215.—Antiphates, the Cyclops, &c].– Antiphatem, Scyllamque, & cum Cyclope Charybdim. Stories, that occur in the Odyssey. 218-19—Diomed's return—the Double Egg.]

The return of Diomede is not mentioned by Homer, but is said to be the subject of a tedious Poem by Antimachus; and to Stasimus is ascribed a Poem, called the Little Iliad, beginning with the nativity of Helen.

227.—Hear now!] Tu, quid ego, &c.

This invocation, says Dacier justly, is not addressed to either of the Pisos, but to the Dramatick Writer generally.

229.–The Cloth goes down.] Aulaea manentis. This is translated according to modern manners; for with the Antients, the Cloth was raised at the Conclusion of the Play. Thus in Virgil's Georgicks;

Vel scena ut versis disceedat frontibus, atque
Purpurea intexti tollant aulaea Britanni.

Where the proud theatres disclose the scene;
Which interwoven Britons seem to raise;
And shew the triumph which their shame displays.

Dryden

230.—Man's several ages, &c.] aetatis cujusque, &c. Jason Demores takes notice of the particular stress, that Horace lays on the due discrimination of the several Ages, by the solemnity with which he introduces the mention of them: The same Critick subjoins a note also, which I shall transcribe, as it serves to illustrate a popular passage in the As you Like It of Shakespeare.

All the world's a stage,
And all the men and women merely players;
They have their exits and their entrances,
And one man in his time plays many parts:
His acts being seven ages. At first the infant,
Mewling and puking in the nurse's arms:
And then, the whining school-boy with his satchel,
And shining morning-face, creeping like snail
Unwillingly to school. And then, the lover;
Sighing like furnace, with a woeful ballad
Made to his mistress' eye-brow. Then, a soldier;
Full of strange oaths, and bearded like the pard,
Jealous in honour, sudden and quick in quarrel;
Seeking the bubble reputation
Even in the cannon's mouth. And then, the justice
In fair round belly, with good capon lin'd
With eyes severe, and beard of formal cut,
Full of wise saws and modern instances,
And so he plays his part. The sixth age shifts
Into the lean and flipper'd pantaloon,
With spectacles on nose, and pouch on side;
His youthful hose well sav'd, a world too wide
For his shrunk shank; and his big manly voice,
Turning again toward childish treble, pipes,
And whistles in his sound. Last scene of all,
That ends this strange eventful history,
Is second childishness, and mere oblivion,
Sans teeth, sans eyes, sans taste, sans everything.

Animadverti a plerisque hominis aetatem in septem divisam esse partes, infantiam, pueritiam, adolescentiam, juventutem, virilitatem, senectutem, & ut ab illis dicitur, decrepitatem. In hâc verò parte nihil de infantiae moribus Horatius, cum nihil ea aetas praeter vagitum habeat proprium, ideòque infantis persona minimè in scenâ induci possit, quòd ipsas rerum voces reddere neque dum sciat, neque valeat. Nihil de moribus item hujus aetatis, quam, si latinè licet, decrepitatem vocabimus, quae aetas quodammodo infantiae respondet: de juventute autem & adolescentia simul pertractat, quòd et studiis, et naturâ, & voluntate, parum, aut nihil inter se differant. Aristoteles etiam in libris ad Theodectem omisit & pueritiam, & meritò; cum minime apud pueros, vel de pueris sit orator habiturus orationem. Ille enim ad hoc ex aetate personarum differentiam adhibet, ut instituat oratorem, quomodo moratâ uti debeat oratione, id est, eorum moribus, apud quos, & de quibus loquitur, accommodatâ.

It appears from hence, that it was common for the writers of that time, as well as Shakespeare's Jaques, to divide the life of Man into seven ages, viz. Infancy, Childhood, Puberty, Youth, Manhood, Old Age, and Decrepitude; "which last, (says Denores) in some sort answers to Infancy," or, as Shakespeare expresses it, IS second childishness.

