Chapter II: Part 2

Men with some gentleness of nature have an inborn hatred of spite, especially of such as mocks bodily flaws or reversals of fortune, or, finally, anything that happens beyond the individual's responsibility. For, since no man feels himself free of such strokes of chance, he will not take it easily when they are torn down and laughed at. The Vergilian Dido spoke with human feeling when she said: _Not unaware of ill I learned to aid misfortune._[23] and the good will of the reader rises quietly in her favor. Likewise, Seneca says nicely: _It is not witty to be spiteful._[24] On the other hand they act inhumanely who triumph over misfortune and upbraid what was not guiltily effected, to such an extent that they arouse a feeling of aversion and alienation in the hearts of their readers.

Accordingly we have admitted only a few of this kind, and have rejected a great many, as, for example, Owen's frigid and spiteful epigram:

Look, not a hair remains on your bright skull.
The hairs on your inconstant brow are null.
With every last hair lost behind, ahead,
What has the bald man left to lose? His head.[25]

Nor do we greatly care for many of the same kind in Martial, which nevertheless were not omitted for the reasons given above.[26]

_On wordy epigrams._

It would be a long task to assemble all the natural aversions, nevertheless we may add a few more which have removed a whole host of epigrams from this anthology. Beyond those already mentioned, nature finds distasteful long circumlocutions and the piling up of a single point with varying phrase; for nature burns with a desire to find out, ever hastens to the conclusion, and is impatient at being detained by much talk unless there is a special reward. Consequently wordy epigrams beget a good deal of loathing, especially those that do not sufficiently balance their length with the magnitude of the idea. Some of Martial's are burdened with this fault; sometimes they accumulate too many commonplace compliments or are too petty in enumeration. For example, in this epigram to what point are so many trite similes piled up?

Her voice was sweeter than the agëd swan,
None would prefer the Eastern pearl before her,
Or the new-polished tooth of Indic beasts,
Or the first snow, lilies untouched by hand;
She who breathed fragrance of the Paestan rose,
Compared with whom the peacock was but dull,
The squirrel uncharming, and unrare the phoenix,
Erotion, is still warm on a new pyre.[27]

Similarly, why in another well-known epigram is the same idea repeated again and again?

Oh not unvalued object of my love,
Flaccus, the darling of Antenor's hearth,
Forego Pierian songs, the sisters' dances:
No girl among them ever gave a dime.
Phoebus is nought; Minerva has the cash,
Is shrewd, is only usurer to the gods.
What's there in Bacchus' ivy? The black tree
Of Pallas bends with mottled leaves and weight.
On Helicon there's only water, wreaths,
The divine lyres, and profitless applause.
Why do you dream of Cirrha, bare Permessis?
The forum is more Roman and more rich.
There the coins clink, but round the sterile chairs
And desks of poets only kisses rustle.[28]

In the same way that nature is displeased with wordiness, she is displeased with ideas that are too commonplace, for it is a kind of loquacity to bubble on with the commonplace and trite, since it is the purpose of speech to reveal what isn't known, not to repeat what is known and worn-out. Countless epigrams have been excluded from this selection for this fault, but since there is nothing more common I will omit offering examples.

_On trifling wit, and plays on words._

Not a little displeasing, also, is an assiduity in trifling which withdraws the mind from solid subject-matter out of which true beauty springs. Plays on words, puns and other playing around of that kind, unless they come to the judgement of the pen within the bounds of art, are not so much figures of speech as faults of style, and in those epigrams where the point rests solely in these there is nothing thinner, especially when they are so peculiar to one language that they cannot be translated into another. On this basis we have passed over such frivolous witticisms as Owen's:

Rope ends the robber, death is his last haul;
The gallows gets the gangster--if not all,
If many get away, God gives no hope:
It's an odd thief dies with no coffin rope.[29]

A little more humorous is that of another poet on the Swiss killed at night, though it too is faulty:

Annihilated in night snow by a nut stick,
I snow, night, nut, now, and annihilation know.[30]

