Chapter IV: Part 4

It is surprising that Dacier, who, in a controversial note, in refutation of Heinsius, has so properly remarked Horace's adherence to Aristotle, should not have observed that his history of the Drama opens and proceeds nearly in the same order. Aristotle indeed does not name Thespis, but we cannot but include his improvements among the changes, to which the Critick refers, before Tragedy acquired a permanent form under _AEschylus_. Thespis seems not only to have embodied _the_ CHORUS, but to have provided a theatrical apparatus for an itinerant exhibition; to have furnished disguises for his performers, and to have broken the continuity of _the_ CHORUS by an _Interlocutor_; to whom AEschylus adding another personage, thereby first created Dramatick Dialogue; while at the same time by a _further diminution of the_ CHORUS, by improving the dresses of the actors, and drawing them from their travelling waggon to a fixt stage, he created _a regular theatre_.

It appears then that neither Horace, nor Aristotle, ascribe _the origin_ of Tragedy to Thespis. the Poet first mentions the rude beginning of Tragedy, (_carmen tragicum_) _the_ Goat-song; he then speaks of _the Satyrick Chorus_, soon after interwoven with it; and then proceeds to the _improvements_ of these Bacchic Festivities, by Thespis, and AEschylus; though their perfection and final establishment is ascribed by Aristotle to Sophocles. Dacier very properly renders this passage, _On dit que Thespis fut le premier jui inventa une especi de tragedie auparavant inconnue aux Grecs._ Thespis is said to be the first inventor of a species of Tragedy, before unknown to the Greeks.

Boileau seems to have considered this part of the Epistle in the same light, that I have endeavoured to place it.

La Tragedie informe & grossiere au naissant
n'etoit qu'un simple Choeur, ou chacun en danfant,
et du Dieu des Raisins entonnant les louanges,
s'essorçoit d'attirer de fertiles vendanges.
la le vin et la joie eveillant les esprits,
_du plus habile chantre un Bouc étoit le prix._
Thespis sut le premier, qui barbouillé de lie,
promena par les bourgs cette heureuse folie;
et d'acteurs mal ornés chargeant un tombereau,
amusa les passans d'un spectacle nouveau.
aeschyle dans le Choeur jetta les personages;
d'un masque plus honnéte habilla les visages:
sur les ais d'un Theatre en public exhaussé,
fit paroitre l'acteur d'un brodequin chaussé.

L'art poetique, _chant troisieme._

417.--_the sland'rous Chorus drown'd In shameful silence, lost the pow'r to wound._

Chorusque turpiter obticuit, _sublato jure nocendi._

"Evidently because, though the _jus nocendi_ was taken away, yet that was no good reason why the Chorus should entirely cease. M. Dacier mistakes the matter. _Le choeur se tût ignominuesement, parce-que la hi reprimasa licence, et que ce sut, à proprement parler, la hi qui le bannit; ce qu' Horace regarde comme une espece de siétrissure. Properly speaking,_ the law only abolished the abuse of the chorus. The ignominy lay in dropping the entire use of it, on account of this restraint. Horace was of opinion, that the chorus ought to have been retained, though the state had abridged it of the licence, it so much delighted in, of an illimited, and intemperate satire, _Sublatus chorus fuit,_ says Scaliger, _cujus illae videntur esse praecipuae partet, ut potissimum ques liberet, laedertnt."

Notes on the Art of Poetry._ If Dacier be mistaken in this instance, his mistake is common to all the commentators; not one of whom, the learned and ingenious author of the above he excepted, has been able to extract from these words any marks of Horace's predilection in favour of a Chorus, or censure of "its culpable omission" in Comedy. De Nores expresses the general sense of the Criticks on this passage.

[Turpiter.] _Quia lex, declaratâ Veteris Conaetdiae scriptorum improbitate, a maledicendi licentiâ deterruit.--Sicuti enim antea summâ cum laude Vetus Comediae, accepta est, ita postea summa est cum turpitudine vetantibus etiam legibus repudiata, quia probis hominibus, quia sapientibus, quia inte*s maledixerit. Quare Comaediae postea conscriptae ad hujusce Veteris differentiam sublato choro, novae appellatae sunt._

What Horace himself says on a similar occasion, of the suppression of the Fescennine verses, in the Epistle to Augustus, is perhaps the best comment on this passage.

--quin etiam lex
Paenaque lata, malo quae nollet carmine quenquam--
describi: vertere modum formindine fustis
ad bene dicendum delectandumque redacti.

421.---Daring their Graecian masters to forsake,
And for their themes domestick glories take.

Nec minimum meruere decus, vestigia Graeca
Ausi deserere, & celebrare domestica facta.

The author of the English Commentary has a note on this passage, replete with fine taste, and sound criticism.