"Before Shakespeare's time," says Warburton, "seven acts was no unusual division of a play, so that there is a greater beauty than appears at first sight in this image." Mr. Steevens, however, informs us that the plays of that early period were not divided into acts at all. It is most probable therefore that Shakespeare only copied the moral philosophy (the Socraticae chartae) of his own day, adapting it, like Aristotle and Horace, to his own purpose; and, I think, with more felicity, than either of his illustrious predecessors, by contriving to introduce, and discriminate, every one of the seven ages. This he has effected by assigning station and character to some of the stages, which to Aristotle and Horace appeared too similar to be distinguished from each other. Thus puberty, youth, manhood, and old age, become under Shakespeare's hand, the lover, the soldier, the justice, and the lean and flipper'd pantaloon; while the natural qualities of the infant, the boy, and the dotard, afford sufficient materials for poetical description.

262.—Thus years advancing many comforts bring, and flying bear off many on their wing.]

Multa ferunt anni venientes commoda secum, multa recedentes adimunt.

Aristotle considers the powers of the body in a state of advancement till the 35th year, and the faculties of the mind progressively improving till the 49th; from which periods they severally decline. On which circumstance, applied to this passage of Horace, Jason de Nores elegantly remarks, Vita enim nostra videtur ad virilitatem usque, quâ in statu posita est, quendam quasi pontem aetatis ascendere, ab eâque inde descendere. Whether Addison ever met with the commentary of De Nores, it is perhaps impossible to discover. But this idea of the ascent and declivity of the bridge of human life, strongly reminds us of the delightful vision of mirza.

288.—An actor's part the Chorus should sustain.] Actoris partes Chorus, &c.

"See also Aristotle [Greek*: oes. ooiaet. k. iae.] The judgment of two such critics, and the practice of wise antiquity, concurring to establish this precept concerning the Chorus, it should thenceforth, one would think, have become a fundamental rule and maxim of the stage. And so indeed it appeared to some few writers. The most admired of the French tragic poets ventured to introduce it into two of his latter plays, and with such success that, as one observes, It should, in all reason, have disabused his countrymen on this head: l'essai heureux de M. Racine, qui les [choeurs] a fait revivre dans athalie _et dans esther, devroit, il semble, nous avoir detrompez sur cet article._ [P. Brumoi, vol. i. p. 105.] And, before him, our Milton, who, with his other great talents, possessed a supreme knowledge of antiquity, was so struck with its use and beauty, as to attempt to bring it into our language. His Sampson Agonistes was, as might be expected, a master- piece. But even his credit hath not been sufficient to restore the Chorus. Hear a late Professor of the art declaring, _De _Choro nihil disserui, quia non est essentialis dramati, atque à neotericis penitus, et, me judice, merito repudiatur. [Prael. Poet. vol. ii. p. 188.] Whence it hath come to pass that the chorus hath been thus neglected is not now the enquiry. But that this critic, and all such, are greatly out in their judgments, when they presume to censure it in the ancients, must appear (if we look no further) from the double use, insisted on by the poet, For, 1. A _chorus _interposing, and bearing a part in the progress of the action, gives the representation that probability, [Footnote: Quel avantage ne peut il [le poete] pas tirer d'une troupe d'acteurs, qui remplissent sa scene, qui rendant plus sense la continuité de l'action qui la sont paroitre VRAISEMBLABLE puisqu'il n'est pas naturel qu'elle sa passe sans point. On ne sent que trop le vuide de notre Théatre sans choeurs. &c. [Les Théatre des Grècs. i. p. 105 ] and striking resemblance of real life, which every man of sense perceives, and feels the want of upon our stage; a want, which nothing but such an expedient as the chorus can possibly relieve. And, 2. The importance of its other office [l. 196] to the _utility _of the representation, is so great, that, in a moral view, nothing can compensate for this deficiency. For it is necessary to the truth and decorum of characters, that the manners, bad as well as good, be drawn in strong, vivid colours; and to that end that immoral sentiments, forcibly expressed and speciously maintained, be sometimes _imputed _to the speakers. Hence the sound philosophy of the chorus will be constantly wanting, to rectify the wrong conclusions of the audience, and prevent the ill impressions that might otherwise be made upon it. Nor let any one say, that the audience is well able to do this for itself: Euripides did not find even an Athenian theatre so quick-sighted. The story is well known, [Sen. Ep. 115.] that when this painter of the _manners _was obliged, by the rules of his art, and the character to be sustained, to put a run of bold sentiments in the mouth of one of his persons, the people instantly took fire, charging the poet with the _imputed _villainy, as though it had been his own. Now if such an audience could so easily misinterpret an attention to the truth of character into the real doctrine of the poet, and this too, when a Chorus was at hand to correct and disabuse their judgments, what must be the case, when the _whole _is left to the sagacity and penetration of the people? The wiser sort, it is true, have little need of this information. Yet the reflexions of sober sense on the course and occurrences of the representation, clothed in the noblest dress of poetry, and enforced by the joint powers of harmony and action (which is the true character of the Chorus) might make it, even to such, a no unpleasant or unprofitable entertainment. But these two are a small part of the uses of the chorus; which in every light is seen so important to the truth, decorum, and dignity of the tragic scene, that the modern stage, which hath not thought proper to adopt it, is even, with the advantage of, sometimes, the justest moral painting and sublimest imagery, but a very faint shadow of the old; as must needs appear to those who have looked into the ancient models, or, diverting themselves of modern prejudices, are disposed to consult the dictates of plain sense. For the use of such, I once designed to have drawn into one view the several important benefits arising to the drama from the observance of this rule, but have the pleasure to find myself prevented by a sensible dissertation of a good French writer, which the reader will find in the VIII tom. of the History of the Academy of Inscriptions end Belles Lettres.—Or, it may be sufficient to refer the English reader to the late tragedies of Elfrida and Caractacus; which do honour to modern poetry, and are a better apology, than any I could make, for the ancient Chorus.–Notes on the Art of Poetry.

