12.6 L' Exode est tout ce qui est dit après que le Chœur a ceßé de chanter pour ne plus reprendre.] ¹

THE exode does not mean the catastrophe of the fable, but the conclusion of the piece, though the catastrophe was often comprehended in it; it was in effect the last act. The Greek tragedies, like ours, generally end with some moral fentence drawn from the events of the fable. All those of Sophocles do. Euripides makes the same sentence serve for several plays. These are usually spoken by the chorus, not fung, for the distinction of the exode is its following the last ode of the chorus. ' being the last that was fought between the houses of York and Lancaster; with many ' other true historical passages. The part of King Richard, BY A GENTLEMAN, (WHO ، NEVER APPEARED ON ANY STAGE.) King Henry, by Mr. Giffard; Richmond, by Mr. Marshall; Prince Edward, by Miss Hippisley; Duke of York, Miss Naylor; Duke • of Buckingham, Mr. Peterson; Duke of Norfolk, Mr. Blakes; Lord Stanley, Mr. Pagett; Oxford, Mr. Vaughan; Tressel, Mr. William Giffard; Catesby, Mr. Marr; Ratcliff, Mr. Crofts; Blunt, Mr. Naylor; Tyrrel, Mr. Puttenham; Lord Mayor, Mr. Dunstall; ' the Queen, Mrs. Steele; Dutchess of York, Mrs. Gates; and the part of Lady Anne, by Mrs. Giffard. With entertainments of dancing, by Monf. Fromet, Madam Duval, and ' the two Masters and Miss Granier. To which will be added, a Ballad Opera of one • act, called the Virgin Unmasked. The part of Lucy, by Miss Hippisley. Both of which • will be performed gratis by persons for their diversion. The concert will begin exactly at ' fix o'clock.' This curiosity was communicated to me by Mr. William Giffard, one of the performers, now (1791) living at Southampton, a gentleman in character and manners truly respectable. It

DITE. It was the custom of the Roman comic theatre for one of the characters to address the audience, and folicit their favor by saying PLAU- This was partly followed by our elder comic writers who would frequently bring one of the characters forward to address the audience, in what was then called an epilogue. As for example in the epilogues to All's Well that Ends Well, and As You Like It. From this arose the modern epilogue which is now considered as an essential appendage to every new drama. This is sometimes spoken in the character that has been performed, as in the celebrated epilogue to the Distressed Mother which is still always called for whenever the play is acted. Sometimes in the person of the particular actor that speaks it, as in the epilogue to Dryden's Tyrannic Love spoken by Nell Gwin which begins, ، Hold, are you mad, you damn'd confounded dog! • I am to rife and speak the epilogue [s].' And fometimes, indeed most commonly, as an indifferent perfon. Many of our epilogues abound with wit and humour. That to the Clandestine Marriage is a kind of after-piece [r]. Much has been faid both for and against these kind of ludicrous epilogues to tragedy. Thomson passes a severe sentence on them in the [s] It is now universally the practice for the curtain to drop and the player to go out, and return again, even if the epilogue is spoken in character. Such a conduct as this of Dryden's is a direct avowal of the theatrical deception. [T] For an instance of an epilogue supplemental to the tragedy, see Note II. Chap. XIII. epilogue