"This judgment of the poet, recommending domestic subjects, as fittest for the stage, may be inforced from many obvious reasons. As, 1. that it renders the drama infinitely more _affecting:_ and this on many accounts, 1. As a subject, taken from our own annals, must of course carry with it an air of greater probability, at least to the generality of the people, than one borrowed from those of any other nation. 2. As we all find a personal interest in the subject. 3. As it of course affords the best and easiest opportunities of catching our minds, by frequent references to our manners, prejudices, and customs. And of how great importance this is, may be learned from hence, that, even in that exhibition of foreign characters, dramatic writers have found themselves obliged to sacrifice sacrifice truth and probability to the humour of the people, and to dress up their personages, contrary to their own better judgment, in some degree according to the mode and manners of their respective countries [Footnote: "L'etude égale des poëtes de différens tems à plaire à leurs spectateurs, a encore inssué dans la maniere de peindre les caracteres. Ceux qui paroissent sur la scene Angloise, Espagnols, Françoise, sont plus Anglois, Espagnols, ou François que Grecs ou Romains, en un mot que ce qu'ils doivent être. II ne faut qu'en peu de discernement pour s'appercevoir que nos Césars et nos Achilles, en gardant même un partie de leur charactere primitif, prennent droit de naturalité dans le païs où ils sont transplantez, semblables à ces portraits, qui sortent de la main d'un peintre Flamand, Italien, ou François, et qui portent l'empreinte du pais. On veut plaire à sa nation, et rien ne plait tant que le resemblance de manieres et de enie." P. Brumoy, vol. i. p. 200.] And, 4. as the writer himself, from an intimate acquaintance with the character and genius of his own nation, will be more likely to draw the manners with life and spirit.

"II. Next, which should ever be one great point in view, it renders the drama more generally useful in its moral destination. For, it being conversant about domestic acts, the great instruction of the fable more sensibly affects us; and the characters exhibited, from the part we take in their good or ill qualities, will more probably influence our conduct.

"III. Lastly, this judgment will deserve the greater regard, as the conduct recommended was, in fact, the practice of our great models, the Greek writers; in whose plays, it is observable, there is scarcely a single scene, which lies out of the confines of Greece.

"But, notwithstanding these reasons, the practice hath, in all times, been but little followed. The Romans, after some few attempts in this way (from whence the poet took the occasion of delivering it as a dramatic precept), soon relapsed into their old use; as appears from Seneca's, and the titles of other plays, written in, or after the Augustan age. Succeeding times continued the same attachment to Grecian, with the addition of an equal fondness for Roman, subjects. The reason in both instances hath been ever the same: that strong and early prejudice, approaching somewhat to adoration, in favour of the illustrious names of those two great states. The account of this matter is very easy; for their writings, as they furnish the business of our younger, and the amusement of our riper, years; and more especially make the study of all those, who devote themselves to poetry and the stage, insensibly infix in us an excessive veneration for all affairs in which they were concerned; insomuch, that no other subjects or events seem considerable enough, or rise, in any proportion, to our ideas of the dignity of the tragic scene, but such as time and long admiration have consecrated in the annals of their story. Our Shakespeare was, I think, the first that broke through this bondage of classical superstition. And he owed this felicity, as he did some others, to his want of what is called the advantage of a learned education. Thus uninfluenced by the weight of early prepossession, he struck at once into the road of nature and common sense: and without designing, without knowing it, hath left us in his historical plays, with all their anomalies, an exacter resemblance of the Athenian stage, than is any where to be found in its most processed admirers and copyists.

"I will only add, that, for the more successful execution of this rule of celebrating domestic acts, much will depend on the aera, from whence the subject is taken. Times too remote have almost the same inconveniences, and none of the advantages, which attend the ages of Greece and Rome. And for those of later date, they are too much familiarized to us, and have not as yet acquired that venerable cast and air, which tragedy demands, and age only can give. There is no fixing this point with precision. In the general, that aera is the fittest for the poet's purpose, which, though fresh enough in pure minds to warm and interest us in the event of the action, is yet at so great a distance from the present times, as to have lost all those mean and disparaging circumstances, which unavoidably adhere to recent deeds, and, in some measure, sink the noblest modern transactions to the level of ordinary life."

_Notes on the Art of Poetry._

The author of the essay on the writings and genius of Pope elegantly forces a like opinion, and observes that Milton left a list of thirty-three subjects for Tragedy, all taken from the English Annals.

423.--_Whether the gown prescrib'd a stile more mean,
or the inwoven purple rais'd the scene.

Vel qui praetextas, vel qui docuere togatas._

The gown (_Toga_) being the common Roman habit, signisies _Comedy;_ and the inwoven purple _(praetexta)_ being appropriated to the higher orders, refers to Tragedy. _Togatae_ was also used as a general term to denote all plays, which the habits, manners, and arguments were Roman; those, of which the customs and subjects were Graecian, like the Comedies of Terence, were called _Palliatae_.

429.--But you, bright heirs of the Pompilian Blood,
Never the verse approve, &c.

Vos, O Pompilius Sanguis, &c.

The English commentary exhibits a very just and correct analysis of this portion of the Epistle, but neither here, nor in any other part of it, observes the earnestness with which the poet, on every new topick, addresses his discourse _the Pisos;_ a practice, that has not passed unnoticed by other commentators.

