Quid Sophocles et Thespis et Æschylus utile ferrent.
This improvement consisted, 1. In a more instructive moral sentiment: 2. In a more sublime and animated expression; which of course produced, 3. A greater vehemence in the declamation: to which conformed, 4. A more numerous and rapid music. All these particulars are here expressed, but, as the reason of the thing required, in an inverted order. The music of the lyre (that being his subject, and introducing the rest) being placed first; the declamation, as attending that, next; the language, facundia, that is, the subject of the declamation, next; and the sentiment, sententia, the ground and basis of the language, last.
Et tulit eloquium insolitum facundia præceps.
literally, “A vehemence and rapidity of language produced an unusual vehemence and rapidity of elocution in the declaimer!” This “rapidity of language,” is exactly the same, as that Cicero speaks of in Democritus and Plato, [Orat. 638. Elz.] which, because of its quick and rapid movement, quod incitatius feratur, some critics thought to be poetical. Unaccustomed, we may observe, is indifferently a censure or encomium, according as the preceding state of the thing spoken of was wrong, or right. Much the same may be concluded of præceps; its literal sense is a degree of motion in any thing above what it had before. This may be excessive, or otherwise, as it chances: When applied to the bleak East wind, dispersing a flight of bees, and dashing them on the stream,
si forte morantes
Sparserit, aut præceps Neptuno immerserit Eurus.
Virg. Georg. iv. 29.
the epithet implies excess; but when spoken of the gentle South, whose strongest gale is but sufficient to drive the willing ship to port, [Æn. vii. 410.] Præcipiti delata Noto, it then only expresses due measure.
As for the criticism from Quintilian, who opposes præcipitia to sublimibus, it is doubly impertinent: 1. As the sense is necessarily fixed by its opposition to sublimibus: and 2. As the word is here used, not as implying motion, but height, in which view its sense is absolute, and always denotes excess.
218. Utiliumque sagax rerum, et divina futuri, Sortilegis non discrepuit sententia Delphis.] It is amazing that these two lines should ever have been misunderstood as a censure, the import of them being highly encomiastic, yet with great exactness declaring the specific boast and excellence of the chorus; which lay, as Heinsius hath well observed, 1. In inculcating important moral lessons; and 2. In delivering useful presages and monitions concerning future conduct, with an almost oracular prudence and authority.
Sic priscae — — — — Arti.