boileau.
[350]Boileau.
[351]De Art. Poet.℣180.
[351]De Art. Poet.℣180.
[352]Hor. De Art. Poet.℣3.
[352]Hor. De Art. Poet.℣3.
[353]Instit. Poet L. II. c. 7.
[353]Instit. Poet L. II. c. 7.
[354]Virg. Eclog. VII.℣5.
[354]Virg. Eclog. VII.℣5.
[355]And yet it seems to be an agreed Point among many of the Learned, that the Plays of the Ancients were acted in a Kind of Recitative set to the Flute. See this proved byCrusius, in his Lives of theRomanPoets, in the Introduction to Dramatic Poets, § IV. Dr.Bentley, in his Preface toTerence, takes it for granted. See, likewise,Cic. ad. Brutum, § 55. The Objections which Dr.Trappmakes against it, would hold, in some Degree, against Chanting: And perhaps both may be accounted for, from the same prudential Reason,viz.That the Voice, when continued for some Time very elevated, naturally falls into a Tone, and yet it was necessary it should be very elevated in the ancient Theatre, which was very large, as well as in Cathedrals. To prevent the Disagreeableness of this, it was regulated by a sort of Music.
[355]And yet it seems to be an agreed Point among many of the Learned, that the Plays of the Ancients were acted in a Kind of Recitative set to the Flute. See this proved byCrusius, in his Lives of theRomanPoets, in the Introduction to Dramatic Poets, § IV. Dr.Bentley, in his Preface toTerence, takes it for granted. See, likewise,Cic. ad. Brutum, § 55. The Objections which Dr.Trappmakes against it, would hold, in some Degree, against Chanting: And perhaps both may be accounted for, from the same prudential Reason,viz.That the Voice, when continued for some Time very elevated, naturally falls into a Tone, and yet it was necessary it should be very elevated in the ancient Theatre, which was very large, as well as in Cathedrals. To prevent the Disagreeableness of this, it was regulated by a sort of Music.
[356]Hor. De Art. Poet.℣322.
[356]Hor. De Art. Poet.℣322.
[357]Juv. Sat. III.
[357]Juv. Sat. III.
[358]Æn. L. VI.
[358]Æn. L. VI.
[359]Juv. Sat. III.
[359]Juv. Sat. III.
[360]Lib. II. c. II.
[360]Lib. II. c. II.
[361]L. II℣380.
[361]L. II℣380.
[362]℣139, —℣155.
[362]℣139, —℣155.
[363]De Art. Poet.℣126.
[363]De Art. Poet.℣126.
[364]The forecited Author, Mr.Crusius, thinks them to have been of great Use and Expediency to the Ancients; Their Stage being very large, and their Plays acted by Day-light, the natural Features of the Face, at such a Distance, and without the Help of false Lights, could not appear distinguishable enough, to express the several Characters. Besides the adapting Masks to each Character, very much contributed to the Entertainment of the Audience; since hereby they could better imagine they saw the Persons represented in the Play, than we can, who are still apt to lose the Character in the Player; not to mention this other Disadvantage of the same Face appearing in the different Characters of Prince and Pimp, Hero and Villain, old and young."Ibid.Sect. III. So that what they lost in expressing the Variety of Passion, they gain'd in the Variety of Character.
[364]The forecited Author, Mr.Crusius, thinks them to have been of great Use and Expediency to the Ancients; Their Stage being very large, and their Plays acted by Day-light, the natural Features of the Face, at such a Distance, and without the Help of false Lights, could not appear distinguishable enough, to express the several Characters. Besides the adapting Masks to each Character, very much contributed to the Entertainment of the Audience; since hereby they could better imagine they saw the Persons represented in the Play, than we can, who are still apt to lose the Character in the Player; not to mention this other Disadvantage of the same Face appearing in the different Characters of Prince and Pimp, Hero and Villain, old and young."Ibid.Sect. III. So that what they lost in expressing the Variety of Passion, they gain'd in the Variety of Character.