2.23 POETIC OF ARISTOTLE. epilogue to his Tancred and Sigismunda. The Spectator, No. 338, criticises the epilogue to the Distressed Mother, to which there is a very pert and superficial answer by the author of the epilogue himself, (Budgel), as appears by the fignature in the Spectator, No. 341. Our philosophical critic would certainly have condemned this custom, as every one must who confiders it as the object of tragedy to make any serious impreffion on the mind, and not be confidered merely as the amusement of the moment. A humorous after-piece has something of the same effect, but not in the fame degree, as the epilogue in question is a ludicrous censure on the [u] incidents of the piece. Budgel justifies his prologue from the French custom of clofing their tragic entertainments with a ridiculous PETITE PIECE, a custom but lately introduced here during the first nine nights of a new play; and if we credit a French writer in preference to Mr. Budgel, the practice was the fame On the French stage at the time his defence was written, (1712). “The - custom of giving a small piece after the larger has only been efta- ← blished fince the year 1722. The larger pieces at first acting were. conftantly performed by themselves, and a smaller piece was never • added till after the eighth or tenth representation, and which was always confidered then as a symptom that the play was likely not to • be well received. To obviate this opinion, sometimes ill founded, • but always prejudicial, M. de la Mothe caused a petite piece to be • played the first night of the representation of his tragedy of Romulus, • and the practice has been continued ever since.' DICTIONNAIRE D'ANECDOTES, ART. COMEDIE FRANÇOISE. Under the same article is a ridiculous anecdote relative to the tragedy, from which the Distressed Mother is nearly a tranflation. A grave magistrate who had never. ، [v.] See conclusion of Note 11. Chap. VI. • been

• been at a play, was perfuaded to go by some of his friends from the ' afsurance they gave him that he would receive much entertainment ' from the tragedy of Andromache. He was very attentive to the play ' which was followed by a farce called the Pleaders. On coming out • he met the author, and meaning to pay him a compliment, said to ' him, " I am vastly pleased with your Andromache. It is really a capital piece; but yet I own I am a little surprised you make it end "so merrily. I was once very near crying, but when those comical "little dogs appeared I could not help laughing." It is with regret I observe, that the modern drama is again adopting the custom of the actors addressing the audience at the conclufion of the piece. Besides the absurdity of this practice (w), which tends to destroy the effect of the scene, it is attended with the grossest and most [w] Every allufsion to the drama, in a drama, is out of place, and absurd. Lessing, Vol. 1. p. 204, censures this passage in the Merope of Massei, both from this reason, and on account of the anachronism in mentioning the scene before the existence of the drama. • Con cosi strani auvenimenti forsè ' Non vide mai favoleggiar le scene.' • Ne'er has the scene such strange events display'd.' Dryden has been guilty of both these errors in the speech he puts into the mouth of Edipus, which begins, O that as oft at Athens I have seen 'The stage arise, and the big clouds descend.'.

and of one of them in Love Triumphant, where Veramond compares the catastrophe to the "winding up of fome defign, • Well form'd upon the crouded theatre.' Our great poet of nature is but too much addicted to this practice. servile

