275. Ignotum tragicae genus invenisse camenae, &c.] The poet, having just remarked the negligence of the Roman writers, in two or three instances, and, at the same time recommended to them the superior care and accuracy of the Greeks (all which is elegantly preparatory to the last division of the epistle) proceeds in a short view of the Greek drama, to insinuate, as well the successful pains of the Greek writers, as the real state of the Roman stage; the complete glory of which could only be expected, as immediately follows, from a spirit of diligence and correctness. As this whole connexion is clear and easy, so is the peculiar method, in which it is conducted, extremely proper. 1. To shew, how great the advantage of their situation was over that of the Greeks, he observes, that the latter had the whole constitution of the drama to invent and regulate; which yet, by the application and growing experience of their poets, was soon effected; their tragedy, all rude and shapeless, as it was, in the cart of Thespis, appearing in its just form and proportion on the stage of Æschylus; and their comedy also (which, from that time, began to be cultivated) asserting its proper character, and, but for the culpable omission of a chorus, reaching the full extent and perfection of its kind.
2. To shew, what still remained to them, he brings down the history of tragedy no lower than Æschylus; under whom it received its due form and all the essentials of its nature, yet still wanted, to its absolute perfection, the further accuracy and correctness of a Sophocles. And, for their comedy, he hints the principal defect of that; its omission, after the manner of the new comedy, of the chorus. There is great address in this conduct. The censure also implied in it, is perfectly just. For, 1. the character of the Roman tragedy, in the times of Horace, was exactly that of Æschylus. Æschylus, says Quintilian, was the first, “qui protulit tragœdias,” i. e. who composed true legitimate tragedies, sublimis et gravis et grandiloquus sæpe usque ad vitium; sed rudis in plerisque et incompositus [L. x. c. i.] the very description, which Horace gives [2 Ep. i. 165.] of the Roman tragedy.
natura sublimis et acer,
Nam spirat tragicum satis et feliciter audet;
Sed turpem putat inscitus metuitque lituram.
2. The state of their comedy, as managed by their best writers, Afranius and Terence, was, indeed, much more complete; yet wanted the chorus, which, in the judgment of the poet, it seems, was equally necessary to the perfection of this, as of the other drama.
3. But the application is made in express terms.
Nil intentatum nostri liquere poetæ, &c.
i. e. our poets, as well as the Greek, have, in some degree, applied themselves to improve and regulate the stage. In particular, a late innovation, in taking their subjects, both of tragedy and comedy, from domestic facts, is highly to be applauded. Their sole disadvantage is, a neglect or contempt of that labour and accuracy, which gave the last perfection to the Greek scene.
After this clear and natural exposition of the connexion of these lines, all the difficulties, that have been found in them by certain great critics, vanish of themselves. And the reader now sees (what the sagacious Heinsius thought impossible to be shewn) an ἀκολουθίαν, or consistent, natural order in this part of the epistle; which was in imminent danger of losing all its grace and beauty, by the wild transpositions of that critic.
278. Post hunc personae pallaeque, &c.] M. Dacier hath here puzzled himself with a difficulty of his own raising. He wonders, that Horace should omit, in this history, the other improvements of Æschylus, mentioned by Aristotle, and that Aristotle, in his turn, should omit those, mentioned by Horace. The truth is, neither of them intended a complete account of the improvements of the Greek stage; but only so much of them, as was necessary to the views of each. Aristotle, treating of the internal constitution of the drama, speaks of such changes, made in it by Æschylus, as respected that end. Horace, treating in general of its form, as perfected by the pains and application of the same poet, selects those improvements only, which contrast best to the rude essays of Thespis, and, while they imply the rest, exhibit tragedy, as it were, in her proper person, on the stage. The reader feels the effect of this in the poetry.