_In what way natural inclinations are to be gratified._

We must carefully avoid all these natural sources of aversion and no less gratify natural inclinations if we wish to attain that beauty we aim at. For self-love is so strong in men that they can hear nothing with pleasure unless it flatters them with their own feelings. For which reason those epigrams have correctly been judged best that penetrate deeper into those feelings and present to the reader's mind an idea recognised not only by the interior light but also by the interior feeling as quite true, so that he can be seduced into embracing it: for example, Martial's:

I scorn the fame purchased with easy blood
And praise the man who can be praised alive.[31]

For, since everyone hates death and longs for praise and glory, there is no one who would not be glad if he could be praised without dying. Another example is that of the old poet:

Put high disdain, deciduous hope put by:
Live with yourself who with yourself must die.[32]

For nature has, as Quintilian said, a kind of elevation intolerant of anything above it[33] that fawns on anyone who bids it be contemptuous of a pride in riches.

This much on the general sources of beauty and ugliness will be sufficient for passing judgement on any _genre_ of poems. Nevertheless, this should be adapted to the particular nature, laws, and principles of the epigram, and so it will not be out of point to add a few remarks on the epigram itself.

_The origin of the name epigram. Its definition, form, and laws._

"Epigram", as Scaliger observes, is the same thing as "inscription"; but since there are inscriptions of a good many things the former word has been applied to short poems inasmuch as epigrams of that sort used to be inscribed on monuments and statues;[34] and from this the word has been extended generally to short poems. The epigram is defined, then, as a short poem directly pointing out some thing, person, or deed.[35]

There are those who locate its formal principle in the serious or witty idea that forms the conclusion, and so insist on this that they deny anything is an epigram that lacks such a conclusion.[36] But this is an error. There are some epigrams, and highly cultivated ones, that have an equable elevation throughout and nothing of especial note in the conclusion, as in this of a contemporary writer:

That on insurgent serpents breathing peace,
On unplumed eagles trembling, on tame pards,
And lions whose low necks accept the yoke,
Louis looks out, sublime on a bronze horse,
Nor fingers shaped this nor the craftsman's forge
But worth and God's fortune accomplished it.
The armed venger of faith, trustee of peace,
Ordained, for all to reverence, this, and bade
Rise in the royal place the reverend bronze,
That, the long perils past of civil strife,
And enemies subdued by prosperous arms,
Louis should ever triumph in the master city.[37]

Again, in some epigrams there is a straightforward neatness and a gentle and dry humor that pleases, as may be seen in some of Catullus' epigrams which we have put in this anthology.

Some go to the contrary extreme and not only do not require such conclusions but even scorn them. These are for the most part the outrageous lovers of Catullus who, as long as they finish off some limp little dirge in hendecasyllabics, feel that they are marvellously charming and polished, although there is nothing more empty than such verses or nothing easier to do if a man has acquired a little practice in Latin.

How little effort, for instance, shall we imagine the conclusion of this epigram cost Borbonius, fashioned as it is according to the model of Catullus?

Wherefore come, O Roman muses,
Full of honey and of graces,
Learned verses of good Pino;
I embrace you, just Camenae,
All day long I read you gladly
In this mortifying season,
Time of tears and time of penance,
Harsh and troublesome, by Jupiter![38]

You can see where the perverse imitation of Catullus has conducted a Christian, in other respects devout, so that in discussing a Christian fast day he had no fear of using the profane name of Jove. But, leaving this aside, what is more inept than the verse _Harsh and troublesome, by Jupiter!_, however Catullan. Nevertheless, Borbonius thought his epigram concluded elegantly in that line because he found in Catullus a similar one.[39] But, leaving aside such spiritless imitators, one can truly affirm of those ideas that conclude epigrams that there is a good deal of elegance in them when they are themselves distinguished and nicely cohere with the preceding chain of thought. For, since nothing so sticks in the reader's mind as the conclusion, what is better than to put there what especially you want to fix in his soul. Consequently, those epigrams are rightly censured as faulty that go in the order of anti-climax or in which the conclusion is sort of added on or appended to the rest and does not neatly develop out of the preceding verses. This fault is discernible in the following epigram, though in other respects it is distinguished:

You that a stranger in mid-Rome seek Rome
And can find nothing in mid-Rome of Rome,
Behold this mass of walls, these abrupt rocks,
Where the vast theatre lies overwhelmed.
Here, here is Rome! Look how the very corpse
Of greatness still imperiously breathes threats!
The world she conquered, strove herself to conquer,
Conquered that nothing be unconquered by her.
Now conqueror Rome's interred in conquered Rome,
And the same Rome conquered and conqueror.
Still Tiber stays, witness of Roman fame,
Still Tiber flows on swift waves to the sea.
Learn hence what Fortune can: the unmoved falls,
And the ever-moving will remain forever.[40]

The last four verses are completely unnecessary and contain a frigid point by which the lustre of the preceding is dimmed.

_The material of epigrams; thence the division into different kinds. The first kind and the second._

The material of epigrams comprises any subject and anything that can be said on it--in fact, there are as many kinds of epigrams as there are kinds of things that can be said. We will notice here particularly those kinds from which the special powers of each can be understood.

There is, then, a kind of epigram that is elevated, weighty, sublime, pursuing a noble subject in noble lines and concluding with a noble sentiment. Such is Martial's on Scaevola:

That hand that sought a king and found a slave
Was thrust to burn up in the sacred fire:
So cruel a portent the good enemy
Appalled, who bade him carried from the fire.
The hand the regicide endured to burn,
The king could not endure to see it done.
Greater the glory of the hand deceived!
Had it not erred it had accomplished less.[41]

Of the same sort are Grotius' epigrams on Ostend and on the sailing carriages, and Barclay's on Margaret of Valois.[42]

There is another sort somewhat lower in style but weighty and profitable in idea: for example, that truly distinguished one of Martial:

In that you follow the strict rules of Cato
And yet are willing to remain alive
And will not run bare-breasted on the sword
You do exactly as I'd have you do:
I scorn the fame purchased with easy blood
And praise the man who can be praised alive.[43]

And this:

In private she mourns not the late-lamented;
If someone's by her tears leap forth on call.
Sorrow, my dear, is not so easily rented.
They are true tears that without witness fall.[44]

And that genuinely golden epigram:

That I now call you by your name
Who used to call you sir and master,
You needn't think it impudence.
I bought myself with all I had.
He ought to sir a sir and master
Who's not himself, and wants to have
Whatever sirs and masters want.
Who can get by without a slave
Can get by, too, without a master.[45]

However, of all kinds of epigram that kind is generally thought to be most properly epigrammatic which is distinguished by a witty and ingenious turn that deeply penetrates the soul. Martial excels in this kind, as in this one:

You serve the best wines always, my dear sir,
And yet they say your wines are not so good.
They say you are four times a widower.
They say ... A drink? I don't believe I would.[46]

and in this:

Though you send presents to old men and widows
Why should I call you, sir, munificent?
There's nothing lower, dirtier than you only
Who can denominate enticements gifts.
These are the sly hooks for the greedy fish,
These are the clever baits for the wild beasts.
I will instruct you what it is to give
If you are ignorant: give, sir, to me. [47]

Some are lower in style but witty and pleasant, and have a glowing simplicity, as can be illustrated by another of Martial's:

"An epic epigram," I heard you say.
Others have written them, and so I may.
"But this one is too long." Others are too.
You want them short? I'll write two lines for you:
_As for long epigrams let us agree
They may be skipped by you, written by me._[48]

And, indeed, of all the special capabilities of the epigram none is more difficult to realise or more rarely achieved than the adroit handling, the suitable and easy unfolding, of the subject so that nothing is redundant, nothing wanting, nothing out of order, obscure, or tangled up in verbiage, and yet at the same time nothing too unexpected, nothing not adequately prepared for. Martial is pre-eminent in this; he develops his subjects so aptly, clearly, and perceptively that he obtains for ideas of no special note otherwise a good deal of distinction by the charm of the handling. For example, what could be more resourcefully developed than this epigram?

Believe me, sir, I'd like to spend whole days,
Yes, and whole evenings in your company,
But the two miles between your house and mine
Are four miles when I go there to come back.
You're seldom home, and when you are deny it,
Engrossed with business or with yourself.
Now, I don't mind the two mile trip to see you;
What I do mind is going four to not to.[49]

And what would the following epigram be if it had not been perfected and prepared for by the handling?

