Chapter V: Letter II (2)

It hath often been observed, that the earliest productions of a Great Genius are generally the most remarkable for wildness and inequality. A sublime imagination is always reaching at something great and astonishing. Sometimes it seizeth the object of its pursuit, and at others, like a person dizzy with the heighth of his station, it staggers and falls headlong. When the mind of such a person ripens, and his judgment arrives at its full maturity, we have reason to expect that the strain of his competition will be more confident and masterly; but his imagination, cramped by the rules which have been formerly laid down, will be still desirous of _breaking_ the _old fetters_, rather than felicitous of _inventing new ones_. Though therefore it must be acknowledged that the same Faculty which is able to invent characters, and to _colour_ sentiment may likewise discover the rules and principles of an Art, yet we have no ground to hope that it will often be employed to effectuate a purpose which an Author may consider as in some measure prejudicial.

To compensate for the blemishes formerly mentioned, the writings of Pindar abound with the most instructive moral sentiments, as well as with the most exquisite beauties of descriptive poetry. The Poet often throws in a reflection of this kind in the most natural manner, as it seems to arise spontaneously from the subject. Thus he prepares the mind to hear of the catastrophe of Tlepolemus by an exclamation perfectly apposite, and appropriated to the occasion.

Αμφι δ’ ανδρω-
πων φρεσιν αμπλακιαι
Αναριθμητοι κρεμανται
τουτο δ’ αμηκανον εὑρειν
Ὁτι νυν, και εν τελευ-
τα φερτατον ανδρε τυχειν. Pin. Olym. VII.

But wrapt in error is the human mind,
And human bliss is ever insecure;
Know we what fortune yet remains behind?
Know we how long the present shall endure? WEST.

This method of introducing moral observations adds peculiar dignity and importance to Lyric Poetry, and is likewise happily suited to the Ode, whose diversified composition naturally admits of it.

I shall only observe further with regard to Pindar, that his character is eminently distinguished by that noble superiority to vulgar opinions, which is the inseparable concomitant of true genius. He appears to have had his Zoilus as well as Homer, and to have been equally fallible of the extent and sublimity of his own talents. Thus he compares his enemies to a parcel of crows and magpies pursuing an eagle.

The learned Abbe Fraquier in a short dissertation on the character of Pindar affirms, that one will discover too obvious an imitation of this Poet in those pieces of Horace which are sublime and diversified[88]. He mentions, as examples of this, his celebrated Odes to Virgil[89] and to Galatea[90], intended to dissuade them from going to sea; and that in which he so artfully represents to the Roman people the danger and impropriety of removing the seat of the Empire to Troy[91]. Upon comparing these with the Odes of Pindar, he says that we shall find more strength, more energy, and more sublimity in the works of the Greek, than in those of the Roman Poet[92]. In the three Odes formerly mentioned, he observes that the digressions never lead us far from the principal subject, and the Poet’s imagination appears to be too much confined to one place. On the contrary, Pindar never curbs the exuberance of his Genius. He celebrates promiscuously in the same Ode, Gods, Heroes, and persons who have made a shining figure in their age and country, by imitating illustrious examples[93].

[Footnote 88: Ce son des tableaux d’un Eleve habile, ou l’on
reconnoit la maniere du Maitre, bien qu’ on n’y retrouve pas a
beaucoup près tout son genie. Mem. de Liter. Tom. III. p. 49.]

[Footnote 89: Car. Lib. I. Od. 3.]

[Footnote 90: Id. Lib. III. Od. 27.]

[Footnote 91: Carm. Lib. III. Ode 3.]

[Footnote 92: Il est aise d’en marquer la difference sans parler
de celle du stile qui dans Pindare a toujours plus de force, plus
d’energie, & plus de noblesse que dans Horace, &c. Mem. de Lit.
ubi supra.]

[Footnote 93: Id. ibid.]

