288. Vel qui praetextas, vel qui docuere togatas.] There hath been much difficulty here in settling a very plain point. The question is, whether prætextas means tragedy, or a species of comedy? The answer is very clear from Diomedes, whose account is, in short, this. “1Togatæ is a general term for all sorts of Latin plays, adopting the Roman customs and dresses; as Palliatæ is, for all, adopting the Græcian. Of the Togatæ, the several 2species are, 1. Prætexta, or Prætextata, in which Roman kings and generals were introduced, and is so called, because the prætexta was the distinguishing habit of such persons. 2. Tabernaria, frequently called 3Togata, though that word, as we have seen, had properly a larger sense. 3. Atellana. 4. Planipedis.” He next marks the difference of these several sorts of Togatæ, from the similar, corresponding ones of the Palliatæ, which are these: “1. 4Tragœdia, absolutely so styled. 2. 5Comœdia, 3. 6Satyri. 4. 7Μῖμος.” [These four sorts of the palliatæ were also probably in use at Rome; certainly, at least, the two former.] It appears then from hence, that prætextata was properly the Roman tragedy. But he adds, “Togata prætextata à tragœdia differt, and it is also said, to be only like tragedy, tragœdiæ similis.” What is this difference and this likeness? The explanation follows. “8Heroes are introduced in tragedy, such as Orestes, Chryses, and the like. In the prætextata, Brutus, Decius, or Marcellus.” So then we see, when Græcian characters were introduced, it was called simply tragœdia; when Roman, prætextata; yet both, tragedies. The sole difference lay in the persons being foreign or domestic. The correspondence in every other respect was exact. The same is observed of the Roman comedy; when it adopted 9Greek characters, it was called comœdia: when Roman, 20Togata Tabernaria, or 3Togata, simply. That the reader may assure himself of the fidelity of this account, let him take it at large, in the Grammarian’s own words. “1Togatæ fabulæ dicuntur, quæ scriptæ sunt secundum ritus et habitus hominum togatorum, id est, Romanorum (Toga namque Romana est), sicut Græcas fabulas ab habitu æque palliatas Varro ait nominari. 3Togatas autem cum sit generale nomen, specialiter tamen pro tabernariis, non modo communis error usurpat, sed et poetæ.—Togatarum fabularum 2species tot fere sunt, quot et palliatarum. Nam prima species est togatarum, quæ prætextatæ dicuntur, in quibus imperatorum negotia agebantur et publica, et reges Romani vel duces inducuntur, personarum et argumentorum sublimitate4 tragœdiis similes: Prætextatæ autem dicuntur, quia fere regum vel magistratuum, qui prætexta utuntur, in hujusmodi fabulis acta comprehenduntur. Secunda species togatarum, quæ tabernariæ dicuntur, humilitate personarum et argumentorum similitudine 5comœdiis pares—Tertia species est fabularum latinarum, quæ—Atellanæ dictæ sunt, similes 6satyricis fabulis, Græcis. Quarta species est planipedis, Græce dicitur 7Μῖμος.—Togata prætextata, à 4tragœdia differt. In tragœdia 8heroes introducuntur. Pacuvius tragœdias nominibus heroicis scripsit Oresten, Chrysen, et his similia. Item Accius. In prætextata autem scribitur, Brutus, vel Decius, vel Marcellus. 19Togata tabernaria à 5comœdia differt, quod in 9comœdia Græci ritus inducuntur, personæque Græcæ, Laches, Sostrata. In illa vero Latinæ.” [L. iii. c. de Com. et Trag. diff.] With this account of Diomedes agrees perfectly that of Festus; from which, however, M. Dacier draws a very different conclusion. “Togatarum duplex est genus: prætextarum—et tabernariarum.” His inference is, that prætextatæ, as being a species of the togatæ, must needs be comedies; not considering that togata is here a generic term, comprehending under it all the several species both of the Roman tragedy and comedy. After what hath been said, and especially, after the full and decisive testimony of Diomedes, there can no longer be any doubt about the meaning of prætextas; and one must be surprized to find M. Dacier prefacing his long note on this place in the following important manner: C’est un des plus difficiles passages d’Horace, et peutêtre celui qu’il est le plus mal aisé d’eclaircir à cause du peu de lumiere que nous donnent les auteurs Latins sur tout ce qui regarde leurs pieces de theatre.