Though it is not my intention to agitate, in this place, the long disputed question concerning the expediency, or inexpediency, of the Chorus, yet I cannot dismiss the above note without some farther observation. In the first place then I cannot think that the judgment of two such Criticks as Aristotle and Horace, can be decisively quoted, as concurring with the practice of wise antiquity, to establish the chorus. Neither of these two Criticks have taken up the question, each of them giving directions for the proper conduct of the Chorus, considered as an established and received part of Tragedy, and indeed originally, as they both tell us, the whole of it. Aristotle, in his Poeticks, has not said much on the subject and from the little he has said, more arguments might perhaps be drawn, in favour of the omission, than for the introduction of the Chorus. It is true that he says, in his 4th chapter, that "Tragedy, after many changes, paused, having gained its natural form:" [Greek transliteration: 'pollha': moiazolas metazalousa ae tragodia epausto, hepei hesche taen heauiaes phusin]. This might, at first sight, seem to include his approbation of the Chorus, as well as of all the other parts of Tragedy then in use: but he himself expressly tells us in the very same chapter, that he had no such meaning, saying, that "to enquire whether Tragedy be perfect in its parts, either considered in itself, or with relation to the theatre, was foreign to his present purpose." [Greek: To men oun epischopein, eiapa echei aedae hae tragodia tois ikanos, ae ou, auto te kath auto krinomenon, kai pros ta theatra, allos logos.]

In the passage from which Horace has, in the verses now before us, described the office, and laid down the duties of the CHORUS, the passage referred to by the learned Critick, the words of Aristotle are not particularly favourable to the institution, or much calculated to recommend the use of it. For Aristotle there informs us, "that Sophocles alone of all the Grecian writers, made the CHORUS conducive to the progress of the fable: not only even Euripides being culpable in this instance; but other writers, after the example of Agathon, introducing Odes as little to the purpose, as if they had borrowed whole scenes from another play."

