Page:The works of Horace - Christopher Smart.djvu/327

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Let a play which would be inquired after, and though seen, represented anew, be neither shorter nor longer than the fifth act. Neither let a god interfere, unless a difficulty worthy a god’s unraveling should happen; nor let a fourth person be officious to speak.^[1]

Let the chorus^[2] sustain the part and manly^[3] character of an actor: nor let them sing any thing between the acts which is not conducive to, and fitly coherent with, the main design. Let them both patronize the good,^[4] and give them friendly

↑ The poet does not forbid a fourth person to speak, but would have him say very little, as the Scholiast understands the precept. Indeed, a conversation of three people is most agreeable, because it is less confused and less divides the attention of an audience. Rodell.
↑ The chorus was not introduced between the acts, merely to relieve the audience, but had a part in the play, and concurred with the other actors to carry on the plot, and support the probability of it. The Choriphæus, or first person of the chorus, entered in the acts, and spoke for all those of whom the chorus was composed; “officiumque virile defendat.” The chorus filled up the intervals of the acts with their songs, which were composed of reflections upon what was past, or their apprehensions of what might happen. Fran.
↑ Officiumque virile. Heinsius takes virile adverbially, for viriliter. But this is thought harsh. What hinders, but that it may be taken adjectively? And then, agreeably to his interpretation, “officium virile” will mean a strenuous, diligent office, such as becomes a person interested in the progress of the action. The precept is leveled against the practice of those poets who, though they allow the part of a persona dramatis to the chorus, yet for the most part make it so idle and insignificant a one, as is of little consequence in the representation; by which means the advantage of probability, intended to be drawn from this use of the chorus, is, in great measure, forfeited. Hurd.
↑ The chorus, says the poet, is to take the side of the good and virtuous; i. e. (see note on v. 193), is always to sustain amoral 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 can not 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 reflections freely on the several events and distresses 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 toward which they draw is represented as virtuous.
A chorus, thus constituted, must always, it is evident, take the part of virtue; because this; s the natural, and almost necessary determination of mankind, in all ages and nations, when acting freely and unconstrained. Hurd.

[1] The poet does not forbid a fourth person to speak, but would have him say very little, as the Scholiast understands the precept. Indeed, a conversation of three people is most agreeable, because it is less confused and less divides the attention of an audience. Rodell.

[2] The chorus was not introduced between the acts, merely to relieve the audience, but had a part in the play, and concurred with the other actors to carry on the plot, and support the probability of it. The Choriphæus, or first person of the chorus, entered in the acts, and spoke for all those of whom the chorus was composed; “officiumque virile defendat.” The chorus filled up the intervals of the acts with their songs, which were composed of reflections upon what was past, or their apprehensions of what might happen. Fran.

[3] Officiumque virile. Heinsius takes virile adverbially, for viriliter. But this is thought harsh. What hinders, but that it may be taken adjectively? And then, agreeably to his interpretation, “officium virile” will mean a strenuous, diligent office, such as becomes a person interested in the progress of the action. The precept is leveled against the practice of those poets who, though they allow the part of a persona dramatis to the chorus, yet for the most part make it so idle and insignificant a one, as is of little consequence in the representation; by which means the advantage of probability, intended to be drawn from this use of the chorus, is, in great measure, forfeited. Hurd.

[4] The chorus, says the poet, is to take the side of the good and virtuous; i. e. (see note on v. 193), is always to sustain amoral 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 can not 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 reflections freely on the several events and distresses 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 toward which they draw is represented as virtuous.
A chorus, thus constituted, must always, it is evident, take the part of virtue; because this; s the natural, and almost necessary determination of mankind, in all ages and nations, when acting freely and unconstrained. Hurd.

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