From the observations made on the manner of Horace in a preceding part of this Essay, it is sufficiently obvious, that his Genius in Lyric Poetry was principally fitted to excel in the composition of the shorter Ode; and that his imagination was not so equal as that of Pindar to the higher and more perfect species. Of the three Pieces, however, which this Author hath mentioned as imitations of the Greek Poet, we can only admit one to have been compleatly attempted in the manner of this Great Master. It is that which regards the design of removing the imperial seat to Troy. The other two Odes are highly beautiful in their kind; but the subjects are not treated at so much length, nor with that variety of high poetic colouring which characteriseth so eminently the writings of the latter. The Ode to the Roman people is indeed composed in an higher strain, and is full of that enthusiasm which the subject might naturally be supposed to excite in the mind of a Poet, who was animated by the love of his country. Through the whole of this noble performance, the address of the Author, and the emphatical energy with which the sentiments are conveyed, deserve to be equally the objects of admiration. The Poem opens with a just and poetical description of the security of Virtue; from which the Poet takes occasion to introduce an artful compliment to Augustus, whom he ranks with Bacchus and Romulus; on the ascent of which last to heaven, Juno expresseth her aversion to the repeopling of Troy. She breaks abruptly into the subject, in a manner expressive of eager solicitude.

---- _Ilion, Ilion,
Fatalis incestusque Judex
Et Mulier peregrina vertit
In pulverem[94]._

Troy,--perjured Troy has felt
The dire effects of her proud tyrant’s guilt;--
An Umpire partial and unjust,
And a lewd woman’s impious lust,
Lay heavy on her head, and sunk her to the dust. ADDISON.

[Footnote 94: Car. Lib. III. Od. 3.]

She then proceeds in the most artful manner to insinuate, that as the destruction of this city was occasioned by her ingratitude to the Gods, as well as by the particular injury done to her and Minerva, if Troy should be thrice rebuilt by the hand of Apollo, the Greeks would thrice be permitted to overturn it; and

---- _ter Uxor
Capta, virum puerosque ploret[95]._

Thrice should her captive dames to Greece return,
And their dead sons, and slaughter’d Husbands mourn. ADDISON.

[Footnote 95: Id. ibid.]

The prosperity which she promiseth to the Roman arms is therefore granted, only upon condition that they never think of rebuilding this detested city.

From the preceding short account of this celebrated Ode, it will appear that the transitions are extremely artful, the sentiments noble, and that the whole conduct is happy and judicious. These, if I mistake not, are the distinguishing excellencies of the larger Odes of Horace, in which the Poet’s _didactic_ genius is remarkably conspicuous. Perhaps however, your Lordship, like the French Critic, is at a loss to find in all this, the energy, the vehemence, the exuberance of Pindar. Horace himself was perfectly sensible of the superior excellence of the Greek Poet, and never rises to truer sublimity than when he is drawing his character. The following image is great, and appropriated to the subject.

_Monte decurrens velut amnis, imbres
Quem super notas aluere ripas
Fervet, immensusque _ruit_ profundo
Pindarus ore[96]._

Pindar like some fierce torrent swoln with show’rs,
Or sudden Cataracts of melting Snow,
Which from the Alps its headlong Deluge pours,
And foams, and thunders o’er the Vales below,
With desultory fury borne along,
Rolls his impetuous, vast, unfathomable song. WEST.

[Footnote 96: Car. Lib. IV. Od. 2.]

I know not, my Lord, how it happens, that we generally find ourselves more highly pleased with excess and inequality in poetic composition, than with the serene, the placid, and the regular progression of a corrected imagination. Is it because the mind is satiated with uniformity of any kind, and that remarkable blemishes, like a few barren fields interspersed in a landschape give additional lustre to the more cultivated scenery? Or does it proceed from a propensity in human nature to be pleased, when we observe a great Genius sometimes _sinking as far below the common level_, as at others, he is capable of _rising above it_? I confess, that I am inclined to deduce this feeling more frequently from the _former_ than from the _latter_ of these causes; though I am afraid that the warmest _benevolence_ will hardly prevail upon your Lordship not to attribute it in some instances to _a mixture of both_.