[On this passage De Nores writes thus. _Vos O Pompilius Sanguis!] Per apostrophen_ sermonem convertit ad pisones, eos admonens, ut sibi caveant _ab bujusmodi romanorum poetarum errore videtur autem_ eos ad attentionem excitare _dum ait, Vos O! et quae sequntur._

434.--_Because_ DEMOCRITUS, _&c.] Excludit sanos Helicone poetas Democritus._

_De Nores_ has a comment on this passage; but the ambiguity of the Latin relative renders it uncertain, how far the Critick applies particularly to _the Pisos_, except by the _Apostrophe_ taken notice of in the last note. His words are these. _Nisi horum_ democriticorum _opinionem horatius hoc in loco refutasset, frustra de poetica facultate_ in hac AD PISONES EPISTOLA _praecepta literis tradidisset, cùm arte ipsâ repudiatâ_, ab his _tantummodo insaniae & furori daretur locus._

443.--_Which no vile_ _CUTBERD'S razor'd hands profane. Tonfori_ LYCINO.]

_Lycinus_ was not only, as appears from Horace, an eminent Barber; but said, by some, to have been created a Senator by Augustus, on account of his enmity to Pompey.

466.--ON NATURE'S PATTERN TOO I'LL BID HIM LOOK, AND COPY MANNERS FROM HER LIVING BOOK.]

_Respicere examplar vitae, morumque jubebo_ doctum imitatorem, _& veras hinc ducere voces._

This precept seeming, at first sight, liable to be interpreted as recommending _personal imitations_, De Nores, Dacier, and the Author of the English Commentary, all concur to inculcate the principles of Plato, Aristotle, and Cicero, shewing that the truth of representation (_verae voces_) must be derived from an imitation of _general nature_, not from copying _individuals_. Mankind, however, being a mere collection of _individuals_, it is impossible for the Poet, not to found his observations on particular objects; and his chief skill seems to consist in the happy address, with which he is able to _generalize_ his ideas, and to sink the likeness of the individual in the resemblance of universal nature. A great Poet, and a great Painter, have each illustrated this doctrine most happily; and with their observations I shall conclude this note.

Chacun peint avec art dans ce nouveau miroir,
S'y vit avec plaisir, ou crut ne s'y point voir.
L'Avare des premiers rit du tableau fidele
D'un Avare, souvent tracé sur son modéle;
Et mille fois un Fat, finement exprimé,
Méconnut le portrait, sur lui-méme formé.

BOILEAU, _L'Art Poet_. ch. iii.

"Nothing in the art requires more attention and judgment, or more of that power of discrimination, which may not improperly be called Genius, than the steering between general ideas and individuality; for tho' the body of the whole must certainly be composed by the first, in order to communicate a character of grandeur to the whole, yet a dash of the latter is sometimes necessary to give an interest. An individual model, copied with scrupulous exactness, makes a mean stile like the Dutch; and the neglect of an actual model, and the method of proceeding solely from idea, has a tendency to make the Painter degenerate into a mannerist.

"It is necessary to keep the mind in repair, to replace and refreshen those impressions of nature, which are continually wearing away.

"A circumstance mentioned in the life of Guido, is well worth the attention of Artists: He was asked from whence he borrowed his idea of beauty, which is acknowledged superior to that of every other Painter; he said he would shew all the models he used, and ordered a common Porter to sit before him, from whom he drew a beautiful countenance; this was intended by Guido as an exaggeration of his conduct; but his intention was to shew that he thought it necessary to have _some model_ of nature before you, however you deviate from it, and correct it from the idea which you have formed in your mind of _perfect beauty_.

"In Painting it is far better to have a _model_ even to _depart_ from, than to have nothing fixed and certain to determine the idea: There is something then to proceed on, something to be corrected; so that even supposing that no part is taken, the model has still been not without use.

"Such habits of intercourse with nature, will at least create that _variety_ which will prevent any one's prognosticating what manner of work is to be produced, on knowing the subject, which is the most disagreeable character an Artist can have."

_Sir Joshua Reynolds's Notes on Fresnoy._

480.--ALBIN'S HOPEFUL.] _Filius ALBINI_

Albinus was said to be a rich Usurer. All that is necessary to explain this passage to the English reader, is to observe, that _the Roman Pound consisted of Twelve Ounces._

487.--_Worthy the _Cedar _and the_ Cypress.]

The antients, for the better preservation of their manuscripts, rubbed them with the juice of _Cedar,_ and kept them in cases of _Cypress._

496.--Shall Lamia in our sight her sons devour,
and give them back alive the self-same hour?]

_Neu pranse Lamiae vivum puerum extrabat alvo._

Alluding most probably to some Drama of the time, exhibiting so monstrous and horrible an incident.

503.--The Sosii] Roman booksellers.

523.--Chaerilus.] A wretched poet, who celebrated the actions, and was distinguished by the patronage, of Alexander.

527.--If Homer seem to nod, or chance to dream.]

It may not be disagreeable to the reader to see what two poets of our own country have said on this subject.

--foul descriptions are offensive still,
either for being _like,_ or being _ill._
For who, without a qualm, hath ever look'd
on holy garbage, tho' by Homer cook'd?
Whose railing heroes, and whose wounded Gods,
make some suspect he snores, as well as nods.
But I offend--Virgil begins to frown,
And Horace looks with indignation down:
My blushing Muse with conscious fear retires,
and whom they like, implicitly admires.

--Roscommon's _Essay on Translated Verse._
A prudent chief not always must display
Her pow'rs in equal ranks, and fair array:
But with th' occasion and the place comply,
Conceal his force, nay seem sometimes to fly.
Those oft are stratagems, which errors seem,
Nor is it Homer nods, but we that dream.
POPE'S _Essay on Criticism._

530.--POEMS AND PICTURES ARE ADJUDC'D ALIKE.]