[Greek: Kai ton chorus de ena dei upolazein tan upochriton. Kai morion einai tch olch, chai sunagonis*e mae osper par Euripidae, all osper para Sophochlei. Tois de loipois ta didomena mallon ta muthch, ae allaes Tragadias esi di o emzolima adchoi, protch arxanto Agrathonos tch toichtch Kai tch diaphsrei, ae aemzot ma adein, ae raesin ex allch eis allo armotteen, ae eteitodion oleos [per. poiaet. ch. iii.]]

On the whole therefore, whatever may be the merits, or advantages of the CHORUS, I cannot think that the judgment of Aristotle or Horace can be adduced as recommendation of it. As to the probability given to the representation, by CHORUS interposing and bearing a part in the action; the Publick, who have lately in a troop of singers assembled on the stage, as a Chorus, during the whole of presentations of Elfrida and Caractacus, are competent to decide for themselves, how far such an expedient, gives a more striking resemblance of human life, than the common usage of our Drama. As to its importance in a moral view, to correct the evil impression of vicious sentiments, imputed to the speakers; the story told, to enforce its use for this purpose, conveys a proof of its efficacy. To give due force to sentiments, as well as to direct their proper tendency, depends on the skill and address of the Poet, independent of the Chorus,

Monsieur Dacier, as well as the author of the above note, censures the modern stage for having rejected the Chorus, and having lost thereby at least half its probability, and its greatest ornament; so that our Tragedy is but a very faint shadow of the old. Learned Criticks, however, do not, perhaps, consider, that if it be expedient to revive the Chorus, all the other parts of the antient Tragedy must be revived along with it. Aristotle mentions Musick as one of the six parts of Tragedy, and Horace no sooner introduces the CHORUS, but he proceeds to _the _pipe _and _lyre. If a Chorus be really necessary, our Dramas, like those of the antients, should be rendered wholly musical; the _Dancers _also will then claim their place, and the pretentions of Vestris and Noverre may be admitted as classical. Such a spectacle, if not more natural than the modern, would at least be consistent; but to introduce a groupe of spectatorial actors, speaking in one part of the Drama, and singing in another, is as strange and incoherent a medley, and full as unclassical, as the dialogue and airs of The Beggar's Opera!

290.—Chaunting no Odes between the acts, that seem unapt, _or _foreign _to the _general theme.]

Nec quid medios, &c.

On this passage the author of the English Commentary thus remarks. "How necessary this advice might be to the writers of the Augustan age cannot certainly appear; but, if the practice of Seneca may give room for suspicion, it should seem to have been much wanted; in whom I scarcely believe there is one single instance, _of the _Chorus being employed in a manner, consonant to its true end and character."

The learned Critick seems here to believe, and the plays under the name of Seneca in some measure warrant the conclusion, that _the _Chorus of the Roman Stage was not calculated to answer the ends of its institution. Aristotle has told us just the same thing, with an exception in favour of Sophocles, of the Grecian Drama. And are such surmises, or such information, likely to strengthen our prejudices on behalf of _the _CHORUS, or to inflame our desires for its revival?

292.–LET IT TO VIRTUE PROVE A GUIDE AND FRIEND.]

Ille bonis saveatque, &c.

"The Chorus," says the poet, "is to take the side of the good and virtuous, i. e. is always to sustain a moral character. But this will need some explanation and restriction. To conceive aright of its office, we must suppose the _Chorus _to be a number of persons, by some probable cause assembled together, as witnesses and spectators of the great action of the drama. Such persons, as they cannot be wholly uninterested in what passes before them, will very naturally bear some share in the representation. This will principally consist in declaring their sentiments, and indulging their reflexions freely on the several events and mistresses as they shall arise. Thus we see the moral, attributed to the Chorus, will be no other than the dictates of plain sense; such as must be obvious to every thinking observer of the action, who is under the influence of no peculiar partialities from affection or interest. Though even these may be supposed in cases, where the character, towards which they draw, is represented as virtuous."