Whatever may be in this, it is certain that the Odes of Horace, in which he has professedly imitated Pindar, are much more correct and faultless than these of his Master. It would, perhaps, be saying too much, to affirm with some Critics, that the judgment of the Roman Poet was superior to that of his Rival; but it is obvious, that the operation of this Faculty is more remarkable in his writings, because his imagination was more ductile and pliable. --Upon the whole, therefore, we shall not do injustice to these two great men, if we assign to their works the same degree of comparative excellence, which the Italians ascribe to the pieces of Dominichino and Guido. The former was a _great_ but an _unequal Genius_; while the more corrected performances of the latter were _animated by the Graces_, and _touched by the pencil of Elegance_[97].

[Footnote 97: The Reader will observe, that nothing has been said
in this Essay on the regularity of the measure of Pindar’s Odes.
This subject is treated so fully in the preface of Mr. West’s
Translation, that we need only here to refer the curious to his
remarks. The Ancient Odes are always to be considered as songs
which were set to musick, and whose recital was generally
accompanied with dancing. If we may be permitted to form an idea
of this music, from the nature and composition of the Ode, it must
have been a matter of great difficulty to excel in it, as it is
certain that poems which abound with sentiments are more proper to
be set to music, than those which are ornamented with imagery.
These sister-arts usually keep pace with each other, either in
their improvement or decay. Ne ci dobbiamo (says an ingenious
Foreigner, speaking of the modern Italian music) maravigliare,
ce corrotta la Poesia, s’e anche corrotta la musica; perche come
nella ragior poetica accennammo, tutte le arti imitative hanno
una idea commune, dalla cui alterazione si alterano tutte,
e particolarmenti la musica dall alterazion del la poesia si cangia
come dal corpo l’ombra. Onde corrotta la poesia da e soverchi
ornamenti e dalla copia delle figure, ha communicato anche il suo
morbo alla musica, ormai tanto sfigurata, che ha perduta quasi la
natural est pressione. Gavina della Traged. p. 70.]

I am afraid, that your Lordship is now thinking it high time to bring the whole of this detail to a period.----Upon reviewing the observations made on the Lyric Poetry of the Ancients through the preceding part of this Essay, you will find that the subject has been considered under the three following heads. In the first part I have attempted to lay before your Lordship, the state of Lyric Poetry in the earliest ages, as it appears from what we can collect either of the character of the writings of Amphion, Linus, Orpheus, Museus, and Hesiod. In the course of this enquiry I have had occasion to assign the causes, whose concurrence rendered this branch of the poetic Art less perfect at its first introduction than any of the other species. --Upon advancing a little further, a richer and more diversified prospect opened to the imagination. In _the first dawn_ of this more enlightened period, we meet with the names of Alcaeus and Sappho, who, without altering _the original character_ of the Ode, made a considerable change on the _subjects_ to which it was appropriated; and in _the full meridian_ of Science, we find this second form of Lyric Poetry brought to its highest perfection in the writings of Horace. --Some remarks on the nature of those beauties which are peculiarly characteristic of the _higher species_ of the Ode, and on the part which Imagination particularly claims in its composition, led me to mention, a few rules, the exact observation of which will, perhaps, contribute to render this species of poetry more correct and regular, without retrenching any part of its _discriminating_ beauties, and without straitning too much the Genius of the Poet. With this view I have endeavoured to characterize impartially the pindaric manner, by pointing out _its excellencies_, by enumerating _its defects_, and by enquiring from what particular causes the latter are to be deduced.

I consider it, my Lord, as a circumstance particularly agreeable on the present occasion, that the Persons who are most capable to observe the _defects_ of an Author, are likewise commonly the readiest to _excuse them_. Little minds, like the fly on the Edifice, will find many inequalities in _particular members_ of a work, which an enlarged understanding either overlooks as insignificant, or contemplates as _the mark of human imperfection_. I am, however, far from intending to insinuate, that feelings of this nature will prevail on your Lordship to consider real blemishes merely as the effects of an inadvertency, which is excusable in proportion to the intricacy of a subject. I have been induced to throw together the preceding remarks, with an intention to rescue Lyric Poetry from the contempt in which it has been unjustly held by Authors of unquestioned penetration, to prove that it is naturally susceptible of the _highest poetic beauty_; and that under proper regulations, it may be made subservient to purposes as beneficial as any other branch of the Art. These facts will indeed be sufficiently obvious to persons unacquainted with the Ancients, by perusing the works of eminent _Poets_ of the present age, whose names it would be superfluous to mention. I dismiss this attempt, and the pieces which accompany it, to the judgment of the public, with that timidity and diffidence which the review of so many great names, and the sense of Inexperience are fitted to inspire. Whatever may be the fate of either, I shall remember, with pleasure, that they have afforded me an opportunity of testifying that high and respectful esteem, with which I have the Honour to be,