_Ut pictura poesis._

Here ends, in my opinion, the _didactick_ part of this Epistle; and it is remarkable that it concludes, as it begun, with a reference to the Analogy between Poetry and Painting. The arts are indeed congenial, and the same general principles govern both. Artists might collect many useful hints from this Epistle. The Lectures of the President of the Royal Academy are not rarely accommodated to the study of Painters; but Poets may refine their taste, and derive the most valuable instruction, from the perusal of those judicious and elegant discourses.

535.--O THOU, MY PISO'S ELDER HOPE AND PRIDE!]

O MAJOR JUVENUM!

We are now arrived at that portion of the Epistle, which I must confess I am surprised, that any Commentator ever past, without observing the peculiar language and conduct of the Poet. There is a kind of awful affection in his manner, wonderfully calculated to move our feelings and excite our attention. The Didactick and the Epistolary stile were never more happily blended. The Poet assumes the air of a father advising his son, rather than of a teacher instructing his pupils. Many Criticks have thrown out a cursory observation or two, as it were extorted from them by the pointed expressions of the Poet: but none of them, that I have consulted, have attempted to assign any reason, why Horace, having closed his particular precepts, addresses all the remainder of his Epistle, on the nature and expediency of Poetical pursuits, to _the Elder Piso only. I have endeavoured to give the most natural reason for this conduct; a reason which, if I am not deceived, readers the whole of the Epistle interesting, as well as clear and consistent; a reason which I am the more inclined to think substantial, as it confirms in great measure the system of the Author of the English Commentary, only shewing _the reflections on the drama in _this Epistle, as well as in the Epistle to Augustus, to be _incidental_, rather than the _principal subject_, _and main design_, of the Poet,

_Jason De Nores_, in this instance, as in most others, has paid more attention to his Author, than the rest of the Commentators. His note is as follows.

[O major juvenum!] _Per apostrophen _ad majorem natu __ex pisonibus convertis orationem, reddit rationem quare summum, ac perfectissimum poema esse debeat utitur autem proaemio quasi quodam ad _benevolentiam & attentionem _comparandum sumit autem _benevolentiam _à patris & filii laudibus:_ attentionem_, dum ait, "hoc tibi dictum tolle memor!" quasi dicat, per asseverationem,_firmum _omninò et _verum.

543.--_Boasts not _MESSALA'S PLEADINGS,_ nor is deem'd _AULUS IN JURISPRUDENCE._]

The Poet, with great delicacy, throws in a compliment to these distinguished characters of his time, for their several eminence in their profession. Messala is more than once mentioned as the friend and patron of Horace.

562.--_Forty thousand sesterces a year_.]

The pecuniary qualification for the Equestrian Order. _Census equestrem summam nummorum. _

565.--_Nothing_, IN SPITE OF GENIUS, YOU'LL _commence_]

_Tu nihil, invitâ dices faciesve Minervâ._

Horace, says Dacier, here addresses the Elder Piso, as a man of mature years and understanding; _and be begins with panegyrick, rather than advice, in order to soften the precepts he is about to lay down to him._

The explication of De Nores is much to the same effect, as well as that of many other Commentators.

567.--But grant you should hereafter write. Si quid tamen olim scripseris.]

"This," says Dacier, "was some time afterwards actually the case, if we may believe the old Scholiast, who writes that _this _PISO _composed Tragedies._"

568.--Metius.] A great Critick; and said to be appointed by Augustus as a Judge, to appreciate the merit of literary performances. His name and office are, on other occasions, mentioned and recognized by Horace.

570.--Weigh the work well, AND KEEP IT BACK NINE YEARS! nonumque prematur in annum!]

This precept, which, like many others in the Epistle, is rather retailed, than invented, by Horace, has been thought by some Criticks rather extravagant; but it acquires in this place, as addressed to the elder Piso, a concealed archness, very agreeable to the Poet's stile and manner. Pope has applied the precept with much humour, but with more open raillery than need the writer's purpose in this Epistle.

I drop at last, but in unwilling ears,
This wholesome counsel----KEEP YOUR PIECE NINE YEARS!

Vida, in his Poeticks, after the strongest censure of carelessness and precipitation, concludes with a caution against too excessive an attention to correctness, too frequent revisals, and too long delay of publication. The passage is as elegant as judicious.

Verùm esto hic etiam modus: huic imponere curae
Nescivere aliqui finem, medicasque secandis
Morbis abstinulsse manus, & parcere tandem
Immites, donec macie confectus et aeger
Aruit exhausto velut omni sanguine foetus,
Nativumque decus posuit, dum plurima ubique
Deformat sectos artus inhonesta cicatrix.
Tuque ideo vitae usque memor brevioris, ubi annos
Post aliquot (neque enim numerum, neque temporar pono
certa tibi) addideris decoris satis, atque nitoris,
Rumpe moras, opus ingentem dimitte per orbem,
Perque manus, perque ora virûm permitte vagari.

POETIC. lib 3.

592.--AND ON THE SACRED TABLET GRAVE THE LAW. LEGES INCIDERE LIGNO.]

Laws were originally written in verse, and graved on wood. The Roman laws were engraved on copper. DACIER.