[365]De Art. Poet.℣23.
[365]De Art. Poet.℣23.
[366]℣99.
[366]℣99.
[367]℣112.
[367]℣112.
[368]Shakespear.
[368]Shakespear.
[369]Horat. ad Aug.℣166.
[369]Horat. ad Aug.℣166.
[370]De Art. Poet.℣131.
[370]De Art. Poet.℣131.
[371]℣119.
[371]℣119.
[372]JohnEarl ofRochester.
[372]JohnEarl ofRochester.
[373]Nat. Lec.
[373]Nat. Lec.
[374]℣125.
[374]℣125.
[375]℣128.
[375]℣128.
[376]Materiam vulgarem, notam, & e medio petitam.ButRoscommonabove, and, I think, most of the Commentators, makecommuniato be the same with what follows,ignota indictaque, i.e.common, till you took them, such as were no-body's Property before. In this Sense,Horace, as Dr.Trappsays, contradicts his Opinion of new Subjects being better than old.
[376]Materiam vulgarem, notam, & e medio petitam.ButRoscommonabove, and, I think, most of the Commentators, makecommuniato be the same with what follows,ignota indictaque, i.e.common, till you took them, such as were no-body's Property before. In this Sense,Horace, as Dr.Trappsays, contradicts his Opinion of new Subjects being better than old.
[377]Ad Aug.℣213.
[377]Ad Aug.℣213.
[378]Lib. I. Ep. I. 32.
[378]Lib. I. Ep. I. 32.
[379]De Art. Poet.℣31.
[379]De Art. Poet.℣31.
[380]℣179.
[380]℣179.
[381]Besides, in the ancient Tragedy the Chorus justified Soliloquies, who were supposed to be humane By-standers, where the Scene was laid: Among the Rules given to the Chorus inHorace, one is, that they should keep secret what they heard,Ille tegat commissa, Ar. Poet.℣200.
[381]Besides, in the ancient Tragedy the Chorus justified Soliloquies, who were supposed to be humane By-standers, where the Scene was laid: Among the Rules given to the Chorus inHorace, one is, that they should keep secret what they heard,Ille tegat commissa, Ar. Poet.℣200.
[382]Instit. Poet. Lib. II. cap. 5.
[382]Instit. Poet. Lib. II. cap. 5.
[383]De Arte Poet.℣192.
[383]De Arte Poet.℣192.
[384]Instit. Poet. Lib. II. c. 5.
[384]Instit. Poet. Lib. II. c. 5.
[385]De Art. Poet.℣189.
[385]De Art. Poet.℣189.
[386]Inst. Poet. L. II. c. 5.
[386]Inst. Poet. L. II. c. 5.
[387]Inst. Poet. L. II. p. 24.
[387]Inst. Poet. L. II. p. 24.
[388]Nor, with Submission, doesVossiussuppose them inconsistent.
[388]Nor, with Submission, doesVossiussuppose them inconsistent.
[389]Poet. L. I. c. 9.
[389]Poet. L. I. c. 9.
[390]Inst. Poet. L. II. c. 5.
[390]Inst. Poet. L. II. c. 5.
[391]Auctio Davisiana.
[391]Auctio Davisiana.
[392]Poet. L. I. c. 9.
[392]Poet. L. I. c. 9.
[393]Περι ὑψουϛ, c. V.
[393]Περι ὑψουϛ, c. V.
[394]As to the prior Antiquity of Comedy or Tragedy, History must be our only Guide; for I think it cannot be suppos'd that either of them existed, before Mankind knew what State and Magnificence was. Both had their Rise from the Songs at the Feasts ofBacchus.Susarionis said to be the Inventor of the first, andThespisof the latter. SoMarm. Arundel. &c.And yetHoracesays,Successit vetus his Comœdia, having spoken before of Tragedy and Satire; which is reconcil'd by supposingEpicharmus(who liv'd later thanThespis) theInventorof Comedy inHorace's Judgment, because he was the firstWriterof it. SeeBentley's Answer to Boyle, p. 238, 199, 200.