That no one meets you willingly,
That where you come they go, that vast
Areas of silence circle you--
Why so? you ask. Too much the bard.
This makes it terribly, terribly hard.
Who would put up with what I do?
You read verse if I stand or sit;
You read it if I run or sing;
And in the baths you read me verse;
I try the pool, and swim in verse;
I haste to dine, you go my way;
I order, and you read me out;
Worn out, I take my rest with verse.
You want to know what harm you do?
Just, upright, harmless, you're a pest.[50]

The conclusion is pleasantly witty, but the special charm of the poem derives from the preceding enumeration.

This finishes the account of what we looked to in selecting these epigrams. You will find what else is pertinent to this book in the preface.

_Notes_

I have silently emended a few passages; otherwise the text translated is that of _Epigrammatum Delectus_, Paris, 1659. It is regrettable that the Latin text, at least of the poems cited, could not be printed with the translation.

[1] _De nat. deor._ 2.2.5

[2] _Aen._ 5.481 and 8.596

[3] 177-8, 173

[4] All three passages are from epigrams by Gaspar Conrad in Janus Gruter, _Delitiae poetarum germanorum_, 6 v., Frankfort, 1612: II, 1065-6, lines 1-6 of a twelve line epigram, "In symbolum Iacobi Monavi"; II, 1077, the concluding lines of an eight line epigram, "Ad Valentinum Maternum"; and II, 1079, the concluding couplet of a six line epigram, "Ad Georgum Menhadum Philophilum." The second passage is hardly construable.

[5] _Ars. poet._ 141-2, the paraphrase of Homer, and 143-4. The other quotations in this passage are from the opening of the _Aeneid_, _Thebaid_, _Rape of Proserpine_, and the _Pharsalia_.

[6] _Inst. orat._ 8.6.14

[7] "Manes Dousici," IV "Ad solem" and V "Ad sidera," _Poemata_, Leyden, 1613, p. 166. Nicole reads _tandem_ for _rursus_ in the last line of the second poem. Douza is the younger Janus Douza (1571-1596).

Nicole's criticism of these poems is just but superficial. The difficulty with such poems lies in the method, which consists in the establishment by amplification of one pole, followed by the briefest statement of the contrary pole. But the latter is of personal concern and is the essential subject of the poem. Thus the subject is deliberately avoided for the greater part of the poem, and hence there is in the amplification no principle of order to control the detail and its accumulation. This accounts for the features Nicole censures; however, he himself makes a similar point below in condemning negative descriptions.

[8] I have been unable to find this among Grotius' poems.

[9] Joannes Vulteius (c.1510-1542), "De ignobili Aruerno in sepulchro nobili posito," _Hendecasyllaborum libri iv_, Paris, 1538, Ni., p. 97.

[10] "Ad Rudolphum Imp. florum picturae dedicatio," _Poemata_, Leyden, 1637, p. 326.

[11] Epig. 1.50, "De Jucundo architecto," _Poemata_, Pavia, 1719, p. 189.

[12] I have been unable to identify this epigram.

[13] A translation of _Anth. Pal._ 11.104 and printed as Ausonius in the Renaissance, but probably by Girogio Merula (c.1424-1494): see James Hutton, _The Greek Anthology In Italy to the year 1800_, "Cornell Studies in English," XXIII (1935), pp. 23-4, 102-5, and Ausonius, _Opuscula_, ed. Rudolphus Peiper, Leipzig, 1886, p. 428. The younger Scaliger strongly condemns this epigram on the same grounds: Joseph Scaliger, _Ausoniarum lectionum libri ii_, 2.20, Heidelberg, 1688, p. 204.

[14] 3.66

[15] Epig. libri tres, ad D. Mariam Neville, 2.211. _Epigrammata_, Amsterdam, 1647, p. 47. Translated by Thomas Harvey, _John Owen's Latin Epigrams_, London, 1677, p. 36: "Sith th' Harps discording Strings concording be, / Is't not a shame for men to disagree?" and by Thomas Pecke, _Parnassi puerperium_, London, 1659: "Can there be many strings; and yet no Jars? / And are not men asham'd of dismal wars?"