595.--TYRTAEUS.] An ancient Poet, who is said to have been given to the Spartans as a General by the Oracle, and to have animated the Troops by his Verses to such a degree, as to be the means of their triumph over the Messenians, after two defeats: to which Roscommon alludes in his _Essay on translated Verse_.

When by impulse from Heav'n, Tyrtaeus sung,
In drooping soldiers a new courage sprung;
Reviving Sparta now the fight maintain'd,
And what two Gen'rals lost, a Poet gain'd.

Some fragments of his works are still extant. They are written in the Elegiac measure; yet the sense is not, as in other Poets, always bound in by the Couplet; but often breaks out into the succeeding verse: a practice, that certainly gives variety and animation to the measure; and which has been successfully imitated in the _rhime_ of our own language by Dryden, and other good writers.

604.--_Deem then with rev'rence, &c]

_Ne forte pudori
Sit tibi_ MUSA, _Lyrae solers, & Cantor Apollo._

The author of the English Commentary agrees, that this noble encomium on Poetry is addressed to _the Pisos_. All other Commentators apply it, as surely the text warrants, to _the_ ELDER PISO. In a long controversial note on this passage, the learned Critick abovementioned also explains the text thus. "In fact, this whole passage [from _et vitae_, &c. to _cantor Apollo_] obliquely glances at the two sorts of poetry, peculiarly cultivated by himself, and is an indirect apology for his own choice of them. For 1. _vitae monstrata via est_, is the character of his _Sermones_. And 2. all the rest of his _Odes_"--"I must add, the very terms of the Apology so expressly define and characterize Lyrick Poetry, that it is something strange, it should have escaped vulgar notice." There is much ingenuity in this interpretation, and it is supported, with much learning and ability; yet I cannot think that Horace meant to conclude this fine encomium, on the dignity and excellence of the Art or Poetry, by a partial reference to the two particular species of it, that had been the objects of his own attention. The Muse, and Apollo, were the avowed patrons and inspirers of Poetry in general, whether Epick, Dramatick, Civil, Moral, or Religious; all of which are enumerated by Horace in the course of his panegyrick, and referred to in the conclusion of it, that Piso might not for a moment think himself degraded by his attention to Poetry.

In hoc epilago reddit breviter rationem, quare utilitates à poetis mortalium vitae allatas resenfuerit: ne scilicet Pisones, ex nobilissimd Calpurniorum familiâ ortos, Musarum & Artis Poeticae quam profitebantur, aliquando paniteret.

DE NORES.

Haec, inquit, eo recensui, ut quam olim res arduas poetica tractaverit, cognoscas, & ne Musas coutemnas, atque in Poetarum referri numerum, erubescas.

NANNIUS.

Ne forte, pudori. Haec dixi, O Piso, ne te pudeat Poetam esse.

SCHREVELIUS.

608.---WHETHER GOOD VERSE or NATURE is THE FRUIT,
OR RAIS'D BY ART, HAS LONG BEEN IN DISPUTE.]

In writing precepts for poetry to _young persons_, this question could not be forgotten. Horace therefore, to prevent the Pisos from falling into a fatal error, by too much confidence in their Genius, asserts most decidedly, that Nature and Art must both conspire to form a Poet. DACIER.

The Duke of Buckingham has taken up this subject very happily.

_Number and Rhyme,_ and that harmonious found,
Which never _does_ the ear with harshness wound,
Are necessary, yet but vulgar arts;
For all in vain these superficial parts
Contribute to the structure of the whole,
Without a GENIUS too; for that's the Soul!
A spirit, which inspires the work throughout,
As that of Nature moves the world about.

As all is dullness, where the Fancy's bad,
So without Judgement, Fancy is but mad:
And Judgement has a boundless influence,
Not only in the choice of words, or sense,
But on the world, on manners, and on men;
Fancy is but the feather of the pen:
Reason is that substantial useful part,
Which gains the head, while t'other wins the heart.

Essay on Poetry.

626.---As the fly hawker, &t. Various Commentator concur in marking the personal application of this passage.

Faithful friends are necessary, to apprise a Poet of his errors: but such friends are rare, and difficult to be distinguished by rich and powerful Poets, like the Pisos. DACIER.

Pisonem admonet, ut minime hoc genus divitum poetarum imitetur, neminemque vel jam pranfum, aut donatum, ad fuorum carminum emendationem admittat neque enim poterit ille non vehementer laudare, etiamsi vituperanda videantur. DE NORES.

In what sense Roscommon, the Translator of this Epistle, understood this passage, the following lines from another of his works will testify.

I pity from my foul unhappy men,
Compell'd by want to prostitute their pen:
Who must, like lawyers, either starve or plead,
And follow, right or wrong, where guineas lead:
But you, POMPILIAN, wealthy, pamper'd Heirs,
Who to your country owe your swords and cares,
Let no vain hope your easy mind seduce!
For rich ill poets are without excuse.
"Tis very dang'rous, tamp'ring with a Muse;
The profit's small, and you have much to lose:
For tho' true wit adorns your birth, or place,
Degenerate lines degrade th' attainted race."

Essay on Translated Verse.

630.--_But if he keeps a table, &c.--Si vero est unctum, &c._

"Here (says _Dacier_) the Poet pays, _en passant_, a very natural and delicate compliment to _the Pisos_." The drift of the Poet is evident, but I cannot discover the compliment.

