And then the general truth, as before, is illustrated by a particular instance,
Telephus aut Peleus, cum pauper et exul uterque,
Projicit ampullas, &c.
There is no absurdity, as the Doctor pretends, in taking tragicus for tragædiarum scriptor. For the poet, by a common figure, is made to do that, which he represents his persons, as doing.
But this is not the whole, that will deserve the reader’s regard in this place. A strict attention to the scope and turn of the passage [from v. 96 to 114] will lead him to conclude, 1. “That some real tragedy of Telephus and Peleus was intended in v. 96, in which the characters were duly preserved and set forth in proper language.” This the opposition to the Chremes of Terence absolutely demands. Let us inquire what this might be. Euripides, we know, composed tragedies under these names; but it is unlikely, the poet should contrast the instance of a Greek tragedy to a Latin comedy. Nor need it be supposed. The subject was familiar to the Roman poets. For we find a Telephus ascribed to no less than three of them, Ennius, Accius, and Nævius[12]. One of these then I doubt not, is here intended. But the Roman, in those times, were little more than translations of the Greek plays. Hence it is most likely, that the tragedy of Telephus (and probably of Peleus, though we have not so direct authority for this) was, in fact, the tragedy of Euripides, translated into Latin, and accommodated to the Roman stage, by one of these writers. It remains only to enquire, if the Telephus itself of Euripides answered to this character. Which, I think, it manifestly did, from considering what his enemy, the buffoon Aristophanes, hath said concerning it. Every body knows, that the Batraxoi of this poet contains a direct satyr, and Burlesque upon Euripides. Some part of it is particularly levelled against his Telephus: whence we may certainly learn the objections, that were made to it. Yet the amount of them is only this, “That he had drawn the character of Telephus in too many circumstances of distress and humiliation.” His fault was, that he had represented him more like a beggar, than an unfortunate prince. Which, in more candid hands, would, I suppose, amount only to this, “That the poet had painted his distress in the most natural, and affecting manner.” He had stripped him of his royalty, and, together with it of the pomp and ostentation of the regal language, the very beauty, which Horace applauds and admires in his Telephus.
2. Next, I think it as clear from what follows, “That some real tragedy of Telephus, and Peleus, was also glanced at, of a different stamp from the other, and in which the characters were not supported by such propriety of language.” Let the reader judge. Having quoted a Telephus and Peleus, as examples to the rule concerning the style of tragedy, and afterwards enlarged [from v. 98 to 103] on the reasons of their excellence, he returns, with an air of insult, to the same names, apostrophizing them in the following manner:
Telephe, vel Peleu, male si mandata loquêris,
Aut dormitabo aut ridebo:
But why this address to characters, which he had before alleged, as examples of true dramatical drawing? Would any tolerable writer, after having applauded Shakespear’s King Lear, as an instance of the kingly character in distress, naturally painted, apostrophize it, with such pointed vehemence, on the contrary supposition? But let this pass. The Poet, as though a notorious violation of the critic’s rules was to be thoroughly exposed, goes on, in the seven following lines, to search into the bottom of this affair, laying open the source and ground of his judgment; and concludes upon the whole,
Si dicentis erunt fortunis absona dicta,
Romani tollent equitesque patresque cachinnum.
Can any thing be plainer, than that this last line points at some well-known instance of a Latin play, which had provoked, upon this account, the contempt and laughter of the best judges? It may further be observed, that this way of understanding the passage before us, as it is more conformable to what is here shewn to be the general scope of the epistle, so doth it, in its turn, likewise countenance, or rather clearly shew, the truth and certainty of this method of interpretation.