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.