pression, and the spirit of the sentiments, and perhaps, more than all
of them, the resistless force of custom, had not in a manner subjected our
reason, and spread a veil before our judgment.

It was not chance, therefore, which suggested to the Greeks the use of
iambics in their tragedy. Nature itself seems to have dictated that kind
of verse to them. Instructed by the same unerring guide, they made choice
of a different versification for the chorus, better adapted to the motions
of the dance, and the variations of the song; because it was necessary for
poetry here to shine out in all its lustre, whilst the mere conversation
between the real actors was suspended. The chorus was an embellishment of
the representation, and a relaxation to the audience, and therefore
required more exalted poetry and numbers to support it, when united with
music and dancing.

Of the Old, Middle, and New Comedy.

Whilst tragedy was thus rising to perfection at Athens, comedy, the second
species of dramatic poetry, and which, till then, had been much neglected,
began to be cultivated with more attention. Nature was the common parent
of both. We are sensibly affected with the dangers, distresses,
misfortunes, and, in a word, with whatever relates to the lives and
conduct of illustrious persons; and this gave birth to tragedy. And we are
as curious to know the adventures, conduct, and defects of our equals;
which supply us with occasions of laughing, and being merry at the expense
of others. Hence comedy derives itself; which is properly an image of
private life. Its design is to expose defects and vices upon the stage,
and, by affixing ridicule to them, to make them contemptible; and,
consequently, to instruct by diverting. Ridicule, therefore, (or, to
express the same word by another, pleasantry,) ought to prevail in comedy.

This species of entertainment took at different times three different
forms at Athens, as well from the genius of the poets, as from the
influence of the government, which occasioned various alterations in it.

The old comedy, so called by Horace,(194) and which he dates after the
time of AEschylus, retained something of its original rudeness, and the
liberty it had been used to take of throwing out coarse jests and reviling
the spectators from the cart of Thespis. Though it was become regular in
its plan, and worthy of a great theatre, it had not learnt to be more
reserved. It represented real transactions, wit