281. Successit vetus his Comoedia, &c.] i. e. Comedy began to be cultivated and improved from the time that tragedy had obtained its end, ἔσχε τὴν ἑαυτῆς φύσιν, under Æschylus. There is no reason to suppose, with some critics, that Horace meant to date its origin from hence. The supposition is, in truth, contradicted by experience and the order of things. For, as a celebrated French writer observes, “Le talent d’imiter, qui nous est naturel, nous porte plutôt à la comedie qui roule sur des choses de nôtre connoissance qu’à la Tragedie, qui prend des sujets plus èloignés de l’usage commun; et en effet, en Gréce aussi bien qu’en France, la Comedie est l’aînée de la tragedie.” [Hist. du Theat. Franc. par M. de Fontenelle.] The latter part of this assertion is clear from the piece referred to; and the other, which respects Greece, seems countenanced by Aristotle himself [περ. ποιητ. κ. ε.] ’Tis true, Comedy, though its rise be every where, at least, as early as that of tragedy, is perfected much later. Menander, we know, appeared long after Æschylus. And, though the French tragedy, to speak with Aristotle, ἔσχε τὴν ἑαυτῆς φύσιν in the hands of Corneille, this cannot be said of their comedy, which was forced to wait for a Moliere, before it arrived at that pitch of perfection. But then this is owing to the superior difficulty of the comic drama. Nor is it any objection that the contrary of this happened at Rome. For the Romans, when they applied themselves in earnest to the stage, had not to invent, but to imitate or rather translate, the perfect models of Greece. And it chanced, for reasons which I shall not stay to deduce, that their poets had better success in copying their comedy, than tragedy.
284. Turpiter obticuit—] Evidently because, though the jus nocendi was taken away, yet that was no good reason, why the chorus should entirely cease. M. Dacier mistakes the matter. Le chœur se tût ignominieusement, parceque la loi reprima sa licence, et que ce fut, à proprement parler, la loi qui le bannit; ce qu’ Horace regarde comme une espece de flétrissure. Properly speaking, the law only abolished the abuse of the chorus. The ignominy lay in dropping the entire use of it, on account of this restraint. Horace was of opinion, that the chorus ought to have been retained, though the state had abridged it of the licence, it so much delighted in, of an illimited, and intemperate satyr. Sublatus chorus fuit, says Scaliger, cujus illæ videntur esse præcipuæ partes, ut potissimum quos liberet, læderent.
286. Nec minimum meruere decus vestigia Græca Ausi deserere et celebrare domestica facta.] This judgment of the poet, recommending domestic subjects, as fittest for the stage, may be inforced from many obvious reasons. As I. that it renders the drama infinitely more affecting: and this on many accounts. 1. As a subject, taken from our own annals, must of course carry with it an air of greater probability, at least to the generality of the people, than one borrowed from those of any other nation. 2. As we all find a personal interest in the subject. 3. As it of course affords the best and easiest opportunities of catching our minds, by frequent references to our manners, prejudices, and customs. And of how great importance this is, may be learned from hence, that, even in the exhibition of foreign characters, dramatic writers have found themselves obliged to sacrifice truth and probability to the humour of the people, and to dress up their personages, contrary to their own better judgment, in some degree according to the mode and manners of their respective countries[27]. And 4. as the writer himself, from an intimate acquaintance with the character and genius of his own nation, will be more likely to draw the manners with life and spirit.
II. Next, which should ever be one great point in view, it renders the drama more generally useful in its moral destination. For, it being conversant about domestic acts, the great instruction of the fable more sensibly affects us; and the characters exhibited, from the part we take in their good or ill qualities, will more probably influence our conduct.
III. Lastly, this judgment will deserve the greater regard, as the conduct recommended was, in fact, the practice of our great models, the Greek writers; in whose plays, it is observable, there is scarcely a single scene, which lies out of the confines of Greece.