636.--_Is there a man, to whom you've given ought,
Or mean to give?_

TU, _seu donaris, &c._

Here the Poet advises the Elder Piso never to read his verses to a man, to whom he has made a promise, or a present: a venal friend cannot be a good Critick; he will not speak his mind freely to his patron; but, like a corrupt judge, betray truth and justice for the sake of interest. DACIER.

643.--_Kings have been said to ply repeated bowls, &c._

_Reges dicuntur, &c._

_Regum exemplo_ Pisones admonet; _ut neminem admittant ad suorum carminum emendationem, nisi prius optimè cognitum, atque perspectum._ DE NORES.

654.--QUINTILIUS.] The Poet _Quintilius Varus_, the relation and intimate friend of Virgil and Horace; of whom the latter lamented his death in a pathetick and beautiful Ode, still extant in his works. Quintilius appears to have been some time dead, at the time of our Poet's writing this Epistle. DACIER.

[QUINTILIUS.] _Descriptis adulatorum moribus & consuetudine, assert optimi & sapientissimi judicis exemplum: Quintilii soilicet, qui tantae erat authoritatis apud Romanos, ut_ ei Virgilii opera Augustus tradiderit emendanda.

664.--THE MAN, IN WHOM GOOD SENSE AND HONOUR JOIN.]

It particularly suited Horace's purpose to paint the severe and rigid judge of composition. Pope's plan admitted softer colours in his draught of a true Critick.

But where's the man, who counsel can bestow,
Still pleas'd to teach, and yet not proud to know?
Unbiass'd, or by favour, or by spite;
Not dully prepossess'd, nor blindly right;
Tho' learn'd, well-bred; and tho' well-bred, sincere;
Modestly bold, and humanly severe:
Who to a friend his faults can freely show,
And gladly praise the merit of a foe?
Blest with a taste exact, yet unconfin'd;
A knowledge both of books and human kind;
Gen'rous converse; a soul exempt from pride;
And love to praise, with reason on his side?

_Essay on Criticism._

684.--WHILE WITH HIS HEAD ERECT HE THREATS THE SKIES.]

"Horace, (says _Dacier_) diverts himself with describing the folly of a Poet, whom his flatterers have driven mad." _To whom_ the caution against flatterers was addressed, has before been observed by _Dacier_. This description therefore, growing immediately out of that caution, must be considered as addressed _to_ the Elder Piso.

699.--_Leap'd_ COLDLY _into AEtna's burning mount._

_Ardentem_ FRIGIDUS _aetnam insiluit._

This is but a cold conceit, not much in the usual manner of Horace.

710.--

_Whether, the victim of incestuous love,_
THE SACRED MONUMENT _he striv'd to move._

_An_ TRISTE BIDENTAL _moverit incestus_.

The BIDENTAL was a place that had been struck with lightning, and afterwards expiated by the erection of an altar and the sacrifice of sheep; _hostiis_ BIDENTIBUS; from which it took its name. The removal or disturbance of this sacred monument was deemed sacrilege; and the attempt, a supposed judgement from heaven, as a punishment for some heavy crime.

7l8.--

HANGS ON HIM, NE'ER TO QUIT, WITH CEASELESS SPEECH.
TILL GORG'D, AND FULL OF BLOOD, A VERY LEECH.

The English Commentary introduces the explication of the last hundred and eleven lines of this Epistle, the lines which, I think, determine the scope and intention of the whole, in the following manner.

"Having made all the reasonable allowances which a writer could expect, he (Horace) goes on to enforce _the general instruction of this part, viz._ A diligence in writing, by shewing [from l. 366 to 379] that a _mediocrity_, however tolerable, or even commendable, it might be in other arts, would never be allowed in this."--"This reflection leads him with great advantage [from l. 379 to 391] to _the general conclusion in view, viz._ that as none but excellent poetry will be allowed, it should be a warning to writers, how they engage in it without abilities; or publish without severe and frequent correction."

If the learned Critick here means that "_the general instruction of this part, viz._ a diligence in writing, is chiefly inculcated, for the sake of _the general conclusion in view_, a warning to writers, how they engage in poetry without abilities, or publish without severe and frequent correction;" if, I say, a dissuasive from unadvised attempts, and precipitate publication, is conceived to be the main purpose and design of the Poet, we perfectly agree concerning this last, and important portion of the Epistle: with this addition, however, on my part, that such a dissuasive is not merely _general_, but _immediately_ and _personally_ directed and applied to _the_ Elder Piso, and that too in the strongest terms that words can afford, and with a kind of affectionate earnestness, particularly expressive of the Poet's desire to awaken and arrest his young friend's attention.