"A Chorus, thus constituted, must always, it is evident, take the part of virtue; because this is the natural and almost necessary determination of mankind, in all ages and nations, when acting freely and unconstrained." Notes on the Art of Poetry.

297.—FAITHFUL AND SECRET.]—Ille tegat commissa.

On this nice part of the duty of the CHORUS the author of the English Commentary thus remarks.

"This important advice is not always easy to be followed. Much indeed will depend on the choice of the subject, and the artful constitution of the fable. Yet, with all his care, the ablest writer will sometimes find himself embarrassed by the Chorus. i would here be understood to speak chiefly of the moderns. For the antients, though it has not been attended to, had some peculiar advantages over us in this respect, resulting from the principles and practices of those times. For, as it hath been observed of the ancient epic Muse, that she borrowed much of her state and dignity from the false theology of the pagan world, so, I think, it may be justly said of the ancient tragic, that she has derived great advantages of probability from its mistaken moral. If there be truth in this reflection, it will help to justify some of the ancient choirs, that have been most objected to by the moderns."

After two examples from Euripides; in one of which the trusty CHORUS conceals the premeditated suicide of Phaedra; and in the other abets Medea's intended murder of her children, both which are most ably vindicated by the Critick; the note concludes in these words.

"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 or 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."

One of the censurers of Euripides, whose opinion is controverted in the above note, is Monsieur Dacier; who condemns the CHORUS in this instance, as not only violating their moral office, but transgressing the laws of Nature and of God, by a fidelity; so vicious and criminal, that these women, [the Chorus!] ought to fly away in the Car of Medea, to escape the punishment due to them. The Annotator above, agrees with the Greek Scholiast, that the Corinthian women (the Chorus) being free, properly desert the interests of Creon, and keep Medea's secrets, for the sake of justice, according to their custom. Dacier, however, urges an instance of their infidelity in the ION of Euripides, where they betray the secret of Xuthus to Creusa, which the French Critick defends on account of their attachment to their mistress; and adds, that the rule of Horace, like other rules, is proved by the exception. "Besides (continues the Critick in the true spirit of French gallantry) should we so heavily accuse the Poet for not having made an assembly of women keep a secret?" D'ailleurs, peut on faire un si grand crime à un poete, de n'avoir pas fait en sorte qu'une troupe de femmes garde un secret? He then concludes his note with blaming Euripides for the perfidy of Iphigenia at Tauris, who abandons these faithful guardians of her secret, by flying alone with Orestes, and leaving them to the fury of Thoas, to which they must have been exposed, but for the intervention of Minerva.

On the whole, it appears that the moral importance of the CHORUS must be considered with some limitations: or, at least, that the CHORUS is as liable to be misused and misapplied, as any part of modern Tragedy.

300.—The pipe of old.]—Tibi, non ut nunc, &c.

"This, says the author of the English Commentary, is one of those many passages in the epistle, about which the critics 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, I. From the expression itself; which cannot, without violence, be understood in any other way. For, as to the words licentia and praeceps, 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."

The above interpretation of this part of the Epistle is, in my opinion, extremely just, and exactly corresponds with the explication of De Nores, who censures Madius for an error similar to that of Dacier. Non rectè sentire videtur Madius, dum putat potius in Romanorum luxuriam_ invectum horatium, quam_ de melodiae incremento tractasse.

