363. Haec amat obscurum, volet haec sub luce videri.] Cicero hath given the same precept in relation to oratory, habeat illa in dicendo admiratio ac summa laus umbram aliquam et recessum, quo magis id, quod erit illuminatum, extare atque eminere videatur. [De orat. l. iii. c. xxvi.]
373. Mediocribus esse poetis Non homines, &c.] This judgment, however severe it may seem, is according to the practice of the best critics. We have a remarkable instance in the case of Apollonius Rhodius, who, though, in the judgment of Quintilian, the author of no contemptible poem, yet on account of that equal mediocrity, which every where prevails in him, was struck out of the list of good writers by such sovereign judges of poetical merit, as Aristophanes and Aristarchus. [Quint. l. x. c. i.]
403. Dictae per carmina sortes,] The oracles here spoken of, are such as respect not private persons (whom a natural curiosity, quickened by anxious superstition, has ever prompted to pry into their future fortunes) but entire communities; and for these there was little place, till Ambition had inspired great and eventful designs, and by involving the fate of nations, had rendered the knowledge of futurity important. Hence, in marking the progress of ancient poesy, Horace judiciously postpones oracles, to the celebration of martial prowess, as being that, which gave the principal eclat to them. This species of poetry then is rightly placed, though it be true, as the commentators have objected, that oracles were much ancienter than Homer, and the Trojan war.
404. Et vitae monstrata via est;] Meaning the writings of Theognis, Phocylides, Hesiod, and others, which, consisting wholly of moral precepts, are elegantly said to lay open, or discover the road of life. Mr. Dacier’s interpretation, which makes the poet mean physics by viam vitæ, is supported by no reason. Il ne faut pas, says he, entendre ceci de la philosophie et des mœurs; CAR Horace se contrediroit, puisque il a dit que ce fut le premier soin de la poesie. The learned critic did not consider, that the first care of poesy, as explained above, and as employed by Orpheus and Amphion, was to inculcate policy, not moral.
404. Et gratia regum, Pieriis tentata modis, ludusque repertus, Et longorum operum finis: ne forte pudori Sit tibi musa lyrae solers, et cantor Apollo.] This is one of those master-strokes, which make the sovereign charm of this poet. But the way in which it hath been understood, extinguishes all its grace and beauty. On les vers employa, says an interpreter, who speaks the sense of the rest, à gagner la faveur des rois, et on les mit de tous les jeux et de tous les spectacles, qu’on inventa pour se delasser de ses longs travaux et de toutes ses fatigues. Je vous dis cela afin que vous n’ayez point de honte de faire la cour aux Muses et à Apollon. And, lest this should not seem explicit enough, he adds in a couple of notes, that by ludus repertus, &c. il [le poete] veut parler des tragedies et des comedies que l’on faisoit jour dans les fêtes solemnelles. And then, as to the ne forte pudori, Cela prouve qu’ Horace ne fait cet eloge de la poesie que pour empecher que Pison n’en fût degouté. Can any thing be more insipid? For could the poet think so meanly of his art, as to believe it wanted an apology? Or had the courtier so little address, as to direct that apology immediately to the Pisos? Besides, what species of poesy is it that he labours to excuse? Why, according to this interpretation, the dramatic: the supreme boast of his art, and the main subject of the epistle. And in what manner does he excuse it? Why, in recommending it, as an agreeable amusement. But his master, Aristotle, would have furnished him with a nobler plea: and ’tis certain, the ancients talked at another rate of the use and end of the drama. Let us see then, if the sense, given in the commentary, will bring any relief to the poet. In fact, this whole passage [from et vitæ, &c. to cantor Apollo] obliquely glances at the two sorts of poetry peculiarly cultivated by himself, and is an indirect apology for his own choice of them. For 1. vitæ monstrata via est is the character of his sermones. And 2. all the rest, of his Odes. These are recommended, agreeably to their nature, 1. as of use to conciliate the favour of princes; hereby glancing at the success of his own odes, and, with the happiest address, insinuating the regard, which Augustus paid to letters. 2. As contributing to the mirth and entertainment of feasts, and especially as holding a principal place in the celebration of those more sacred, secular festivities (longorum operum finem) which could not be duly solemnized, without the ministration of the lyric muse.
Castis cum pueris ignara puella mariti,
Disceret unde preces, vatem ni musa dedisset?
2 Ep. i. 132.