[16] Nicole's text follows what are now regarded as inferior mss: see Germanious Caesar, _Aratea_, ed. Alfred Breysig, 2nd. ed., Leipzig, 1899, p. 58. The poem corresponds to _Anth. Pal._ 7.542. Nicole's comment recalls Dr. Johnson on Gray's cat.

[17] The dedicatory poem, addressed to Louis XIII, to Caspar Barlaeus' _Poematum editio nova_, Leyden, 1631, sig.*8.

[18] 22.10

[19] Epig. 1.25, _Opera Omnia_, 2 v., Leyden, 1725, II, 365. Nicole's text presents several variants and cuts the next to the last couplet, which I translate: "Already at the tomb, He beats the gates / Of Dis, and Libertina waits his torches."

[20] Epig. 3.5, _op. cit._, p. 233.

[21] Catullus 36 and Martial 1.109. 10-11

[22] _Pis._ 13

[23] _Aen._ 1.630

[24] _Anthologia Latina_, ed. Alexander Riese, 412.17, Leipzig, 1894, I, 1, p.319. The epigram, from which this phrase is quoted, was ascribed to Seneca by Pithoeus.

[25] Epig.... ad ... Neville, 2.126, _op. cit._, p. 38. Harvey, p. 36, translates: "Lo, not an hair thine heads bald Crown doth crown: / Thy Faithless Front hath not one hair thine own: / Before, Behind thine hair's blown off with Blast, / What's left thee to be lost? thine Head at last."

[26] In the preface, _Delectus_, Paris, 1659, ch. 2. The problem was whether to print a large collection of epigrams, rejecting merely the obscene ones, or to choose only the best. A middle way was taken for these reasons: 1) there are so few first-class epigrams that a reader who had his own opinions might think the selection too choosy; 2) the best shines out only in comparison with what is not so good, and examples of vice are as useful as examples of virtue, since judgement in large measure consists in knowing what to avoid; 3) finally and principally, the curiosity of young men would not be sufficiently satisfied by the selection if they knew that a good many witty and polished epigrams were to be found elsewhere. Since it was especially necessary to keep youth from the unspeakable filth of Catullus and Martial, who are at the same time the best writers, everything of theirs is included except the cheapest odds and ends and filthiest obscenities. For the writers after Martial stricter standards were applied, for the book would have grown beyond bounds if everything tolerable had been admitted.

[27] Martial 5.37, 1, 4-6, 9, 12-14. The lines that Nicole cuts contain only more of the same.

[28] Martial 1.76

[29] Epig. libri tres ad Henricum ... ded. 1.67, _op. cit._, p. 131.

[30] Unidentified. The text reads: "In nive nocte vagans nuceo cado stipite nectus, / Sic mihi nix, nox, nux, nex fuit ante diem."

[31] 1.8. 5-6.

[32] The conclusion of an epigram of ten lines, ascribed to Seneca in _Delectus_, pp. 326-7. Lines 1-8 correspond to _Anth. Lat._, _op. cit._, 407. 5-12. The younger Scaliger had begun a new epigram with line 5, as also with lines 9 and 11 (ed., Vergil, _Appendix, cum supplemento_ ..., Lyons, 1572, pp. 196-7.) The concluding sententia, however, which Nicole quotes here and praises later in the notes to the anthology, is from the conclusion of the next epigram, _Anth. Lat._, 408. 7-8, which is a response to the preceding one. But the first two-thirds of the couplet has been rewritten with the aid of something like a _Gradus ad Parnassum_. The ms reads, "nunc et reges tantum fuge! vivere doctus / uni vive tibi nam moriare tibi." Nicole reads, "Mitte superba pati fastidia, spemque caducam / Despice: vive tibi, nam moriere tibi." _superba pati fastidia_ corresponds to Vergil, _Ecl._ 2.15; _spem ... caducam_ to Ovid, _Epist._ 15 (sive 16, "Paris Helenae"). 169 (sive 171).

