180 185 Segnius inritant animos demissa per aurem, Nec Deus intersit, nisi dignus vindice nodus 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 200 İlle tegat conmissa, Deosque precetur et oret, Accessit numerisque modisque licentia major. COMMENTARY. 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 Sic priscae motumque et luxuriem addidit artí Et tulit eloquium insolitum facundia praeceps; 215 Carmine qui tragico vilem certavit ob hircum, 220 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: Ut festis matrona moveri jussa diebus, Intererit Satyris paulum pudibunda protervis. Ut nihil intersit, Davusne loquatur et audax 231 236 245 Ex noto fictum carmen sequar: ut sibi quivis 240 COMMENTARY. 250 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 Syllaba longa brevi subjecta, vocatur Iambus;99:! COMMENTARY. iambic foot; reproving, at the same time, the indolence or ill-taste of the Roman writers in this respect, and sending them for instruction to the. Grecian models. Having introduced his critique on the stage-music, and satyric drama, with some account of the rise and progress of each, the poet very properly concludes this whole part [from v. 275 to 295] with a short, incidental |