[394]As to the prior Antiquity of Comedy or Tragedy, History must be our only Guide; for I think it cannot be suppos'd that either of them existed, before Mankind knew what State and Magnificence was. Both had their Rise from the Songs at the Feasts ofBacchus.Susarionis said to be the Inventor of the first, andThespisof the latter. SoMarm. Arundel. &c.And yetHoracesays,Successit vetus his Comœdia, having spoken before of Tragedy and Satire; which is reconcil'd by supposingEpicharmus(who liv'd later thanThespis) theInventorof Comedy inHorace's Judgment, because he was the firstWriterof it. SeeBentley's Answer to Boyle, p. 238, 199, 200.
[395]Lib. I. Sat. IV.℣1.
[395]Lib. I. Sat. IV.℣1.
[396]℣281.
[396]℣281.
[397]Inst. L. II. c. 27. p. 139, 140.
[397]Inst. L. II. c. 27. p. 139, 140.
[398]Poetic. L.I. c. V. p. 27.
[398]Poetic. L.I. c. V. p. 27.
[399]P. 123.
[399]P. 123.
[400]P. 45, & 367.
[400]P. 45, & 367.
[401]P. 45.
[401]P. 45.
[402]P. 125.
[402]P. 125.
[403]P. 110.
[403]P. 110.
[404]No more than he himself was aware. He observes, if, as St.Jeromesays, it is a Copy of common Life, for the Improvement of the Audience, it need not be mix'd with Mirth, were it not for the Sake of pleasing them.
[404]No more than he himself was aware. He observes, if, as St.Jeromesays, it is a Copy of common Life, for the Improvement of the Audience, it need not be mix'd with Mirth, were it not for the Sake of pleasing them.
[405]Vossiustakes Care to tell us, that this Definition is suited to the Old Comedy; and gives us others fromCamerariusandJul. Scaliger, that comprehend the New.
[405]Vossiustakes Care to tell us, that this Definition is suited to the Old Comedy; and gives us others fromCamerariusandJul. Scaliger, that comprehend the New.
[406]De Poetica, cap. V.
[406]De Poetica, cap. V.
[407]In Poet. Arist. p. 58, 59.
[407]In Poet. Arist. p. 58, 59.
[408]L. I. Sat. X.℣14.
[408]L. I. Sat. X.℣14.
[409]Cap. V.
[409]Cap. V.
[410]Andria, Act. I. Scen. penult.
[410]Andria, Act. I. Scen. penult.
[411]De Art.℣93.
[411]De Art.℣93.
[412]Act. V. Scen. IV. 12.
[412]Act. V. Scen. IV. 12.
[413]Ad August.℣185.
[413]Ad August.℣185.
[414]℣168.
[414]℣168.
[415]Inst. Poet. L. II. c. XXIV.
[415]Inst. Poet. L. II. c. XXIV.
[416]Ibid. c. XXV.
[416]Ibid. c. XXV.
[417]Lipsiuswas ofVarro's Mind, who says, in a Letter toA. Schottus,Terentium amo, admiror; sed Plautum magis. This blind Love forPlautus, led him into a strange Affectation of his Style, for which he was expos'd byHenry Stephens, in his Book entitled,De Lipsii Latinitate Polæstra.
[417]Lipsiuswas ofVarro's Mind, who says, in a Letter toA. Schottus,Terentium amo, admiror; sed Plautum magis. This blind Love forPlautus, led him into a strange Affectation of his Style, for which he was expos'd byHenry Stephens, in his Book entitled,De Lipsii Latinitate Polæstra.
[418]Ad Aug.℣59.
[418]Ad Aug.℣59.
[419]A Mistake.Vossius, L. II. c. XXIII. citesAntonius Lullius Balearismelioris notæ Rhet.
[419]A Mistake.Vossius, L. II. c. XXIII. citesAntonius Lullius Balearismelioris notæ Rhet.