The musick, having always been a necessary appendage to the Chorus, I cannot (as has already been hinted in the note on I. 100 of this version) confider the Poet's notice of the Pipe and Lyre, as a digression, notwithstanding it includes a short history of the rude simplicity of the Musick in the earlier ages of Rome, and of its subsequent improvements. The Chorus too, being originally the whole, as well as afterwards a legitimate part of Tragedy, the Poet naturally traces the Drama from its origin to its most perfect state in Greece; and afterwards compares its progress and improvements with the Theatre of his own country. Such is, I think, the natural and easy method pursued by Horace; though it differs in some measure from the order and connection pointed out by the author of the English Commentary.

314.—For what, alas! could the unpractis'd ear
Of rusticks revelling o'er country cheer,
A motley groupe; high, low; and froth, and scum,
Distinguish but shrill squeak, and dronish hum?
—Indoctus quid enim saperet, liberque laborum,
Rusticus urbano confusus, turpis honesto?

These lines, rather breaking in upon the continuity of the history of theatrical musick, create some obscurity, which has given birth, to various interpretations. The author of the English Commentary, who always endeavours to dive to the very bottom of his subject, understands this couplet of Horace as a sneer on those grave philosophers, who considered these refinements of the musick as corruptions. He interprets the passage at large, and explains the above two lines in these words. "Nor let it be objected than this freer harmony was itself an abuse, a corruption of the severe and moral musick of antient times. Alas! we were not as yet so wise, to see the inconveniences 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?"

This interpretation is ingenious; but Jason De Nores gives, I think, a more easy and unforced explanation of this difficult passage, by supposing it to refer (by way of parenthesis) to what had just been said of the original rude simplicity of the Roman theatrical musick, which, says the Poet, was at least as polished and refined as the taste of the audience. This De Nores urges in two several notes, both which I shall submit to the reader, leaving it to him to determine how far I am to be justified in having adapted my version to his interpretation.

The first of these notes contains at large his reproof of Madius for having, like Dacier, supposed the Poet to censure the improvements that he manifestly meant to commend.

Quare non recté videtur sentire Madius, dum putat potius in Romanorum luxuriam invectum Horatium, quàm de melodiae incremento tractasse, cùm seipsum interpretans, quid fibi voluerit per haec, luce clarius, ostendat,

Tibia non ut nunc orichalco vincta, tubaeque AEmula. Et,
Sic priscae motumque, & luxuriam addidit arti
Tibicen, traxitque vagus per pulpita vestem:
Sic etiam fidibus voces crevere feveris,
Et tulit eloquium infolitum fecundia praeceps.

Ad quid enim tam longâ digressione extra, rem propositam in Romanos inveberetur, cùm de iis nihil alîud dicat, quàm eos genio ac valuptatibus indulgere: cum potius veteres Romanos insimulare videatur ionorantiae, quod ignoraverint soni et musices venustatem et jucunditatem, illa priori scilicet incondita et rudi admodum contenti, dum ait; Indoctus quid enim saperet, liberque laborum, Rusticus urbano confusus, turpis honesto?

The other note is expressly applied by way of comment on this passage itself.

[Indoctus quidenim saperet?] Reddit rationem quasiper digressionem, occurrens tacitae objectioni quare antea apud Romanos musica melodia parva aut nulla pene fuerat: quia, inquit, indocti ignarique rerum omnium veteres illi nondum poterant judicare de melodia, utpote apud eos re novâ, atque inufitatâ, neque illius jucunditatem degustare, quibus verbis imperitiam eorum, rusticatatemque demonstrat.

Upon the whole De Nores appears to me to have given the true sense of the passage. I am no friend to licentious transpositions, or arbitrary variations, of an author's text; yet I confess, I was strongly tempted, in order to elucidate his perplexed passage, to have carried these two lines of Horace four lines back, and to have inserted them immediately after the 207th verse.

Et frugi, castus, verecundusque coibat.

The English reader, who wishes to try the experiment, is desired to read the four lines, that compose my version, immediately after the 307th line,

With modest mirth indulg'd their sober taste.

318.—The Piper, grown luxuriant in his art.]

320.—Now too, its powers increas'd, The Lyre severe.]

