ART. XIII. Aristophanis Comadia ex optimis exemplaribus emendatæ studio Rich. Franc. Phil. Brunck, Argentoratensis. Tom. IV. Lysistrata, Thesmophoriazusa, Ranæ, Plutus, Latine pagg. 182. Tom. I. Præfatio Editoris, 10. Eadem Fabula, Græce, 295. Nota, 291. Tom. II. Ecclesiazusæ, Nubes, Aves, Vespa, Latine, 199. Græce, 310. Nota, 257. Tom. III. Equites, Acharnenses, Pax, Latine, 128. Græce, 205. Fragmenta, 209-291. Notæ, 162. Addenda Fragmentis, 163–172. Addenda notis in omnes fabulas, 175-228. Index verborum (not paged), 168. 4to and 8vo.

BEFORE I give an account of the editor's merits, it may not be improper to say a word of the excellencies and defects of the author; especially as some modern critics have thought proper not only to greet him with the title of a scurrilous and indecent buffoon, but to wonder how such monstrous farces could be endured by the chaste ears of an Attic audience. That many

many should have been greatly exasperated with Aristophanes, for publicly exhibiting Socrates on the stage, and making him speak and act in a manner most inconsistent with his known character, is not surprising; but as the accusation urged by some against the poet, of being instrumental to Socrates's death, has been substantially refuted by many critics; so the present editor has very judiciously observed, with regard to the other part of the charge, that Socrates is not so much the object of ridicule in the comedy of the Clouds, as the philosophers in general, who, of whatever benefit the lessons and example of Socrates himself might be to the state, were, from their idle lives, their minute, ridiculous, and sometimes impious disquisitions, highly prejudicial to their disciples, and, by consequence, to the public. If, says Mr. Brunck, Aristophanes had really in the smallest degree contributed to the death of Socrates, it is not credible that Plato would have introduced them in his Symposium, sitting together at the same table; it is not credible that he would have been so great an

admirer

admirer of him as to write an epigram in his praise, containing a most extravagant compliment.-Missa igitur hæc faciamus. Of the indecency, which abounds in Aristophanes, unjustifiable as it certainly is, it may however be observed, that different ages differ extremely in their ideas of this offence. Among the ancients, plain-speaking was the fashion; nor was that ceremonious delicacy introduced, which has taught men to abuse each other with the utmost politeness, and express the most indecent ideas in the most modest language. The ancients had little of this. They were accustomed to call a spade a spade; to give every thing its proper name. There is another sort of indecency, which is infinitely more dangerous; which corrupts the heart without offending the ear. I believe there is no man of sound judgement who would not sooner let his son read Aristophanes than Congreve or Vanbrugh. In all Aristophanes's indecency, there is nothing that can allure, but much that must deter. He never dresses up the most detestable vices in an amiable light; but generally, by describing them in

their native colours, makes the reader disgusted with them. His abuse of the most eminent citizens may be accounted for upon similar principles. Besides, in a republic, freedom of speech was deemed an essential privilege of a citizen. Demosthenes treats his adversaries with such language as would, in our days, be reckoned scurrilous enough; but it passed, in those days, without any notice or reprehension. The world is since greatly altered for the better. We have, indeed, retained the matter, but judiciously * altered the manner. In the management of his * plots too, it must be owned, Aristophanes is sometimes faulty. It ought however to be observed, that his contemporary comic poets did not pique themselves upon the artful management of the plot. Aristophanes has therefore the usual failing of dramatic writers, to introduce speeches, and even scenes, not much conducing to the business of the drama. But if the only use of the plot be, as the great Bayes has decided, to bring in good

** [In omitting this line, Maty's printer assumed, I suspect, an undue authority.]

things,

things, our poet will stand totally clear on this head of the charge, and the Knights may be mentioned as an honourable exception even to this censure, as the design of the play, to expose Cleon, and to turn him out of his place, is admirably supported from beginning to end.-To sum up Aristophanes's character, if we consider his just and severe ridicule of the Athenian foibles, his detestation of the expensive and ruinous war in which Greece was engaged, his pointed invectives against the factious and interested demagogues, by whom the populace was deluded, "who bawl'd for freedom in their senseless mood;" his contempt of the useless and frivolous inquiries of the Sophists; his wit, and versatility of style; the astonishing playfulness, originality, and fertility of his imagination; the great harmony of versification, whenever the subject required it, and his most refined elegance of language; in spite of Dr. Beattie's dictum, we shall look over his blemishes, and allow that, with all his faults, he might be a very good citizen, and was certainly an excellent Poet.

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