I have endeavoured, after the example of the learned and ingenious author of the English Commentary, though on somewhat different principles, to prove "an unity of design in this Epistle," as well as to illustrate "the pertinent connection of its several parts." Many perhaps, like myself, will hesitate to embrace the system of that acute Critick; and as many, or more, may reject my hypothesis. But I am thoroughly persuaded that no person, who has considered this work of Horace with due attention, and carefully examined the drift and intention of the writer, but will at least be convinced of the folly or blindness, or haste and carelessness of those Criticks, however distinguished, who have pronounced it to be a crude, unconnected, immethodical, and inartificial composition. No modern, I believe, ever more intently studied, or more clearly understood the works of Horace, than BOILEAU. His Art of Poetry is deservedly admired. But I am surprised that it has never been observed that the Plan of that work is formed on the model of this Epistle, though some of the parts are more in detail, and others varied, according to the age and country of the writer. The first Canto, like the first Section of _the Epistle to the Pisos_, is taken up in general precepts. The second enlarges on the Lyrick, and Elegiack, and smaller species of Poetry, but cursorily mentioned, or referred to, by Horace; but introduced by him into that part of the Epistle, that runs exactly parallel with the second Canto of Boileau's Art of Poetry. The third Canto treats, entirely on the ground of Horace, of Epick and Dramatick Poetry; though the French writer has, with great address, accommodated to his purpose what Horace has said but collaterally, and as it were incidentally, of the Epick. The last Canto is formed on the final section, the last hundred and eleven lines, of _the Epistle to the Pisos:_ the author however, judiciously omitting in a professed Art of Poetry, the description of the Frantick Bard, and concluding his work, like the Epistle to Augustus, with a compliment to the Sovereign.

This imitation I have not pointed out, in order to depreciate the excellent work of Boileau; but to shew that, in the judgement of so great a writer, the method of Horace was not so ill conceived, as Scaliger pretends, even for the outline of an Art of Poetry: Boileau himself, at the very conclusion of his last Canto, seems to avow and glory in the charge of having founded his work on that of HORACE.

Pour moi, qui jusq'ici nourri dans la Satire,
N'ofe encor manier la Trompette & la Lyre,
Vous me verrez pourtant, dans ce champ glorieux,
Vous animez du moins de la voix & des yeux;
_Vous offrir ces leçons, que ma Muse au Parnasse,
Rapporta, jeune encor_, DU COMMERCE D'HORACE.
BOILEAU.

After endeavouring to vouch so strong a testimony, in favour of Horace's _unity_ and _order_, from France, it is but candid to acknowledge that two of the most popular Poets, of our own country, were of a contrary opinion. Dryden, in his dedication of his translation of the aeneid to Lord Mulgrave, author of the Essay on Poetry, writes thus. "In this address to your Lordship, I design not a treatise of Heroick Poetry, but write _in a loose Epistolary way_, somewhat tending to that subject, _after the example of Horace_, in his first Epistle of the 2d Book to Augustus Caesar, _and of that_ to the Pisos; which we call his Art of Poetry. in both of which _he observes_ no method _that I can trace_, whatever Scaliger the Father, or Heinsius may have seen, _or rather_ think they had seen_. I have taken up, laid down, and resumed as often as I pleased the same subject: and this loose proceeding I shall use through all this Prefatory Dedication. _Yet all this while I have been sailing with some side-wind or other toward the point I proposed in the beginning_." The latter part of the comparison, if the comparison is meant to hold throughout, as well as the words, "_somewhat tending to that subject,_" seem to qualify the rest; as if Dryden only meant to distinguish the _loose_ EPISTOLARY _way_ from the formality of a _Treatise_. However this may be, had he seen the _Chart_, framed by the author of the English Commentary, or that now delineated, perhaps he might have allowed, that Horace not only made towards his point with some side-wind or other, but proceeded by an easy navigation and tolerably plain sailing.

Many passages of this Dedication, as well as other pieces of Dryden's prose, have been versified by Pope. His opinion also, on the Epistle to the Pisos, is said to have agreed with that of Dryden; though the Introduction to his Imitation of the Epistle to Augustus forbids us to suppose he entertained the like sentiments of that work with his great predecessor. His general idea of Horace stands recorded in a most admirable didactick poem; in the course of which he seems to have kept a steady eye on this work of our author.

Horace still charms with graceful negligence,
And WITHOUT METHOD talks us into sense;
Will, like a friend, familiarly convey
The truest notions in the easiest way:
He, who supreme in judgment, as in wit,
Might boldly censure, as he boldly writ,
Yet judg'd with coolness, tho' he sung with fire;
His precepts teach but what his works inspire.
Our Criticks take a contrary extreme,
They judge with fury, but they write with flegm:
NOR SUFFERS HORACE MORE IN WRONG TRANSLATIONS
By Wits, THAN CRITICKS IN AS WRONG QUOTATIONS.

Essay on Criticism.

* * * * *

I have now compleated my observations on this popular Work of Horace, of which I at first attempted the version and illustration, as a matter of amusement but which, I confess, I have felt, in the progress, to be an arduous undertaking, and a laborious task. Such parts of the Epistle, as corresponded with the general ideas of Modern Poetry, and the Modern Drama, I flattered myself with the hopes of rendering tolerable to the English Reader; but when I arrived at those passages, wholly relative to the Antient Stage, I began to feel my friends dropping off, and leaving me a very thin audience. My part too grew less agreeable, as it grew more difficult. I was almost confounded in the Serio-Comick scenes of the Satyrick Piece: In the musical department I was ready, with Le Fevre, to execrate the Flute, and all the Commentators on it; and when I found myself reduced to scan the merits and of Spondees and Trimeters, I almost fancied myself under the dominion of some _plagosus Orbilius,_ and translating the _prosodia_ of the Latin Grammar. Borrowers and Imitators cull the sweets, and suck the classick flowers, rejecting at pleasure all that appears sour, bitter, or unpalatable. Each of them travels at his ease in the high turnpike-road of poetry, quoting the authority of Horace himself to keep clear of difficulties;

--et que
Desperat tractata nitescere posse, relinquit.