POETIC OF ARISTOTLE. fervile flattery. The infolent tranquillity with which an audience will receive the highest strains of adulation under the specious appellation of THE PUBLIC is no bad specimen of the respect a [x] democratic affembly has for the rights and equality of mankind. I have blushed for my countrymen when I have seen them in a body receive almost adoration from a lovely and accomplished actress which any individual of them would have been proud to offer. I am forry to add, that this disgraceful practice is not confined to the musical drama. To the best of my recollection, it was first revived in a regular and excellent comedy, The Clandestine Marriage. The tragic. muse has, I believe, hitherto kept herself clear of this degradation. [x] Lest I should be thought, in this sentence to be libelling the House of Commons, I beg leave to observe, that neither that assembly, nor any representative body whatever, can be called democratical. All representatives are, to use the words of Colonel Mitford, persons • elected by the people to legislative authority, for merit real or supposed.' SEE HISTORY OF GREECE, Chap. v. Sect. 1. Our House of Commons has besides distinction of rank, which evidently must arise from the qualification of property required. To quote the words of our Critic where he is defining the different forms of government, ὅπου ἡ πολιτεία βλέπει ἐις τε πλοῦτον, καὶ ἀρετὴν, καὶ δῆμον, ὁῖον ἐν Καρχηδόνι, αύτη ἀριςοκρατική ἔςι. ARIST. POLIT. L. IV. C. VIII. • When the form of the commonwealth looks up to riches, ' to virtue, and to the opinion of the people, as in Carthage it is aristocratical.' I wish to know how the qualifications of a member of parliament could be more exactly expressed, a certain quantity of property, merit real or supposed, and popularity. Gg NOTE

ἔστι δὲ πρόλογος μὲν μέρος ὅλοντρα - γῳδίας τὸ πρὸ χοροῦ παρόδου: iam incipit ulna sua uti et sic disputare, ut missa interna tragicae poesis natura curet, ne forte quo nomine singulae tragoediarum particulae vocandae sint lectores nesciant. prologus est igitur tota tragoediae pars quae posita est ante chori carmen parodicum. nomen πάροδον h. 1. non de chori in orchestram ingressu sed de tragoediae parte quadam intelligendum esse definitio παρόδου quae statim sequitur ostendit. Aristophanes tragoediae initium, h. e. primam orationem eius qui primum inducitur, πρόλογον appellavit in Ranis v. 1119., ubi Euripidem Aeschyli tragoedias exagitantem haec dicere fecit: καὶ μὴν ἐπ᾿ αὐτοὺς τοὺς προλόγους σοι τρέψομαι, ὅπως τὸ πρῶτον τῆς τραγῳδίας μέρος πρώτιστον αὐτοῦ βασανιῶ τοῦ δεξιοῦ. ibidem cum Aeschylo imperatum esset ut πρόλογον ἐκ τῆς Ὀρεστείας recitaret, ille dicto audiens tres versus qui primi sunt in Choephoris ac deinde quartum et quinti dimidiam partem ex oratione Orestis protulit. verus Aristoteles in Rhetoricis III, 14 init. cuiusvis carminis exordium πρόλογον vocat: τὸ μὲν οὖν προοίμιόν ἐστιν ἀρχὴ λόγου, ὅπερ ἐν ποιήσει πρόλογος καὶ ἐν αὐλήσει προαύλιον· πάντα γὰρ ἀρχαὶ ταῦτ᾽ εἰσί, καὶ οἷον ὁδοποίησις τῷ ἐπιόντι. haec significatio nomini plane convenit: πρόλογος enim ea est oratio quae ceteris prius admittitur. sed si ὁ λόγος opponitur τῷ μέλει, prologus ea complectitur quae ante chori adventum in scena peraguntur, h. e. quae prius dicuntur quam cantus inchoatur. hoc intellectu πρόλογον dictum accepit scriptor anonymus apud Küsterum ante