[420]Lib. I. Sat. I. 69.
[420]Lib. I. Sat. I. 69.
[421]De Art. Poet.℣220.
[421]De Art. Poet.℣220.
[422]Another Reason against it is, that Τρυγωδια never signifiesTragedy, butComedyonly.Casaubon, indeed,de Satyr. Poesi, says, it originally comprehended both. But his Opinion depends solely on theEtymolog. Mag.which is contradicted by all the other Lexicographers. The Authorities he produces fromAristotleandAthenæus, make nothing for his Purpose. SeeBentleyagainstBoyle, p. 306, 307, 308. Which I mention the rather, because the ingenious Mr.Crusiushas not in this, and some other Instances, profited by that learned Author's Observations.
[422]Another Reason against it is, that Τρυγωδια never signifiesTragedy, butComedyonly.Casaubon, indeed,de Satyr. Poesi, says, it originally comprehended both. But his Opinion depends solely on theEtymolog. Mag.which is contradicted by all the other Lexicographers. The Authorities he produces fromAristotleandAthenæus, make nothing for his Purpose. SeeBentleyagainstBoyle, p. 306, 307, 308. Which I mention the rather, because the ingenious Mr.Crusiushas not in this, and some other Instances, profited by that learned Author's Observations.
[423]SeeVossiusInst. Poet. L. II. c. XI.
[423]SeeVossiusInst. Poet. L. II. c. XI.
[424]Περι ὑψουϛ, cap. VI.
[424]Περι ὑψουϛ, cap. VI.
[425]Inst. Poet. L. II. c. XI.
[425]Inst. Poet. L. II. c. XI.
[426]Besides the Chorus, the Monologues, call'dCantica, were set to Music; the Dialogues in a Kind of Recitative. SeeCrusius,ubi supra, § IV.
[426]Besides the Chorus, the Monologues, call'dCantica, were set to Music; the Dialogues in a Kind of Recitative. SeeCrusius,ubi supra, § IV.
[427]Art. Poet.℣179.
[427]Art. Poet.℣179.
[428]Ibid.
[428]Ibid.
[429]Art. Poet.℣89.
[429]Art. Poet.℣89.
[430]℣231.
[430]℣231.
[431]Trist. L. II.℣381.
[431]Trist. L. II.℣381.
[432]C. XIV.
[432]C. XIV.
[433]Ep. III. L. I.℣14.
[433]Ep. III. L. I.℣14.
[434]Act. III. Scen. I.
[434]Act. III. Scen. I.
[435]Inst. Poet. Lib. II. c. XIV.
[435]Inst. Poet. Lib. II. c. XIV.
[436]Art. Poet.℣93.
[436]Art. Poet.℣93.
[437]Sat. VI.℣635.
[437]Sat. VI.℣635.
[438]Art. Poet.℣338.
[438]Art. Poet.℣338.
[439]Ad Aug.℣210.
[439]Ad Aug.℣210.
[440]Lib. II. c. XIII. p. 68.
[440]Lib. II. c. XIII. p. 68.
[441]I am at a Loss here to know whatVossiusmeans, who seems to intimate, that in theHecubaofEuripides, the Death ofÆgisthusadded to the Terror and Distress of the Play. But asAgamemnonhimself is one of the Persons in the Drama, there could be no Thoughts of revenging a Death, which had not happen'd. In theElectra, there is an account ofÆgisthus's Death; but that Incident is not of so much Consequence there, asVossiusseems to make it in the Tragedy he alludes to. It is therefore most probable, that what is here said relates to theElectraofSophocles; where the concluding Scene represents the meeting ofOrestesandÆgisthus, and the latter is conducted off the Stage, only to be put to Death in the same Place where he kill'dAgamemnon. A short Sentence has probably been originally left out inVossius, which would have clear'd this Matter, in Words to this Effect;Sic tristis exitus in Sophoclis Electra, ubi Ægisthus, &c. It is much our Author, who, upon many other Occasions, has censur'dVossius, should pass over a Mistake of this Nature.
