which seem to imply a censure on these Improvements, as unworthy the approbation of wise men; contrary to what I have just now supposed to be the scope of this whole passage.
On the strictest attention, I believe we are to understand them as a Sneer, in passing, on what grave and philosophic men have observed of these refinements, which they constantly treat, as Corruptions. See note on v. 218. But the mixed auditories of these days, says the poet with his usual badinage, were not so wise. ’Tis, as if he had said, “What I mention here as an improvement in dramatic music is, in the ideas and language of some grave men, an abuse and perversion of it to immoral purposes. It may be so: but consider, for what sorts of people these theatrical entertainments were designed: for the ignorant clown and citizen, the plebeian and gentleman, huddled together into one confused mass, and crowding to the theatre, on a holyday, for some relief from their ordinary toils and occupations. And alas, what do these men know, or consider of this austere wisdom?
But the cast of the whole passage is, besides, such as favours the supposition of an intended Irony. Hence the Tibia non, ut nunc, orichalco vincta, &c. delivered in the usual tone of declaimers against modern manners. Hence the epithets, frugi castusque verecundusque, to denote the quality of those who assisted, of old, at these virtuous entertainments. And hence the enormity of that state of things, when the people were afterwards permitted to regale on holy days, impune. This intention too accounts for the terms licentia, luxuries, facundia, præceps, and others, which being of ambiguous interpretation, the poet purposely chose, to mimic, and humour, as it were, the objectors in their favourite language on this occasion. Till at last, impatient to continue the raillery any further, he concludes at once with an air of solemnity very proper to confound the impertinence of such criticism.
Utiliumque sagax rerum, et divina futuri
Sortilegis non discrepuit sententia Delphis.
All this the reader sees is agreeable to the poet’s prescription elsewhere,
—Sermone opus est tristi, sæpe jocoso.
and indeed to his own practice on an hundred occasions. So that on the whole there is little doubt of his intention in the lines,
Indoctus quid enim saperet, &c.
At least, in this view the poet, I am apt to think, will be found intelligible and even elegant. Whereas, on any other supposition of his numerous commentators, I cannot see that the verses before us (as they here stand) have either propriety or common sense.”
The interpretation then of this whole passage, from v. 202 to 220, will stand thus. “The Tibia, says the poet, was at first low and simple. The first, as best agreeing to the state of the stage, which required only a soft music to go along with, and assist the chorus; there being no large and crowded theatres to fill in those days. And the latter, as suiting best to the state of the times; whose simplicity and frugal manners exacted the severest temperance, as in every thing else, so, in their dramatic ornaments and decorations. But, when conquest had enlarged the territory, and widened the walls of Rome; and, in consequence thereof, a social spirit had dispelled that severity of manners, by the introduction of frequent festival solemnities; then, as was natural to expect, a freer and more varied harmony took place. Nor let it be objected that this freer harmony was itself an abuse, a corruption of the severe and moral music of ancient times. Alas! we were not as yet so wise, to see the inconveniencies of this improvement. And how should we, considering the nature and end of these theatrical entertainments, and the sort of men of which our theatres were made up? But, leaving the Philosopher to speculate at his ease, on this matter, thus, in fact, it was, “that the Tibicen, the musician, who played to the declamation in the acts, instead of the rude and simpler strain of the old times, gave a richness and variety of tone; and, instead of the old inactive posture, added the grace of motion to his art. Just in the same manner, continues he, it happened to the Lyre, i. e. the music in the chorus, which originally, as that of the Tibia, was severe and simple; but, by degrees, acquired a quicker and more expressive modulation, such as corresponded to the more elevated and passionate turn of the poet’s style, and the diviner enthusiasm of his sentiment.” All that is further wanting to support and justify this interpretation, will be found in the notes on particular passages.