comoedias Aristophanis p. XIV (apud Bekkerum p. XII): πρόλογος τὸ μέχρι τῆς εἰσόδου τοῦ χοροῦ μέρος. conf. Tzetzae Versus de tragica poesi editi a Dübnero in Museo Rhen. philolog. vol. IV. p. 403. πρόλογος μέν ἐστι τὸ μέχρι χοροῦ τῆς εἰσόδου. nec vero haec significatio multum immutatur, si quando chorus ante adest quam histriones' in scenam ingressi sunt, quod factum videmus in Aeschyli Persis et Supplicibus atque in Rheso Euripidis: tum enim πρόλογος continet illa quae ante a coryphaco recitantur quam totius chori canticum incipit, quae unius choreutae recitatio et λόγος et λέξις appellari potest. itaque in Persis prologus continetur v. 1-64., in Supplicibus v. 1-40., in Rheso v. 1-22. longius autem in prologo definiendo a significatione vocis πρόλογος recessit technicus hic noster, dum quae primam λέξιν totius chori praecedunt eo nomine complectitur. secundum hanc sententiam dimidia paene Oedipi Colonei pars (v. 1-667) ingenti prologo occupatur, sed ea culpa non est praestantissimi poetae: immo in culpa sunt technici notiones suas ex vagis notis componentes. cur ὅλον μέρος, non μέρος simpliciter, scripserit et hic et paulo post ubi episodium et exodus definitur, id in tali scriptore non curiose quaerendum existimo. fortasse significari voluit prologi ambitum plerumque satis magnum esse, item episodii exodique. ἐπεισόδιον δὲ μέρος ὅλον τραγῳδίας τὸ μεταξὺ ὅλων χορικῶν μελῶν: quae ab histrionibus inter duo chori cantica aut inter semet ipsos aut inter ipsos et choreutas peraguntur, ἐπεισόδιον efficiunt. nomen inde factum est, quod actorum colloquia nascentis artis tragicae aetate canticis choricis tamquam quoddam alienum vel secundarium interserebantur. ὅλα μέλη chori quae circumdant ἐπεισόδιον, aut parodus et stasimum aut duo stasima esse possunt. conf. anonymus apud Küsterum 1. c. ἐπεισόδιον τὸ μεταξύ δύο χορικῶν μελῶν. Tzetzes 1. c. ἐπεισόδιος δέ ἐστιν... λόγος μεταξὺ πλὴν μελῶν χορῶν (lege χοροῦ) δύο. ἔξοδος δὲ μέρος ὅλον τραγωδίας μεθ' ὃ οὐκ ἔστι χοροῦ μέλος: accuratius scripsisset ὅλου χοροῦ μέλος. in ipsa enim exodo singuli choreutae in κόμμοις interdum respondent canticis ab histrionibus ex scena fusis, et minora singulorum choreutarum carmina decantari et anapaesti coryphaei recitari possunt. ceterum vel sic definitio accommodari nequit ad omnes tragoedias, si quidem Aeschyli Supplices totius chori cantico concluduntur, et Eumenides in fine novi chori carmine instructae sunt. scriptor anonymus (apud Küsterum p. XIV) comoediae exodum a nostro tehnico discedens sic definivit: ἔξοδος τὸ ἐπὶ τέλει λεγόμενον τοῦ χοροῦ. huic consentit scholiasta Aristophanis ad Vespas v. 270., Pollux IV, 108., Hesychius s. v. ἐξόδιοι νόμοι. imperite Tzetzes 1. c. vers. 24. ἡ δ' ἔξοδός τις τυγχάνει χοροῦ λόγος, μεθ' ὃν χοροῖς οὐκ ἔστι τι λέγειν μέλος. πάροδος μὲν ἡ πρώτη λέξις ὅλου χοροῦ: si nomen παρόδου (Einzug) premis, quae chorus canit vel coryphaeus recitat, dum choreutae in orchestram sive a dextra sive a sinistra parte per apsides ingrediuntur, ea voce consignantur. id fere fecerunt grammatici, ut scholiasta Euripidis ad Phoeniss. v. 210 (202): πάροδος δὲ ἐστιν ᾠδὴ· χοροῦ βαδίζοντος ἀδομένη ἅμα τῇ εἰσόδῳ. item scholiasta Aristophanis ad Vespas v. 270., qui coryphaei exhortationem inter chori in orchestram adventum (230-247) enuntiatam πάροδον appellavit. alios grammaticorum de parodo locos collectos attulit G. C. W. Schneiderus de Re scenica Atheniensium pag. 205 sq., quibus iam addendus est I. Tzetzae