The works of Horace : with English notes, critical and ... - Cristo Raul

EXPLANATOky notes.—Isri8TL.J3 iXTTUjei PISOS. 667
ther mles for the representation. Whether there be any thing of reality
and truth in the precept here laid down about the number of acts, may,
observes Trancis, be disputed, but the best poets, ancient and modevn,
have held it inviolable. They have considered it a just medium between
a length which might grow languishing and tedious, and a shortness too
much crowded with incidents.— ^191. Nee deus intersit, nisi dignus vin-
dice nodus. " Nor let any deity interfere, unless a difiicalty present itself
worthy of such a liberator," i. e., of such interposition. With vijidice sup
ply iali. As regards the peculiar force of the term vindes:, compare tha
remark of Gesner :
" Vindex est, qui summo in periculo versantem subito
liberat et eripit." Horace intends this precept as a censure upon a common
fault among the ancient ti'agic poets, that of having recourse to some
deity for the unravelling of the plot, whenever they were at a loss in relation
to it. He was made to descend in a species of machine ; whence
the expression, d^us ex machina.—192. Nee quarta loqui persona laboret.
Horace here enjoins on the Roman dramatist the practice so strictly ob
served among the Greeks, of confining the number of actors to three. In
the origin of the drama the members of the chorus were the only performers.
Tbespis was his own actor, or, in other words, he first" introduced
an actor distinct from the chorus, .ffischylus added a second, and Sophocles
a third ; and this continued to be ever after the legitimate number.
Hence, when three characters happened to be already on the stage, and
a fourth was to come on, one of the three was obliged to retire, change his
dress, and so return as the fourth personage. The poet, however, might
introduce any*number of mutes, as guards, attendants, &c.
193-200. 193. Actoris partes Chorus officiumque mrile defendat. "Lei
the chorus supply the place of a performer, and sustain an active part in
the representation." According to the rules of the ancient drama, the
chorus was to be considered as one of the actors, and its coryphaBus, or
head (or, if a female chorus, its coryphasa), spoke for the whole number
As regards the expression officium virile, compare the ex-
" Officium. virile means a strenuous, diligent
composing it.
planatory comment of Hard :
office, such as becomes a person interested in the progress of the action."
The precept is levelled against the practice of those poets who, though
they allot the part of a persona dramatis to the chorus, yet for the most
part make it so idle and insignificant a one that it is of little consequence
in the representation.—194. Neu quid medios intercinat actus, lie. " Nor
let it sing any thing between the acts that does not in some way conduce
to and connect itself aptly with the plot." .This rale was strictly observed
by iEschylas and Sophocles, bat was often violated by Euripides and the
later Greek poets. How necessary this same rule might be to the Latin
vvriters of the Augustan age, remarks Hard, can not certainly appear;
bat if the practice of Seneca may give room for any suspicion, it should
seem to have been much wanted, in whom I scarcely believe there is a
single instance of the chorus being employed in a manner consonant to its
true end and character.—196. Ille bonis faveatque et consilietur amice. •
"Let it both take the side of the good, and give them friendly advice."—
197 Etametpaea/retumentes. " And love to bring down to reason thosewho
are sweUing with pride." We have followed here, with Bentley
and others the reading of two of Pulmann's MSS. The comjion text has
rieccare timentes, which hardly differs from the bonis of the preceding
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