But now being related by way of episode, that is, as a succinct, summary narration, not made by the poet himself, but coming from the mouth of a person, necessarily ingaged in the progress of the action, it serves for a short time to interrupt, and, by that interruption to sharpen, the eager expectation of the reader. It holds the attention, for a while, from the main point of view; yet not long enough to destroy that impatient curiosity, which looks forward to it. And thus it contributes to the same end, as a piece of miniature, properly introduced into a large picture. It amuses the eye with something relative to the painter’s design, yet not so, as to with-hold its principal observation from falling on the greater subject. The parallel will not hold very exactly, because the painter is, of necessity, confined to the same instant of time; but it may serve for an illustration of my meaning. Suppose the painter to take, for his subject, that part of Æneas’s story, where, with his penates, his father, and his son, he is preparing to set sail for Italy. To draw Troy in flames, as a constituent part of this picture, would be manifestly absurd. It would be painting two subjects, instead of one. And perhaps Troja incensa might seize the attention before
Ascanium Anchisenque patrem Teucrosque penates.
But a distant perspective of burning Troy might be thrown into a corner of the piece, that is, episodically, with good advantage; where, instead of distracting the attention, and breaking the unity of the subject, it would concenter, as it were, with the great design, and have an effect in augmenting the distress of it.
153. Tu, quid ego et populus, &c.] The connexion is this. “But though the strict observance of these rules will enable the poet to conduct his plot to the best advantage, yet this is not all which is required to a perfect tragedy. If he would seize the attention, and secure the applause, of the audience, something further must be attempted. He must (to return to the point, from which I digressed, v. 127) be particularly studious to express the manners. Besides the peculiarities of office, temper, condition, country, &c. before considered, all which require to be drawn with the utmost fidelity, a singular attention must be had to the characteristic differences of age.”
Ætatis cujusque notandi sunt tibi mores.
The reason of this conduct is given in the commentary. It further serves to adorn this part of the epistle [which is wholly preceptive from v. 89 to 202] with those beautiful pourtraitures of human life, in its several successive stages, which nature and Aristotle had instructed him so well to paint.
157. Mobilibusque decor naturis dandus et annis.] Mobilibus] non levibus aut inconstantibus, sed quæ variatis ætatibus immutantur. Lambin. Naturis] By this word is not meant, simply, that instinctive natural biass, implanted in every man, to this or that character, but, in general, nature, as it appears diversified in the different periods of life. The sense will be: A certain decorum or propriety must be observed in painting the natures or dispositions of men varying with their years.
There is then no occasion for changing the text, with Dr. Bentley, into