definitio in Versibus de tragica poesi v. 35-42. a Dübnero evulgatis in Museo Rhen. philologico t. IV. p. 403. eiusmodi vero parodus multis tragoediis omnino deest, Sophocliis quidem omnibus, excepta Aiace, deest. hoc cum alios tum Pseudo - Aristotelem videtur impulisse, ut aliam definitionem parodi excogitarent. nam hic noster nonnisi totius chori primum carmen ( πρώτην λέξιν iste dixit) nomine parodi intelligi voluit, eodemque intellectu eandem vocem a Plutarcho acceptam fuisse patet ex illius quaestione an seni sit gerenda res publica c. 3. p. 785 A (IV. I. p. 152. apud Wyttenb.): Σοφοκλῆς δὲ λέγεται μὲν ὑπὸ τῶν υἱῶν παρανοίας δίκην φεύγων ἀναγνῶναὶ τὴν ἐν Οἰδίποδι τῷ ἐπὶ Κολωνοῦ πάροδον, ᾗ ἐστιν ἀρχὴ εὐίππου ( ν. 668), ξένε, τᾶσδε χώρας.” quae sint huiusce definitionis τῆς παρόδου incommoda, neuter eorum videtur vidisse vel curavisse. iam enim, ut ante notavimus, dimidia fere Oedipi Colonei pars prologus est. porro idem huius fabulae carmen (v. 668 sqq.) non minus pro stasimo quam pro parodo haberi potest. nam quia omnes chori personae hic demum canere incipiunt, parodus est. sed idem canticum stasimum est, quia neque anapaestorum neque trochaeorum systemata admixta sunt. idem dici potest de primo carmine chorico Oedipi Regis v. 151 - 215. aliisque pluribus. his expositis, dicendum restat cur λέξιν ὅλου χορού h. 1. legamus, ubi μέλος exspectamus. hoc ego technico nostro parum caute scribenti excidisse puto, quemadmodum apud Photium et Suidam legimus μονῳδία λέ γεται, ὅταν εἶς μόνος λέγῃ τὴν ᾠδήν. conf. Argumentum Persarum Aeschyli τῶν δὲ χορῶν τὰ μὲν ἐστι παροδικά, ὡς ὅτε λέγει δι' ἣν αἰτίαν πάρεστιν, ὡς τὸ “ Τύριον οἶδμα λιποῦσα,” h. e. primum carmen choricum Phoenissarum Euripidis v. 202 sqq. Tzetzes 1. c. ὅλου χοροῦ λέξις τε πρώτη τυγχάνει· ᾠδὴν ὁ Εὐκλείδης δέ, λέξιν οὐ λέγει. accuratius igitur Euclides locutus est de parodo quam ceteri technici solebant. de iis qui parodum λέξιν et qui αδὴν nominabant, Tzetzes v. 42. monet, et recte monet, ut mihi videtur, ταυτὸν τάχα λέγοντες ἐν πολλοῖς λόγοις. Hermannus et Müllererus, ille in Commentariis ad h. 1. pag. 142., hic in Museo Rhenano philolog. t. V. p. 362., existimant λέξιν, non ᾠδήν, consulto ab Aristotele positam esse, ne systemata anapaestica 2), quae ab uno coryphaeo recitata esse, non a toto choro cantata, certum est, a parodo excluderentur. sed ita 2) Nobile exemplum anapaestorum ab uno coryphaeo recitatorum et strophis intersertorum praebet parodus Antigonae Sophocliae v. 100 - 161.auctor personatus sibi ipse non constabit, cum parodum totius chori λέξιν esse dicit et nihilo minus unius coryphaei anapaestos recipere voluit, aut ille hoc ignoravit, anapaestos non cani a choro sed recitari a coryphaeo. accedit quod ὅλου χοροῦ λέξις nihil nisi carmen esse potest: totus enim chorus nunquam loquitur, sed semper canit. hoc recte monuit Tyrwhittus. diligenter et docte, ut solet, Odofr. Müllerus nuper de parodo disputavit in Museo Rhenano philolog. t. V. p. 360 sqq., sed virum aequissimum sententiam suam aliqua ex parte immutaturum esse, ubi haec legerit, confido. στάσιμον δὲ μέλος χοροῦ τὸ ἄνευ ἀναπαίστου καὶ τροχαίου: τὸ ἄνευ ἀναπαίστου καὶ τροχαίου τo consilio addita esse puto, ut, si quando stasimo coniuncta essent systemata anapaestica vel trochaica, haec ad ipsum stasimum non pertinere moneretur. sic in Sophoclis Aiace post prologum (v. 1-133), dum chorus in orchestram ingreditur, primum sex systemata anapaestica a coryphaeo