227. NE QUICUNQUE DEUS, QUICUNQUE ADHI→ BEBITUR 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 spec. tators; 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, 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;

In the library of Emmanuel College, Cambridge,

and yet the dignity of her character demanded a de

cent reserve,

234. NON EGO INORNATA &c.] The scope of these lines may be to regulate the satyric style, by the idea of its character, before given, in the allu sion to a Roman matron. Conformably to that idea, a plain, unornamented expression [from v, 234 to 236.] must not always be used. The three following lines inforce this general application by example, If the exact reader find himself dissatisfied with this gloss, which seems the only one, the words, as they now stand, will bear, he may, perhaps, incline to admit the following conjecture, which proposes to read, instead of inornata, honorata. I. The context, I think, requires this change. For the two faults observed above [v, 229, 30.] were, 1, a too low expression, and, 2. a too lofty. Corre sponding to this double charge, the poet having fixed the idea of this species of composition [v. 231, 2, 3.] should naturally be led to apply it to both points in questions: 1. to the comic part, in prescribing the true measure of its condescension, and, 2. to the tragic, in settling the true bounds of its elevation. And this, according to the reading here offered, the poet doth, only in an inverted order. The sense of the whole would be this,

1. Non ego HONORATA et dominantia nomina solum Verbaque, Pisones, satyrorum scriptor amabo z

i. e. in the tragic scenes, I would not confine myself to such words only, as are in honour, and bear rule in tragic, and the most serious subjects; this stateliness not agreeing to the condescending levity of the satyr.

2. Nec sic enitar tragico differre colori,

Ut nihil intersit Davusne loquatur, et audax
Pythias, emuncto lucrata Simone talentum,
An custos famulusque Dei Silenus alumni.

i. e. nor, on the contrary, in the comic scenes, would I incur the other extreme of a too plain, and vulgar expression, this as little suiting its inherent matronlike dignity. But, II. this correction improves the expression as well as the sense. For besides the opposition, implied in the disjunctive, nec, which is this way restored, dominantia hath now its genuine sense, and not that strange and foreign one forced upon it out of the Greek language. As connected with honorata, it becomes a metaphor, elegantly pursued; and hath too a singular propriety, the poet here speaking of figurative terms. And then, for honorata itself, it seems to have been a familiar mode of expression with Horace. Thus [2 Ep. ii. 112.] honore indigna vocabula are such words as have parum splendoris and are sine pondere. And " quæ sunt in honore vocabula" is spoken of the contrary ones, such as are fit to enter into a serious tragic composition, in this very epistle, v. 71.

cast of them being

240. EX NOTO FICTUM &c.] This precept [from v. 240 to 244] is analogous to that, before given [v. 129] concerning tragedy. It directs to form the satyrs out of a known subject. The reasons are, in general, the same for both. Only one seems peculiar to the satyrs. For the necessarily romantic, and the persons, those fantastic beings, called satyrs, the rò polov, or probable, will require the subject to have gained a popular belief, without which the representation, must appear unnatural. Now these subjects, which have gained a popular belief, in consequence of old tradition, and their frequent celebration in the poets, are what Horace calls nota; just as newly invented subjects, or, which comes to the same thing, such as had not been employed by other writers, indicta, he, on a like occasion, terms ignota. The connexion lies thus. Having mentioned Silenus in v. 239, one of the commonest characters in this drama, an objection immediately offers itself; "but what

good poet will engage in subjects and characters "so trite and hackney'd?" The answer is, ex noto fictum carmen sequar, i. e. however trite and well known this and some other characters, essential to the satyr, are, and must be; yet will there be still room for fiction and genius to shew itself. The conduct and disposition of the play may be wholly new, and above the ability of common writers, tans tum series juncturaque pallet.