Page:The works of Horace - Christopher Smart.djvu/333

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days,^[1] will assume an air of modesty, even in the midst of wanton satyrs. As a writer of satire, ye Pisos, I shall never be fond of unornamented and reigning terms:^[2] nor shall I labor to differ so widely from the complexion of tragedy, as to make no distinction, whether Davus be the speaker. And the bold Pythias, who gained a talent by gulling Simo; or Silenus, the guardian and attendant of his pupil-god [Bacchus]. I would so execute a fiction^[3] taken from a well-known story, that any body might entertain hopes of doing the same thing; but, on trial, should sweat and labor in vain. Such power has a just arrangement and connection of the parts: such grace may be added to subjects merely common. In my judgment the Fauns, that are brought out of the woods, should not be too gamesome with their tender strains, as if they were educated in the city, and almost at the bar; nor, on the other hand; should blunder out their obscene and scandalous speeches. For [at such stuff] all are offended, who have a horse,^[4] a father, or an

↑ Young women were usually chosen to dance in honor of the gods, but in some festivals, as in that of the great goddess, the pontiffs obliged married women to dance. Hence the poet says jussa. Dac.
↑ Dominantia verba. What the Greeks call κύρια, as if they were masters of the thing they would express ; as we say in English, “calling things by their proper names.” Fran.
↑ 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 cast of them being necessarily romantic, and the persons those fantastic beings called satyrs, the τὸ ὅμοιον, 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, indicia, he, on a like occasion, terms ignota. The connection 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 hackneyed ?” 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 show itself. The conduct and disposition of the play may be wholly new, and above the ability of common writers, “tantum series juncturaque poilet.” Hurd.
↑ Quibus est equus, etc., the knights who have a horse, kept at public expense; “quibusest pater,” people of birth, patricians; “quibus eat res,” they who have wealth, and are therefore distinguished from knights and patricians. Dac.

[1] Young women were usually chosen to dance in honor of the gods, but in some festivals, as in that of the great goddess, the pontiffs obliged married women to dance. Hence the poet says jussa. Dac.

[2] Dominantia verba. What the Greeks call κύρια, as if they were masters of the thing they would express ; as we say in English, “calling things by their proper names.” Fran.

[3] 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 cast of them being necessarily romantic, and the persons those fantastic beings called satyrs, the τὸ ὅμοιον, 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, indicia, he, on a like occasion, terms ignota. The connection 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 hackneyed ?” 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 show itself. The conduct and disposition of the play may be wholly new, and above the ability of common writers, “tantum series juncturaque poilet.” Hurd.

[4] Quibus est equus, etc., the knights who have a horse, kept at public expense; “quibusest pater,” people of birth, patricians; “quibus eat res,” they who have wealth, and are therefore distinguished from knights and patricians. Dac.

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