MY LORD,

Your Lordship’s
Most Obliged,
and Most Obedient Servant,

J. OGILVIE.

* * * * *
* * * *
* * * * *

Errata (Noted by Transcriber):

a native of Bæotia [_error for Bœotia_]
[Footnote 32] Ὡς εφασαν Ηουραι [_error for Κουραι_]
[Footnote 34] Ζευ σε μεν Ι’ δαιοισιν ... [_error for Ἰδαιοισιν_]
[Pindar, Pythian X] Εγκαμιων γαρ αωτες Υυμνων [_error for ὑμνων_]
[Ariosto]
_Le Donne, e Cavalieri, l’arme, gli amore,
Le Cortesie l’audaci impresi io canto._
[_errors for amori ... imprese_]
[Odyssey] Πλαγκθη [_error for Πλαγχθη_]
[Footnote 97] Gavina [_error for Gravina_]

Supplementary Notes:

1. Handwriting

The facsimile of the title page includes two handwritten lines between “Lord Deskfoord” and the author’s name:

The last Earl of Findlater who died _1812_ without issue
Title claimed by Sir W^m Ogilvie Bart of Carnousie,
who died Feb 20^th _1861_

The two lines were probably written at different times: the first uses long “s” while the second had to have been written in or after 1861. The underlined year “1812” is an error for 1811 (October). The William Ogilvie (more often spelled Ogilvy) of the second line was born in 1810, so his claim to the title cannot have been immediate. He does not appear to have been related to the book’s author.

2. Italian

The quotation from Gravina (misspelled Gavina), _Della Tragedia_, is given exactly as printed in note 97, including clear errors. The passage appears in the 1819 _Opere Scelte_ (Selected Works) as:

Né ci dobbiamo maravigliare, se corrotta la poesia, si è anche corrotta la musica: perché, come nella Ragion Poetica accennammo, tutte le arti imitative hanno una idea comune, dalla cui alterazione si alterano tutte; e particolarmente la musica dall’ alterazion della poesia si cangia, come dal corpo l’ombra. Onde corrotta la poesia dai soverchi ornamenti e dalla copia delle figure, ha comunicato il suo morbo anche alla musica, ormai tanto figurata, che ha perduta quasi la natural espressione.

3. Greek

The printed Greek used no diacritics, except for the one word ὅς (including accent) in the Odyssey quotation. All other rough-breathing marks have been added by the transcriber. Line breaks in verse citations are as in the original.

The errors are unusual. Instead of confusing similar letters such as υ and ν, or garbling diacritics, the Greek passages read as if they were learned orally, and written down from memory. Substitutions of ο for ω and ι for ε are especially common. The more significant differences between Ogilvie’s text and “standard” readings are given here.

Aristotle, _Poetics_ 1448b (in footnotes 3, 5, 6 as “c. 4”):

Και Ἁρμονια και ρυθμος εξ αρχης
_or:_ τῆς ἁρμονίας καὶ τοῦ ῥυθμοῦ ... ἐξ ἀρχῆς

οἱτινες θηρεων τε μορφας των αγριοτατων και νεκρων
_or:_ οἷον θηρίων τε μορφὰς τῶν ἀτιμοτάτων καὶ νεκρῶν

Τα γαρ μετρα ὁτι μοιρον των ρυθμων ...
_or:_ τὰ γὰρ μέτρα ὅτι μόρια τῶν ῥυθμῶν ...