A translator must stick close to his Author, follow him up hill and down dale, over hedge and ditch, tearing his way after his leader thro' the thorns and brambles of literature, sometimes lost, and often benighted.

A master I have, and I am his man,
Galloping dreary dun!

The reader, I fear, will fancy I rejoice too much at having broke loose from my bondage, and that I grow wanton with the idea of having regained my liberty. I shall therefore engage an advocate to recommend me to his candour and indulgence; and as I introduced these notes with some lines from a noble Poet of our own country, I shall conclude them with an extract from a French Critick: Or, if I may speak the language of my trade, as I opened these annotations with a Prologue from Roscommon, I shall drop the curtain with an Epilogue from Dacier. Another curtain now demands my attention. I am called from the Contemplation of Antient Genius, to sacrifice, with due respect, to Modern Taste: I am summoned from a review of the magnificent spectacles of Greece and Rome, to the rehearsal of a Farce at the Little Theatre in the Haymarket.

* * * * *

Voila tout ce que j'ai cru necessaire pour l'intelligence de la Poetique d'Horace! si Jule Scaliger l'avoit bien entendue, il lui auroit rendu plus de justice, & en auroit parlé plus modestment. Mais il ne s'eflort pat donnê la temps de le bien comprendre. Ce Livre estoit trop petit pour estre gouté d'un homme comme lui, qui faisoit grand cas des gros volumes, & qui d'ailleurs aimoit bien mieux donner des regles que d'en recevoir. Sa Poetique est assurément un ouvrage d'une erudition infinie; on y trouve par tout des choses fort rechercheés, & elle est toute pleine de faillies qui marquent beaucoup d'esprit: mais j'oferai dire qu'il n'y a point de justessee dans la pluspart de fes jugemens, & que sa critique n'est pas heureuse. Il devoit un peu plus etudier ces grands maîtres, pour se corriger de ce defaut, qui rendra toujours le plus grand savoir inutile, ou au moins rude &c sec. Comme un homme delicat etanchera mille fois mieux sa soif, & boira avec plus de goût & de plaisir dans un ruisseau dont les eaux seront clairs & pures, que dans un fleuve plein de bourbe & de limon: tout de même, un esprit fin qui ne cherche que la justesse & une certaine fleur de critique, trouvera bien mieux son compte dans ce petite traité d'Horace, qu'il ne le trouverait dans vingt volumes aussi enormes que la Poetique de Scaliger. On peut dire veritablement que celuy qui boit dans cette source pure, plate se _proluit auro;_ & tant pis pour celuy qui ne fait pas le connoistre. Pour moi j'en ai un tres grand cas. Je ne fay si j'auray esté assez heureux pour la bien éclaircir, & pour en dissiper si bien toutes les difficultés, qu'il n'y en reste aucune. Les plus grandes de ces difficultés, viennent des passages qu'Horace a imité des Grecs, ou des allusions qu'il y a faites. Je puis dire au moins que je n'en ay laisse passer aucune sans l'attaqaer; & je pourrais me vanter,

--nec tela nec ullas
V'itamsse vices Danaum.

En general je puis dire que malgré la soule des Commentateurs & des Traducteurs, Horace estoit tres-malentendu, & que ses plus beaux endroits estoient défigurés par les mauvais sens qu'on leur avoit donnés jusques icy, & il ne faut paus s'en étonner. La pluspart des gens ne reconnoissent pas tant l'autorité de la raison que celle du grand nombre, pour laquelle ils ont un profond respect. Pour moy qui fay qu'en matiere de critique on ne doit pas comptez les voix, mais les peser; j'avoiie que j'ay secoué ce joug, _& que sans m'assijetir au sentiment de personne, j'ay tâché de suivre Horace, & de déméler ce qu'il a dit d'avec ce qu'on luy a fait dire._ J'ay mesme toûjours remarqué (& j'en pourrais donner des exemples bien sensibles) que quand des esprits accoûtumés aux cordes, comme dit Montagne, & qui n'osent tenter de franches allures, entreprennent de traduire & de commenter ces excellens Ouvrages, _où il y a plus de finesse & plus de mystere qu'il n'en paroist,_ tout leur travail ne fait que les gâter, & que la seule vertu qu'ayent leurs copies, c'est de nous dégoûter presque des originaux. Comme j'ay pris la liberté de juger du travail de ceux qui m'ont précedé, & que je n'ay pas fait difficulté de les condamner tres-souvent, je declare que je ne trouveray nullement mauvais qu'on juge du mien, & qu'on releve mes fautes: il est difficile qu'il n'y en ait, & mesme beaucoup; si quelqu'un veut donc se donner la peine de me reprendre, & de me faire voir que j'ay mal pris le sens, je me corrigeray avec plaisir: car je ne cherche que la verite, qui n'a jamais blesse personne: au lieu qu'on se trouve tou-jours mal de persister dans son ignorance et dans son erreur.

Dacier

THE END.