As for the so much applauded mimes, they had not, it is probable, at this time gained a footing on the stage, sufficient to entitle them to so much consideration. This was a new upstart species of the drama, which, though it had the common good-fortune of absurd novelties, to take with the great; yet was generally disapproved by men of better taste, and better morals. Cicero had passed a severe censure upon it in one of his epistles, [Ad famil. ix. 16.] which intimates, that it was of a more buffoon and ridiculous composition, than their Atellanes; whose place it began to be the fashion to supply with this ribaldry. And we collect the same thing from what Ovid observes of it in apology for the looseness of his own verses,
Quid si scripsissem MIMOS obscœna jocantes,
Qui semper vetiti crimen amoris habent?
Nec satis incestis temerari vocibus aures,
Assuescunt oculi multa pudenda pati.
Trist. l. ii. v. 497.
Horace, with this writer’s leave, might therefore judge it better to retain the Atellanes under some restrictions, than adopt what was much worse. But the mimes of Laberius were quite another thing. They were all elegance. So J. Scaliger [Comment, de Comœd. et Tragœd. c. vi.] and, after him, this writer, tells us; but on no better grounds, than that he wrote good Latin (though not always that, as may be seen in A. Gellius, l. xvi. c. 7.) and hath left a few elegant, moral scraps behind him. But what then? the kind of composition was ridiculous and absurd, and, in every view, far less tolerable, than the satyrs under the regulation of Horace. The latter was a regular drama, consisting of an intire fable, conducted according to the rules of probability and good sense, only dashed with a little extravagance for the sake of the mob. The character of the former hath been given above from unquestionable authorities. Accordingly Diomedes [iii. p. 488. ed. Putsch.] defines it to be an irreverent and lascivious imitation of obscene acts—mimus est sermonis cujuslibet motus sine reverentia, vel factorum et turpium cum lascivia imitatio. And Scaliger himself owns veri mimi proprium esse quædam sordida ut affectet, loc. cit. It seems, in short, to have been a confused medley of comic drollery on a variety of subjects, without any consistent order or design; delivered by one actor, and heightened with all the licence of obscene gesticulation. Its best character, as practised by its greatest master, Laberius, was that of being witty in a very bad way [Sen. Controv. l. iii. c. 18.] and its sole end and boast, risu diducere rictum [Hor. i. S. x. 7.] which, whatever virtue it may be, is not always a proof of much elegance. But I have spent too many words on a criticism, which the ingenious author, I am persuaded, let fall unawares, and did not mean to give us as the result of a mature and well-weighed deliberation on this subject.
225. Verum ita risores, &c.] The connecting particle, verum, expresses the opposition intended between the original satyr and that which the poet approves. For having insinuated the propriety of the satyric shews, as well from the practice of Greece, as the nature of festival solemnities, the poet goes on to animadvert on their defects, and to prescribe such rules, in the conduct of them, as might render them a tolerable diversion, even to the better sort. This introduction of the subject hath no small art. For, there being at this time (as hath been shewn) an attempt to bring in the Greek satyrs, while the Atellane plays (as was likely) still held the affections of the people, the poet was not openly to reproach and discredit these; but, by a tacit preference, to support and justify the other. This is done with address. For, instead of criticising the Atellanes, which came directly in his way, after having closed his account of the Roman tragedy, he relates, as it were, incidentally, the practice of ancient Greece in exhibiting satyrs, and thence immediately passes on, without so much as touching on the other favourite entertainment, to offer some directions concerning the satyric drama.
227. Ne quicunque Deus, quicunque adhibebitur heros, &c.] Gods and Heroes were introduced as well into the satyric as tragic drama, and often the very same Gods and Heroes, which had born a part in the preceding tragedy: a practice, which Horace, I suppose, intended, by this hint, to recommend as most regular. This gave the serious, tragic air to the satyr. The comic arose from the risor and dicax, who was either a satyr himself, or some character of an extravagant, ridiculous cast, like a satyr. Of this kind, says Diomedes, from whom I take this account, are Autolychus and Burris: which last particular I mention for the sake of justifying a correction of the learned Casaubon. This great critic conjectured, that, instead of Burris, in this place, it should be read Busiris. His reason is “nam Burris iste ex Græcorum poetis mihi non notus:” which reason hath more force, than appears at first sight. For the very nature of this diversion required, that the principal character of it should be well known, which it was scarce likely to be, if not taken from a common story in their poets. But Vossius objects, “sed non ea fuerit persona ridicula:” contrary to what the grammarian represents it. But how so? Busiris was a savage, inhospitable tyrant, who sacrificed strangers. And what should hinder this character from being made ridiculous, as well as Polypheme in the Cyclops? Their characters were not unlike. And, as is seen in that case, the ancients knew to set forth such monsters of cruelty in a light, that rendered them equally absurd and detestable. This was agreeable to their humanity, which, by such representations, loved to cultivate a spirit of benevolence in the spectators; and shews the moral tendency of even the absurdest of the ancient dramatic shews. The objection of Vossius is then of no weight. But what further confirms the emendation of the excellent Casaubon, is a manuscript note on the margin of a printed copy of this book[23], which I have now by me, as it should seem, from his own hand, “lectionem vero quam restituimus etiam in optimo codice Puteano postea invenimus.” The learned reader will therefore, henceforth, look upon the text of Diomedes, in this place, as fully settled.
229. Migret in obscuras &c.—Aut, dum vitat &c.] The two faults, cautioned against, are 1. a too low, or vulgar expression, in the comic parts; and 2. a too sublime one, in the tragic. The former of these faults would almost naturally adhere to the first essays of the Roman satyrs, from the buffoon genius of the old Atellane: and the latter, from not apprehending the true measure and degree of the tragic mixture. To correct both these, the poet gives the exactest idea of the satyrs, in the image of a Roman matron, sharing in the mirth of a religious festival. The occasion obliged to some freedoms: and yet the dignity of her character demanded a decent reserve.