On this _nice part_ of the duty of _the_ CHORUS the author of the
English Commentary thus remarks.
"This important advice is not always easy to be followed. Much indeed
will depend on the choice of the subject, and the artful constitution
of the fable. _Yet, with all his care, the ablest writer will sometimes
find himself embarrassed by the_ Chorus. i would here be understood to
speak chiefly of the moderns. For the antients, though it has not been
attended to, had some peculiar advantages over us in this respect,
resulting from the principles and practices of those times. For, as it
hath been observed of the ancient epic Muse, that she borrowed much of
her state and dignity from the false _theology_ of the pagan world,
so, I think, it may be justly said of the ancient tragic, that she has
derived great advantages of probability from its mistaken _moral_. If
there be truth in this reflection, it will help to justify some of the
ancient choirs, that have been most objected to by the moderns."
After two examples from Euripides; in one of which the trusty CHORUS
conceals the premeditated _suicide_ of Phaedra; and in the other abets
Medea's intended _murder of her children_, both which are most ably
vindicated by the Critick; the note concludes in these words.
"In sum, though these acts of severe avenging justice might not be
according to the express letter of the laws, or the more refined
conclusions of the PORCH or ACADEMY; yet there is no doubt, that they
were, in the general account, esteemed fit and reasonable. And, it is to
be observed, in order to pass a right judgment on the ancient Chorus,
that, though in virtue of their office, they were obliged universally
to sustain a moral character; yet this moral was rather political and
popular, than strictly legal or philosophic. Which is also founded on
good reason. The scope and end of the ancient theatre being to serve
the interests of virtue and society, on the principles and sentiments,
already spread and admitted amongst the people, and not to correct old
errors, and instruct them in philosophic truth."
One of the censurers of Euripides, whose opinion is controverted in
the above note, is Monsieur Dacier; who condemns _the_ CHORUS in this
instance, as not only violating their _moral_ office, but _transgressing
the laws_ of Nature _and of_ God, _by a fidelity_; so vicious _and_
criminal, _that these women_, [_the_ Chorus!] _ought to fly away in
the Car of Medea, to escape the punishment due to them_. The Annotator
above, agrees with the Greek Scholiast, that _the Corinthian women (the_
Chorus) _being free_, properly desert the interests of Creon, and keep
Medea's secrets, _for the sake of justice_, according to their custom.
Dacier, however, urges an instance of their _infidelity_ in the ION of
Euripides, where they betray the secret of Xuthus to Creusa, which the
French Critick defends on account of their attachment to their mistress;
and adds, that the rule of Horace, like other rules, is proved by the
exception. "Besides (continues the Critick in the true spirit of French
gallantry) should we so heavily accuse the Poet for not having made _an
assembly of women_ keep a secret?" _D'ailleurs, peut on faire un si
grand crime à un poete, de n'avoir pas fait en sorte qu'une troupe
de femmes garde un secret?_ He then concludes his note with blaming
Euripides for the perfidy of Iphigenia at Tauris, who abandons these
faithful guardians of her secret, by flying alone with Orestes, and
leaving them to the fury of Thoas, to which they must have been exposed,
but for the intervention of Minerva.
On the whole, it appears that the _moral importance_ of _the_ CHORUS
must be considered _with some limitations_: or, at least, that _the_
CHORUS is as liable to be misused and misapplied, as any part of modern
Tragedy.