[441]I am at a Loss here to know whatVossiusmeans, who seems to intimate, that in theHecubaofEuripides, the Death ofÆgisthusadded to the Terror and Distress of the Play. But asAgamemnonhimself is one of the Persons in the Drama, there could be no Thoughts of revenging a Death, which had not happen'd. In theElectra, there is an account ofÆgisthus's Death; but that Incident is not of so much Consequence there, asVossiusseems to make it in the Tragedy he alludes to. It is therefore most probable, that what is here said relates to theElectraofSophocles; where the concluding Scene represents the meeting ofOrestesandÆgisthus, and the latter is conducted off the Stage, only to be put to Death in the same Place where he kill'dAgamemnon. A short Sentence has probably been originally left out inVossius, which would have clear'd this Matter, in Words to this Effect;Sic tristis exitus in Sophoclis Electra, ubi Ægisthus, &c. It is much our Author, who, upon many other Occasions, has censur'dVossius, should pass over a Mistake of this Nature.
[442]Vossiusguards against all the Inconsistence he is here charg'd with, which is no more than this; That it isessentialto a Tragedy, form'd κατα την τεχνην, to end unfortunately, but not so to one madead populum. He borrow'd his Sentiment fromAristotle, De Arte Poetica, εστιν δε ουχ ἁυτη απο τραγωιδιαϛ ἡδονη, αλλα μαλλον τηϛ κωμωιδιαϛ οικειαthis is not a Pleasure that arises from Tragedy, but rather of the Nature of Comedy, c. XIV. Ed. Heins. al. XIII.
[442]Vossiusguards against all the Inconsistence he is here charg'd with, which is no more than this; That it isessentialto a Tragedy, form'd κατα την τεχνην, to end unfortunately, but not so to one madead populum. He borrow'd his Sentiment fromAristotle, De Arte Poetica, εστιν δε ουχ ἁυτη απο τραγωιδιαϛ ἡδονη, αλλα μαλλον τηϛ κωμωιδιαϛ οικειαthis is not a Pleasure that arises from Tragedy, but rather of the Nature of Comedy, c. XIV. Ed. Heins. al. XIII.
[443]Epist. Ded. to theSpanish Fryar.
[443]Epist. Ded. to theSpanish Fryar.
[444]Inst. Poet. L. II. C. XIII. p. 61.
[444]Inst. Poet. L. II. C. XIII. p. 61.
[445]Those Tragedies that are writ according to thenicest Rules of Art, he said before, upon the Authority ofAristotle, doNOTend happily: And upon the same Authority he says, insuchPlays the Characters are neither extremely wicked, nor perfectly virtuous.Aristotle, as a Heathen, was right in his Opinion, according to Dr.Trapp's Theory;Vossius, who follows him throughout, is not inconsistent. As to the Opinion in general, I will not pretend to determine, since it isdignus vindice nodus.
[445]Those Tragedies that are writ according to thenicest Rules of Art, he said before, upon the Authority ofAristotle, doNOTend happily: And upon the same Authority he says, insuchPlays the Characters are neither extremely wicked, nor perfectly virtuous.Aristotle, as a Heathen, was right in his Opinion, according to Dr.Trapp's Theory;Vossius, who follows him throughout, is not inconsistent. As to the Opinion in general, I will not pretend to determine, since it isdignus vindice nodus.
[446]They are very easy to be found in c. XIV. ofAristotle's Art of Poetry, according toDan. Heinsius's Edition; c. XIII. in others. All thatVossiushas advanc'd above, is only a Comment on that Chapter. DoesVossiussay thebestTragedies are conformable to these Rules? So doesAristotle, ἡ μεν κατα την τεχνην καλλιστη τραγωδια εκ ταυτηϛ τηϛ συστασεωϛ εστι, p. m. 270,&c.That we are not affected with Compassion or Terror at the Sufferings of the Wicked? so doesAristotle, ουτε ελεεινο, ουτε φοβερον φαινεται το συμβαινον, p. 269. That a middle Character is to be chosen? so doesAristotle, ὁ μεταξυ αρα τουτων λοιποϛ, εσι δεγοιουτοϛ,&c.