The epigram as it stands in the anthology, then, is a result of Scaliger's disintegration of _Anth. Lat._ 407, which suggested beginning with line 5 and adding 408. 7-8 from the responsory poem. But this couplet is subjected to improvement to adjust it to the sense, to sustain the level of feeling, and to enhance the sententious point. Thus, with the aid of phrases from Vergil and Ovid, using _mitte_ and _despice_ as fillers and helpers, the epigram is concluded "with a noble, exalted and true thought," as the editor says in the notes.

[33] _Inst. orat._ 11.1.16.

[34] J. C. Scaliger, _Poeticas libri vii_, 3.125, 5th. ed., 1607, p. 389.

[35] _loc. cit._, p. 390: "An epigram, therefore, is a short poem directly pointing out some thing, person, or deed, or deducing something from premises. This definition includes also the principle of division--so let no one condemn it as prolix." Nicole, however, uses only the first half of the definition, since he rejects the principle of division.

[36] _loc. cit._: "Brevity is a property; point the soul and, so to speak, the form." For a full account of the Renaissance theory of the epigram and the contemporary controversies, see Hutton, _op. cit._, pp. 55-73, and _The Greek Anthology in France and in the Latin writers of the Netherlands to the year 1800_, "Cornell studies in classical philology," XXVIII (1946), _passim_.

[37] Anon., "In statuam equestrem Ludouici XIII positam Parisiis in circo regali," _Delectus_, pp. 409-10.

[38] Nicolas Borbon, the younger, _Poematia exposita_, Paris, 1630, pp. 144-5, the concluding lines (lines 23-30) of an epigram, "In versus v.c. Iacobi Pinonis."

[39] Catullus 1.7

[40] Ianus Vitalis Panomitanus (c.1485-1560), "Antiquae Romae ruinae illustres," _Delectus_, p. 366; see also _Delitiae delitiarum_, ed. Ab. Wright, Oxford, 1637, p. 104, with textual variants.

[41] 1.21

[42] _Delectus_, pp. 396-7, 399-400, and 405. See Grotius, _op. cit._, pp. 341-2, and 383.

[43] 1.8

[44] 1.33

[45] 2.68

[46] 4.69

[47] 4.56

[48] 6.65

[49] 2.5

[50] 3.44. 1-5, 9-18. The lines cut, 6-8, read in translation: "No tigress wild for her lost cubs, / No viper burned by the noon sun, / No scorpion begets such fear." In line 11, line 8 of the translation, Nicole reads _canenti_ for the received _cacanti_. The latter reading will yield in translation a rhyme with the preceding line.

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SERIES IV: MEN, MANNERS, AND CRITICS

John Dryden, _His Majesties Declaration Defended_
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PUBLICATIONS OF THE AUGUSTAN REPRINT SOCIETY

First Year (1946-1947)

1. Richard Blackmore's _Essay upon Wit_ (1716), and Addison's
_Freeholder_ No. 45 (1716). (I, 1)

2. Samuel Cobb's _Of Poetry and Discourse on Criticism_ (1707).
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Second Year (1947-1948)

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Third Year (1948-1949)

13. Sir John Falstaff (pseud.), _The Theatre_ (1720). (IV, 1)

14 Edward Moore's _The Gamester_ (1753). (V, 1)

15. John Oldmixon's _Reflections on Dr. Swift's Letter to Harley_
(1712); and Arthur Mainwaring's _The British Academy_ (1712).
(VI, 1)

16. Nevil Payne's _Fatal Jealousy_ (1673). (V, 2)

17. Nicholas Rowe's _Some Account of the Life of Mr. William
Shakespear_ (1709). (Extra Series, 1)

18. Aaron Hill's Preface to _The Creation_; and Thomas Brereton's
Preface to _Esther_. (IV, 2)

* * * * *

Transcriber's Notes:

On p. 23, a letter was missing in one of the words; it was changed as follows:

From: "when they are orn down and laughed at."
To: "when they are torn down and laughed at."

On p. 35, footnote #24, removed the repeated word "is":

From: "from which this phrase is is quoted"
To: "from which this phrase is quoted"