Plato, _Leges_ 669de (in footnote 7 as “Lib. XI”):

Μελος δε αυ και ρυθμους ανευ ρημα{των} [_end of word illegible_]
_or:_ μέλος δ’ αὖ καὶ ῥυθμὸν ἄνευ ῥημάτων

Hesiod, _Theogony_ 31 (in footnote 31 as l. 63):

Δρεψασθαι θηητον· επενευσαν δε μοι αυδην
_or:_ δρέψασαι, θηητόν· ἐνέπνευσαν δέ μοι αὐδὴν

Aristotle, _Poetics_ 1449a (in footnote 52 as “c. 4”):

... οἱ δε αντι των Επων τραγωδιδασκαλοι, δια τω μειζω
και ενεμοτερα τα σχηματα ειναι ...

_or:_ ... οἱ δὲ ἀντὶ τῶν ἐπῶν τραγῳδοδιδάσκαλοι, διὰ τὸ μείζω
καὶ ἐντιμότερα τὰ σχήματα εἶναι ...

Callimachus I. 68-69 (body text and footnote 63):

Θηκαο δ’ οιωνον μεγ’ ὑπειροχον αγγελεωτην,
Σων τεραων‧ ἁτ’ εμοισι φιλοις ενδεξια φαινοις

_or:_ θήκαο δ’ οἰωνῶν μέγ’ ὑπείροχον ἀγγελιώτην
σῶν τεράων‧ ἅ τ’ ἐμοῖσι φίλοις ἐνδέξια φαίνοι

Iliad VIII. 438-443 (body text and footnote 65):

Ζευς δε Πατηρ ιδηθεν ευτροχον ἁρμα και ἱππους
Ολυμπονδ’ εδιωκε, θεων δ’ εξεκετο θωκους.
Τω δε και ἱππους μεν λυσε κλυτος Εννοσιγαιος
Ἁρματα δ’ αμβρωμοισι τιθει, κατα λιτα πετασσας.
Αυτος δε χρυσειον επι θρωνον ευρυοπα Ζευς
Ἑζετο, τω δε ὑπο ποσσι μεγας πελεμιζετ’ Ολυμπος.

_or:_ Ζεὺς δὲ πατὴρ Ἴδηθεν ἐύ̈τροχον ἅρμα καὶ ἵππους
Οὔλυμπον δὲ δίωκε, θεῶν δ’ ἐξίκετο θώκους.
τῷ δὲ καὶ ἵππους μὲν λῦσε κλυτὸς ἐννοσίγαιος,
ἅρματα δ’ ἂμ βωμοῖσι τίθει κατὰ λῖτα πετάσσας:
αὐτὸς δὲ χρύσειον ἐπὶ θρόνον εὐρύοπα Ζεὺς
ἕζετο, τῷ δ’ ὑπὸ ποσσὶ μέγας πελεμίζετ’ Ὄλυμπος.

Pindar, _Pythian_ I. 33 (footnote 69)

ναυσιφορηταις δ’ αδρασεα
_or:_ ναυσιφορήτοις δ’ ἀνδράσι

Aristotle, _Poetics_ 1455a (in footnote 79 as “c. 17”):

Δει δε τους μυθους συνισταναι, και τη λεξει συναπεργαζεσθαι
οντι μαλιστα προς ομματων τεθεμενον. Οὑτο γαρ αν’ εναργεστατα ὁρων
ὡσπερ παρ αυτοις γιγνομενος τοις πραττομενοις, εὑρισκοι το πρεπον, και
ἡκιστα αν’ λανθανοιτο τα ὑπεναντια.

_or:_ δεῖ δὲ τοὺς μύθους συνιστάναι καὶ τῇ λέξει συναπεργάζεσθαι
ὅτι μάλιστα πρὸ ὀμμάτων τιθέμενον: οὕτω γὰρ ἂν ἐναργέστατα [ὁ] ὁρῶν
ὥσπερ παρ’ αὐτοῖς γιγνόμενος τοῖς πραττομένοις εὑρίσκοι τὸ πρέπον καὶ
ἥκιστα ἂν λανθάνοι [τὸ] τὰ ὑπεναντία.