recitantur (v. 134-171), iisque parodus absolvitur, tum sequitur carmen a choro stante ( στάσιμον) decantatum (v. 172 - 200). dum anapaesti illi recitantur, chorus non stat sed in orchestrae mediam partem ingreditur. aliud exemplum ex Aeschyli Agamemnone petere licet. chorus ingredi orchestram incipit a versu 40., et hinc usque ad v. 103. novem systemata anapaestica a coryphaco recitantur, et haec τὴν πάροδον efficiunt; continuo sequitur stantis chori carmen ( στάσιμον) a versu 104. usque ad 257. in eiusdem Supplicibus statim ab initio chorus ingreditur, quod dum fit, coryphaeus decem systemata anapaestica (v. 1-40) recitat, quo facto stantis chori carmen inchoatur. eiusmodi igitur systemata a carmine chorico excludi technicus voluit. sed idem cur etiam ἄνευ τροχαίου addidit ? scilicet τροχερός est numerus trochaicus et ad saltandum aptus, non ad standum, ideoque cantica ex trochaeis continuis composita ex stasimis eximenda putavit. fortasse cogitavit eiusmodi carmina quae apud Aeschylum in Eumenid. v. 997-1002. leguntur: χαίρετ' ἀστικὸς λεώς, ἴκταρ ἥμενοι Διός, παρθένου φίλας φίλοι σωφρονοῦντες ἐν χρόνῳ. Παλλάδος δ' ὑπὸ πτεροῖς ὄντας ἅζεται πατήρ. baec et similia a saltante choro cantata esse dubitari nequit. conf. eiusdem fabulae v. 1014 - 1020. Prometh. v. 415-417. 420-422. Hermannus olim (in Comment. ad h. 1.) stasima inde dicta putabat, quod carmina essent perpetua sive systematis anapaesticis trochaicisve non interrupta, sed hanc sententiam ab ipso iam improbari credo. nam perpetuus Graece dicitur non στάσιμος sed συνεχής. stasima recte tradunt grammatici Graeci dicta esse propterea quod canerentur a stantibus choreutis, quamquam modicos ac decoros motus ne ab his quidem carminibus remotos fuisse verisimile videtur. locos grammaticorum de στασίμοις exponentium collectos posuit Schneiderus in Re scenica Atheniensium p. 207. conf. Odofr. Müllerus ad Aeschyli Eumenides p. 95. illis locis iam accedit Tzetzes 1. c. vers. 51 sqq. ἄλλοι δὲ τὸ στάσιμον χοροῦ φασὶν μέρος (1. μέλος) ἄνευ ἀναπαίστου καὶ τροχαίου τῶν μέτρων· πάλιν ὁ Εὐκλείδης δέ φησιν σιν ὧδέ πως · ὅταν χορὸς στάς τι κατάρχεται λέγειν. in versu postremo λέγειν negligenter dictum esse pro άδειν memineris. Tzetzes illam priorem definitionem et alteram Euclidis non re sed verbis differre pronuntiat ( καὶ ταῦτα πολλοῖς ἓν τελοῦσι τοῖς λόγοις), et recte pronuntiat, quoniam, dum illa systemata anapaestica recitantur, choreutae in mediam orchestrae partem procedunt, itemque non stantes sed saltantes trochaica systemata decantare solent. itaque μέλος χοροῦ ἄνευ ἀναπαίστου καὶ τροχαίου idem est atque μέλος ὃ χορευταὶ στάντες ἄδουσιν. κόμμος δὲ θρήνος κοινὸς χοροῦ καὶ ἀπὸ σκηνῆς: nomen κόμμοι inde factum est, quod plerumque unus vel alter canentium sese plangebat doloris ostentandi causa.mira est huius technici etiam h. 1. sive dicendi brevitas sive negligentia. debuit saltem κόμμος δὲ θρήνος κοινὸς τοῦ χοροῦ καὶ τῶν ἀπὸ σκηνῆς, sed articulum saepius hoc capite omisit, ubi verus Aristoteles haud dubie illum positurus erat. de commo absurda quidem Tzetzes attulit, sed quae contemnere nobis non licet, propterea quod ex eius verbis patet, huius technici definitionem ignotam ei non fuisse: scribit igitur 1. c. vers. 64 sqq. οὗτος δ᾽ ὁ κόμμος τοῦ χοροῦ τελῶν μέρος ὑποκριταῖς ἦν ὡς πολὺ συνηγμένος, κόμμος δὲ θρήνου πενθικώτερος πλέον. ὁ θρῆνός ἐστιν ἠρεμέστερον μέλος. κόμμον πάλιν ἄλλος δέ τις θρῆνον λέγει, κοινὸν χοροῦ σκηνῆς τε τυγχάνει λέγων.