Chapter 8 No.8

But the dynamic power of the Ars Poetica will be still better appreciated if we assemble some of its familiar principles.

Who has not heard of and wondered at the hold the "Rules" have had upon modern drama, especially in France,-the rule of five acts, no more and no less; the rule of three actors only, liberalized into the rule of economy; the rule of the unities in time, place, and action; the rule against the mingling of the tragic and comic "kinds"; the rule against the artificial dénouement? Who has not heard of French playwrights composing "with one eye on the clock" for fear of violating the unity of time, or of their delight in the writing of drama as in "a difficult game well played?" If Alexandrian criticism, and, back of it, Aristotle, were ultimately responsible for the rules, Horace was their disseminator in later times, and was looked up to as final authority. Who has not heard and read repeatedly the now common-place injunctions to be appropriate and consistent in character-drawing; to avoid, on the one hand, clearness at the cost of diffuseness, and, on the other, brevity at the cost of obscurity; to choose subject-matter suited to one's powers; to respect the authority of the masterpiece 135 and to con by night and by day the great Greek exemplars; to feel the emotion one wishes to rouse; to stamp the universal with the mark of individual genius; to be straightforward and rapid and omit the unessential; to be truthful to life; to keep the improbable and the horrible behind the scenes; to be appropriate in meter and diction; to keep clear of the fallacy of poetic madness; to look for the real sources of successful writing in sanity, depth of knowledge, and experience with men; to remember the mutual indispensability of genius and cultivation; to combine the pleasant and the useful; to deny one's self the indulgence of mediocrity; never to compose unless under inspiration; to give heed to solid critical counsel; to lock up one's manuscript for nine years before giving it to the world; to destroy what does not measure up to the ideal; to take ever-lasting pains; to beware of the compliments of good-natured friends? Not less familiar are the apt figurative illustrations of the woman beautiful above and an ugly fish below, the purple patch, the painter who would forever put in his cypress tree, the amphora that came out a pitcher, the dolphin in the wood and the boar in the waters, the sesquipedalian word, 136 the mountains in travail and the birth of the ridiculous mouse, the plunge in medias res, the praiser of the good old times, the exclusion of sane poets from Helicon, the counsellor who himself can write nothing, but will serve as whetstone for genius, the nodding of Homer.

Nor did the effects of this diffusion of Horatian precept consist merely in restraint upon the youthful and the impulsive, or confine themselves to the drama, with which the Ars Poetica was mainly concerned. The persuasive and authoritative counsels of the Roman poet have entered, so to speak, into the circulatory system of literary effort and become part of the life-blood of modern enlightenment. Their great effect has been formative: the cultivation of character in literature.