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

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opinion with regard to the application of these lines. Many critics imeg?
Ine that the poet refers to the rade and simple character of the early theatrical
music, as taking its tone from the unpolished nature of the audience
to whom it was addressed. Others, however, with more propriety, make
the passage under consideration have allusion to what immediately precedes,
and to be intended as a species of e:cplanatory comment on the li-
centia major^ spoken of by Horace.—214. Sic prisctB motumqve et luxuriem^
&c. " Thus the musician added both a quicker movement and
richer modulation to the ancient art." By prisces arti is meant the ancient
music, the peculiar defects of which were, 1. That it moved too
slowly; and, 2. That it had no compass or variety of notes. It was the
office of those who played on musical instruments, in the performance both
of tragedies and comedios, to give to the actors and audience the tone of
feeling which the dramatic parts demanded. In tragedy the mnsic invariably
accompanied the choms. It was not, however, confined to the
chorus, but appears to have been also used in the dialogue ; for Cicero
tells of Roscius, that he said he would make the mnsic play slower
when he grew older, that he might the more easily keep up with it. (De
Orat., i., 60.)
S15-218. 215. Traxifque vagus per pulpitavestem. " And, passing up
and down, drew a lengthened train sUong the stage." The pulpitum was
a wooden platform, raised on the proscenium to the height of five feet.
This the actors ascended to perform their parts, and here all the dramatic
representations of the Romans were exhibited, except the Mimes, which
were acted on the lower floor of the proscenium.
,Vesfem. Alluding to
the long theatrical robe, called avp/ia by the Greeks, from avpa, "to
drag" upon the ground. The present passage expresses not only the improvement
arising fl:om the ornament of proper dresses, hut also that resulting
from the grace of motion ; not only the actor, whose peculiar office
it was, but the musician himselfi conforming his gestures in some sort to
the music. 216. Sic etiam Jidibus voces crevere severis, &c. " In this
way, too, new notes were added to the severe lyre, and a vehemence
and rapidity of language produced an unusual vehemence and rapidity of
elocution in the declaimer." . The poet is here speaking of the great improvement
in the tragic chorus after the Roman conquests, when the Latin
writers began to inquire Quid Sophocles et Thespis et JEschylns utile
ferrent. This improvement consisted, observes Hurd, 1. In a more instructive
moral sentiment ; 2. In a more sublime and animated expression,
which, of course, produced, 3. A greater vehemence in the declamation; to
which conformed, 4. A more numerous and rapid music than that which had
been produced by the severe and simple tones of the eaiiy lyre. All these
particulars are here expressed, but, as the reason of the thing required,
in an inverted order. The music of the lyre (Inat being his subject, and
introducing the rest) being placed first; the declamation, as attending
that, next ; the language, facundia, that is, the subject of the declama-
and the sentiment, sententia, the ground and basis of the lan-
tion,' next ;
guage, last. 218. Utiliumque sagax rerum, et divinafuturi, &c. " While
the sentiments expressed, displaying an accurate acquaintance with things
of a useful character, and predicting the events of the future, differed not
in value fi-om the oracles delivered at Delphi." The poet here, with great
exactness, declares the specific boast and excellence ef the ehprus, which
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