Sic priscae—arti tibicen, &c. sic fidibus, &c.

"This is the application of what hath been said, in general, concerning the refinement of theatrical music to the case of tragedy. Some commentators say, and to comedy. But in this they mistake, as will appear presently. M. Dacier hath I know not what conceit about a comparison betwixt the Roman and Greek stage. His reason is, that the lyre was used in the Greek chorus, as appears, he says, from Sophocles himself playing upon this instrument himself in one of his tragedies. And was it not used too in the Roman chorus, as appears from Nero's playing upon it in several tragedies? But the learned critic did not apprehend this matter. Indeed from the caution, with which his guides, the dealers in antiquities, always touch this point, it should seem, that they too had no very clear conceptions of it. The case I take to have been this: The tibia, as being most proper to accompany the declamation of the acts, cantanti fuccinere, was constantly employed, as well in the Roman tragedy as comedy. This appears from many authorities. I mention only two from Cicero. Quam multa [Acad. 1. ii. 7.] quae nos fugiunt in cantu, exaudiunt in eo genere exercitati: Qui, primo inflatu Tibicinis, Antiopam esse aiunt aut Andromacham, cum nos ne suspicemur quidem. The other is still more express. In his piece entitled Orator, speaking of the negligence of the Roman writers, in respect of numbers, he observes, that there were even many passages in their tragedies, which, unless the TIBIA played to them, could not be distinguished from mere prose: quae, nisi cum Tibicen accesserit, orationi sint solutae simillima. One of these passages is expressly quoted from Thyestes, a tragedy of Ennius; and, as appears from the measure, taken out of one of the acts. It is clear then, that the tibia was certainly used in the declamation of tragedy. But now the song of the tragic chorus, being of the nature of the ode, of course required fides, the lyre, the peculiar and appropriated instrument of the lyric muse. And this is clearly collected, if not from express testimonies; yet from some occasional hints dropt by the antients. For, 1. the lyre, we are told, [Cic. De Leg. ii. 9. & 15.] and is agreed on all hands, was an instrument of the Romon theatre; but it was not employed in comedy, This we certainly know from the short accounts of the music prefixed to Terence's plays. 2. Further, the tibicen, as we saw, accompanied the declamation of the acts in tragedy. It remains then, that the proper place of the lyre was, where one should naturally look for it, in the songs of the chorus; but we need not go further than this very passage for a proof. It is unquestionable, that the poet is here speaking of the chorus only; the following lines not admitting any other possible interpretation. By fidibus then is necessarily understood the instrument peculiarly used in it. Not that it need be said that the tibia was never used in the chorus. The contrary seems expressed in a passage of Seneca, [Ep. ixxxiv.] and in Julius Pollux [1. iv. 15. § 107.] It is sufficient, if the lyre was used solely, or principally, in it at this time. In this view, the whole digression is more pertinent, and connects better. The poet had before been speaking of tragedy. All his directions, from 1. 100, respect this species of the drama only. The application of what he had said concerning music, is then most naturally made, I. to the tibia, the music of the acts; and, 2. to fides, that of the choir: thus confining himself, as the tenor of this part required, to tragedy only. Hence is seen the mistake, not only of M. Dacier, whose comment is in every view insupportable; but, as was hinted, of Heinsius, Lambin, and others, who, with more probability, explained this of the Roman comedy and tragedy. For, though tibia might be allowed to stand for comedy, as opposed to tragoedia, [as in fact, we find it in 1. ii. Ep. I. 98,] that being the only instrument employed in it; yet, in speaking expressly of the music of the stage, fides could not determinately enough, and in contradistinction to tibia, denote that of tragedy, it being an instrument used solely, or principally, in the chorus; of which, the context shews, he alone speaks. It is further to be observed, that, in the application here made, besides the music, the poet takes in the other improvements of the tragic chorus, these happening, as from the nature of the thing they would do, at the same tine. Notes on the Art of Poetry.