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of a whole city, extremely haughty and full of derision; it is sufficient to say, that such a poet could never be supposed to miss his characters. The applause, which his licentiousness produced, is too good a justification ; besides, if he had not succeeded, he exposed himself to the fate of Eupolis, who, in a coinedy called the Drowned Man, having imprudently pulled to pieces particular persons, more powerful than himself, was laid hold of, and drowned more effectually than those he had drowned upon the open stage.

The condemnation of the poignancy of Aristophanes, as having too much acrimony, is better founded. Such was the turn of a species of comedy, in which all licentiousness was allowed : in a nation which made every thing a subject of laughter, in its jealousy of immoderate liberty, and its enmity to all appearance of rule and superiority; for the genius of independency naturally produces a kind of satire more keen than delicate, as may be easily observed in most of the inhabitants of islands. If we do not say with Longinus, that a popular government kindles eloquence, and that a lawful monarchy stifles it; at least it is easy to discover by the event, that eloquence in different governments takes a different appearance. In republics it is more sprightly and violent, and in monarchies more insinuating and soft. The same thing may be said of ridicule: it follows the cast of genius, as genius follows that of government. Thus the republican raillery, particularly of the age which we are now considering, must have been rougher than that of the age which followed it, for the same reason, that Horace is more delicate, and Lucilius more pointed. A dish of satire was always a delicious treat to human malignity; but that

dish was differently seasoned, as the manners were polished more or less. By polished manners I mean that good-breeding, that art of reserve and self-restraint, which is the consequence of dependence. If one was to determine the preference due to one of those kinds of pleasantry, of which both have their value, there would not need a moment's hesitation, every voice would join in favour of the softer, yet without contempt of that which is rough. Menander will, therefore, be preferred, but Aristophanes will not be despised, especially since he was the first who quitted that wild practice of satirising at liberty right or wrong, and by a comedy of another cast made way for the manner of Menander, more agreeable yet, and less dangerous. There is yet another distinction to be made between the acrimony of the one, and the softness of the other; the works of the one are acrimonious, and of the other soft, because the one exhibited personal, and the other general characters; which leaves us still at liberty to examine, if these different designs might not be executed with equal delicacy.

We shall know this by a view of the particulars ; in this place we say only that the reigning taste, or the love of striking likenesses, might justify Aristophanes for having turned, as Plutarch says, art into malignity, simplicity into brutality, merriment into farce, and amour into impudence; if in any age a poet could be excused for painting public folly and vice in their true colours.

There is a motive of interest at the bottoin which disposed Elian, Plutarch, and many others, to condemn this poet without appeal. Socrates, who is said to have been destroyed by a poetical attack, at the instigation of two wretches *, has too many friends among good men, to have pardon granted to so horrid a crime. This has filled them with an implacable hatred against Aristophanes, which is mingled with the spirit of philosophy, a spirit, wherever it comes, more dangerous than any other. A common enemy will confess some good qualities in his adversary; but a philosopher, made partial by philosophy, is never at rest till he has totally destroyed him who has hurt the most tender part of his heart; that is, has disturbed bim in his adherence to some character, which, like that of Socrates, takes possession of the mind. The mind is the freest part of wan, and the most tender of its liberties: possessions, life, and reputation, may be in another's power, but opinion is always independent. If any man can obtain that gentle influence, by which he ingratiates himself with the understanding, and makes a sect in a commonwealth, his followers will sacrifice themselves for him, and nobody will be pardoned that dares to attack him justly or unjustly, because that truth, real or imaginary, which he maintained, is now become an idol. Time will do nothing for the extinction of this hatred; it will be propagated from age to age; and there is no hope that Aristophanes will ever be treated with tenderness by the disciples of Plato, who made Socrates his berø. Every body else may, perhaps, confess that Aristophanes, though in one instance a bad man, may nevertheless be a good poet; but distinctions, like these, will not

• It is not certain, that Aristophanes did procure the death of Socrates : but, however, he is certainly criminal for having, in the Clouds, accused him publicly of impiety.

be admitted by prejudice and passion, and one or other dictates all characters, whether good or bad.

As I add my own reasons, such as they are, for or against Aristophanes, to those of Frischlinus his defender, I must not omit one thing which he has forgot, and which, perhaps, without taking in the rest, put Plutarch out of humour, which is that perpetual farce which goes through all the comedies of Aristophanes, like the character of Harlequin on the Italian theatre. What kind of personages are clouds, frogs, wasps, and birds? Plutarch, used to a comic stage of

a very

appearance, must have thought them strange things; and yet stranger must they appear to us, who have a newer kind of comedy, with which the Greeks were unacquainted. This is what our poet may be charged with, and what may be proved beyond refutation. This charge comprises all the rest, and against this I shall not pretend to justify him. It would be of no use to say, that Aristophanes wrote for an age that required shews which filled the eye, and grotesque paintings in satirical performances; that the crowds of spectators, which sometimes neglected Cratinus to throng Aristophanes, obliged him more and more to comply with the ruling taste, lest he should lose the public favour by pictures more delicate and less striking; that in a state, where it was considered as policy to lay open every thing that had the appearance of ambition, singularity, or knavery, comedy was become a haranguer, a reformer, and a public counsellor, from whom the people learned to take care of their most valuable interests; and that this comedy, in the attempt to lead and to please the people, claimed a right to the strongest touches of eloquence, and had likewise the power of personal

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painting peculiar to herself. All these reasons, and many others, would disappear immediately, and my mouth would be stopped with a single word, with which every body would agree: my antagonist would tell me, that such an age was to be pitied, and passing on from age to age, till he came to our own, he would conclude flatly, that we are the only possessors of common sense; a determination with which the French are too much reproached, and which overthrows all the prejudice in favour of antiquity. At the sight of so many happy touches, which one cannot help admiring in Aristophanes, a man might, perhaps, be inclined to lament that such a genius was thrown into an age of fools: but what age has been without them? And have not we ourselves reason to fear, lest posterity should judge of Moliere and his age, as we judge of Aristophanes ? Menander altered the taste, and was applauded in Athens; but it was after Athens was changed. Terence imitated him at Rome, and obtained the preference over Plautus, though Cæsar called him but a demi-Menander, because he appears to want that spirit and vivacity which he calls the vis comica. We are now weary of the manner of Menander and Terence, and leave them for Moliere, who appears like a new star in a new course. Who can answer, that in such an interval of time as has past between these four writers, there will not arise another author, or another taste, that may bring Moliere, in his turn, into neglect? Without going further, our neighbours, the English, think he wants force and fire. Whether they are right, or no, is another question; all that I mean to advance is, that We are to fix it as a conclusion, that comic authors

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