[446]They are very easy to be found in c. XIV. ofAristotle's Art of Poetry, according toDan. Heinsius's Edition; c. XIII. in others. All thatVossiushas advanc'd above, is only a Comment on that Chapter. DoesVossiussay thebestTragedies are conformable to these Rules? So doesAristotle, ἡ μεν κατα την τεχνην καλλιστη τραγωδια εκ ταυτηϛ τηϛ συστασεωϛ εστι, p. m. 270,&c.That we are not affected with Compassion or Terror at the Sufferings of the Wicked? so doesAristotle, ουτε ελεεινο, ουτε φοβερον φαινεται το συμβαινον, p. 269. That a middle Character is to be chosen? so doesAristotle, ὁ μεταξυ αρα τουτων λοιποϛ, εσι δεγοιουτοϛ,&c.
[447]RatioinVossius, is not us'd forprudentia, as Dr.Trappseems to take it, but in the same Sense with that noted Saying,ratio ultima regum, the last Expedient, or Resort of Kings. The Instances alledg'd illustrate this:Medeais forc'd to kill her BrotherAbsyrtus, to secure her own Escape; and her Children afterwards, to prevent them from falling into such Hands as would execute greater Cruelties upon them. The Circumstance ofOedipus, made unfortunate not by real Crimes, is very well describ'd by Mr.Lee:To you, good Gods, I make my last Appeal,To clear my Virtues, or my Crimes reveal:If in the Maze of Fate I blindly run,And backward trod those Paths I ought to shun,Impute my Errors to your own Decree;My Hands are guilty, but my Heart is free.
[447]RatioinVossius, is not us'd forprudentia, as Dr.Trappseems to take it, but in the same Sense with that noted Saying,ratio ultima regum, the last Expedient, or Resort of Kings. The Instances alledg'd illustrate this:Medeais forc'd to kill her BrotherAbsyrtus, to secure her own Escape; and her Children afterwards, to prevent them from falling into such Hands as would execute greater Cruelties upon them. The Circumstance ofOedipus, made unfortunate not by real Crimes, is very well describ'd by Mr.Lee:
To you, good Gods, I make my last Appeal,To clear my Virtues, or my Crimes reveal:If in the Maze of Fate I blindly run,And backward trod those Paths I ought to shun,Impute my Errors to your own Decree;My Hands are guilty, but my Heart is free.
To you, good Gods, I make my last Appeal,To clear my Virtues, or my Crimes reveal:If in the Maze of Fate I blindly run,And backward trod those Paths I ought to shun,Impute my Errors to your own Decree;My Hands are guilty, but my Heart is free.
[448]Inst. Poet. L. II. c. XI. p. 47.
[448]Inst. Poet. L. II. c. XI. p. 47.
[449]Inst. Poet. L. II. c. XIII. p. 65.
[449]Inst. Poet. L. II. c. XIII. p. 65.
[450]Ter. And. Act I. Scen. I.
[450]Ter. And. Act I. Scen. I.
[451]Inst. Poet. L. II. c. XI. p. 47.
[451]Inst. Poet. L. II. c. XI. p. 47.
[452]Poet. Lib. III. p. 373.
[452]Poet. Lib. III. p. 373.
[453]Both borrow their Solution fromAristotle, c. IV. who tells us, that thePleasurethe Mind takes is, inlearningthe Likeness between the Representation and the Original.
[453]Both borrow their Solution fromAristotle, c. IV. who tells us, that thePleasurethe Mind takes is, inlearningthe Likeness between the Representation and the Original.
[454]Lib. II.℣1.
[454]Lib. II.℣1.
