When Jonson’s learned sock is on—
For what is this learning? Indisputably, his dramatic learning, his skill in the scene, and his observance of the ancient rules and practice. For, though Jonson was indeed learned, in every sense, it is the learning of his profession, as a comic artist, for which he is here celebrated.
The Latin substantive, doctrina, is used with the same latitude, as the adjective, doctus. It sometimes signifies the peculiar sort of learning, under consideration; though sometimes again it signifies learning, or erudition, at large. It is used in the former sense by Cicero, when he observes of the satires of Lucilius, that they were remarkable for their wit and pleasantry, not for their learning—doctrina mediocris. So that there is no contradiction in this judgment, as is commonly thought, to that of Quinctilian, who declares roundly—eruditio in eo mira—For, though doctrina and eruditio be sometimes convertible terms, they are not so here. The learning Cicero speaks of in Lucilius, as being but moderate, is his learning, or skill in the art of writing and composition.—That this was the whole purport of Cicero’s observation, any one may see by turning to the place where it occurs, in the proeme to his first book De finibus.
59. Vincere Caecilius gravitate, Terentius arte.] It should be observed, that the judgment, here passed [from v. 55 to 60] on the most celebrated Roman writers, being only a representation of the popular opinion, not of the poet’s own, the commendations, given to them, are deserved, or otherwise, just as it chances.
Interdum volgus rectum videt, est ubi peccat.
To give an instance of this in the line before us.
A critic of unquestioned authority acquaints us, wherein the real distinct merit of these two dramatic writers consists. “In ARGUMENTIS, Caecilius palmam poscit; in Ethesin, Terentius.” [Varro.] Now by gravitate, as applied to Caecilius, we may properly enough understand the grave and affecting cast of his comedy; which is further confirmed by what the same critic elsewhere observes of him. “Pathe Trabea, Attilius, et Caecilius facile moverunt.” But Terence’s characteristic of painting the manners, which is, plainly, the right interpretation of Varro’s Ethesin, is not so significantly expressed by the attribute arte, here given to him. The word indeed is of large and general import, and may admit of various senses; but being here applied to a dramatic writer, it most naturally and properly denotes the peculiar art of his profession, that is, the artificial contexture of the plot. And this I doubt not was the very praise, the town-critics of Horace’s time intended to bestow on this poet. The matter is easily explained.
The simplicity and exact unity of the plots in the Greek comedies would be, of course, uninteresting to a people, not thoroughly instructed in the genuin beauties of the drama. They had too thin a contexture to satisfy the gross and lumpish taste of a Roman auditory. The Latin poets, therefore, bethought themselves of combining two stories into one. And this, which is what we call the double plot, affording the opportunity of more incidents, and a greater variety of action, was perfectly suited to their apprehensions. But, of all the Latin Comedians, Terence appears to have practised this secret most assiduously: at least, as may be concluded from what remains of them. Plautus hath very frequently single plots, which he was enabled to support by, what was natural to him, a force of buffoon pleasantry. Terence, whose genius lay another way, or whose taste was abhorrent from such ribaldry, had recourse to the other expedient of double plots. And this, I suppose, is what gained him the popular reputation of being the most artificial writer for the stage. The Hecyra is the only one of his comedies, of the true ancient cast. And we know how it came off in the representation. That ill-success and the simplicity of its conduct have continued to draw upon it the same unfavourable treatment from the critics, to this day; who constantly speak of it, as much inferior to the rest; whereas, for the genuin beauty of dramatic design, and the observance, after the ancient Greek manner, of the nice dependency and coherence of the fable, throughout, it is, indisputably, to every reader of true taste, the most masterly and exquisite of the whole collection.