[455]See this beautifully illustrated, in Mr.Pope'sEthic Epistles, III. 270,&c.
[455]See this beautifully illustrated, in Mr.Pope'sEthic Epistles, III. 270,&c.
[456]Mr.Addisonhas treated this Subject with great Accuracy, inThe Spectator, Vol VI. No. 418.
[456]Mr.Addisonhas treated this Subject with great Accuracy, inThe Spectator, Vol VI. No. 418.
[457]Preface to myEnglishTranslation ofVirgil'sÆneis.
[457]Preface to myEnglishTranslation ofVirgil'sÆneis.
[458]Ibid.
[458]Ibid.
[459]The Reader will understand this Distinction much better by the Examples which the Author has mention'd in his Preface to theÆneis; and I shall, for that Reason, take the Liberty to transcribe some of them. "The Storm, in the first Book ofVirgil, driving the Fleet on the Coast ofCarthage, is an Incident, not an Episode, because the Hero himself, and the whole Body of his Forces, are concern'd in it; and so it is a direct, and not a collateral Part of the main Action. The Adventures ofNisusandEuryalus, in the 9th Book, are Episodes, not Incidents;i.e.not direct Parts of the main Action."
[459]The Reader will understand this Distinction much better by the Examples which the Author has mention'd in his Preface to theÆneis; and I shall, for that Reason, take the Liberty to transcribe some of them. "The Storm, in the first Book ofVirgil, driving the Fleet on the Coast ofCarthage, is an Incident, not an Episode, because the Hero himself, and the whole Body of his Forces, are concern'd in it; and so it is a direct, and not a collateral Part of the main Action. The Adventures ofNisusandEuryalus, in the 9th Book, are Episodes, not Incidents;i.e.not direct Parts of the main Action."
[460]Thus prov'd byBossu: TheIliadbegins with the Plague, which lasts ten Days. The Poet allows for the Recovery of theGrecians10, Battles that follow 5, Funeral Rites ofPatroclus11, and ofHector11; in all, 47.
[460]Thus prov'd byBossu: TheIliadbegins with the Plague, which lasts ten Days. The Poet allows for the Recovery of theGrecians10, Battles that follow 5, Funeral Rites ofPatroclus11, and ofHector11; in all, 47.
[461]TheOdyssey, according to the same Author, Book III. c. XII. takes up 58 Days. And theÆneisis reduc'd within half a Year, or a single Campaign, beginning where Dr.Trappdoes. I know not howBossucame to be so misrepresented.
[461]TheOdyssey, according to the same Author, Book III. c. XII. takes up 58 Days. And theÆneisis reduc'd within half a Year, or a single Campaign, beginning where Dr.Trappdoes. I know not howBossucame to be so misrepresented.
[462]Art. Poet.℣73.
[462]Art. Poet.℣73.
[463]Book II. c. XIX.
[463]Book II. c. XIX.
[464]℣103.
[464]℣103.
[465]De Art. Poet.℣121.
[465]De Art. Poet.℣121.
[466]Ibid.℣121.
[466]Ibid.℣121.
[467]Περι Ποιητκηϛ, cap. XXIII.
[467]Περι Ποιητκηϛ, cap. XXIII.
[468]Æn. L. III.℣26.
[468]Æn. L. III.℣26.
[469]℣34.
[469]℣34.
[470]℣59.
[470]℣59.
[471]Il. XIX.℣407.
[471]Il. XIX.℣407.
[472]Æn. III. 664.
[472]Æn. III. 664.
[473]Ibid. 672.
[473]Ibid. 672.
[474]Æn. VII. 808.
[474]Æn. VII. 808.
[475]Περι Ποιητκηϛ, c. IX.
[475]Περι Ποιητκηϛ, c. IX.
[476]Ibid.
[476]Ibid.
[477]Lib I. Ep. II. 3.
[477]Lib I. Ep. II. 3.
[478]De Art.℣317.
[478]De Art.℣317.
[479]℣73.
[479]℣73.