Chapter V: Front Matter (5)

"La quatriéme différence resulte des sujets assés divers des uns et des autres. Les Satyres des Grecs, comme il a déja été remarqué, et qu'on peut juger par les titres, qui nous en restent, prenoient d'ordinaire, non seulement des sujets connus, mais fabuleux; ce qui fait dire là-dessus à Horace, _ex noto carmen fictum sequar_; des heros, par exemple, ou des demi-dieux des siécles passés, à quoi le même poëte venoit de faire allusion. Les Satires Romaines, comme leurs auteurs en parlent eux-mêmes, et qu'ils le pratiquent, s'attachoient á reprendre les vices ou les erreurs de leur siécle et de leur patrie; à y jouer des particuliers de Rome, un Mutius entre autres, et un Lupus, avec Lucilius; un Milonius et un Nomentanus, avec Horace; un Crispinus et un Locustus, avec Juvenal; c'est à dire des gens, qui nous seroient peu connus aujourdhui, sans la mention, qu'ils ont trouvé à propos d'en faire dans leurs satires.

"La cinquiéme différence paroit encore dans la maniére, de laquelle les uns et les autres traitent leurs sujets, et dans le but principal, qu'ils s'y proposent. Celui de la poësie satyrique des Grecs, etoit de tourner en ridicule des actions sérieuses, comme l'enseigne le même Horace, _vertere seria ludo_; de travêstir pour ce sujet leurs dieux ou leurs héros, d'en changer le caractére, selon le besoin; de faire par exemple d'un Achille un homme mol, suivant qu'un autre poëte Latin y fait allusion, _Nec nocet autori, qui mollem fecit Achillem_. C'étoit en un mot leur but principal, de rire et de plaisanter; et d'ou vient non seulement le mot de _Risus_, comme il a déja été remarqué, qu'on a appliqué à ces sortes d'ouvrages, mais aussi ceux en Grec de _jeux_, ou même de jouëts, et de _joci_ en Latin, comme fait encore Horace, où il parle de l'auteur tragique, qui parmi les Grecs fut le premier, qui composa de ces piéces satyriques, et suivant qu'il dit, _incolumi gravitate jocum tentavit_. Nons pouvons même comprendre de ce qu'il ajoute dans la suite et des epithétes, que d'autres leur donnent de ris obscénes, que cette gravité, avec laquelle on avoit d'abord temperé ces sortes d'ouvrages, en fut bannie dans la suite; que les régles de la pudeur n'y furent guéres observées; et qu'on en fit des spectacles assés conformes à l'humeur et à la conduite de tels acteurs que des satires petulans ou _protervi_, comme Horace les appelle sur ce même sujet. Et c'est à quoi contribuerent d'ailleurs leurs danses et leurs postures, dont il à été parlé, de même que celles des pantomimes parmi les Romains. Au lieu que les Satires Romaines, temoin celles qui nous restent, et á qui d'ailleurs ce nom est demeuré comme propre et attaché, avoient moins pour but de plaisanter que d'exciter ou de l'indignation, ou de la haine, _facit indignatio versum_, ou du mépris; qu'elles s'attachent plus à reprendre et à mordre, qu'à faire rire ou à folâtrer. D'ou vient aussi le nom de _poëme medisant_, que les grammairiens leur donnent, ou celui de _vers mordans_, comme en parle Ovide dans un passage, où je trouve qu'il se défend de n'avoir point écrit de Satyres.

_Non ego mordaci distrinxi carmine quemquam,
Nec meus ullius crimina versus habet._

"Je ne touche pas enfin la différence, qu'on pourroit encore alléguer de la composition diverse des unes et des autres; les Satires Romaines, dont il est ici proprement question et qui ont été conservées jusques à nous, ayant été écrites en vers héroiques, et les poëmes satyriques des Grecs en vers jambiques. Ce qui devroit néanmoins être d'autant plus remarqué, qu'Horace ne trouve point d'autre différence entre l'inventeur des Satires Romaines et les auteurs de l'ancienne comédie, comme Cratinus et Eupolis, si non que les Satires du premier étoient écrites dans un autre genre de vers."--See Baron SPANHEIM'S Dissertation, _Sur les_ Cesars _de_ Julien, _et en général sur les ouvrages satyriques des Anciens_, prefixed to his translation of Julian's work, Amsterdam, 1728, 4to. and Malone's "Dryden," Vol. IV. p. 130.

[21] Horace, in the beginning of the Fourth Satire of his First Book, introduces Lucilius as imitating the ancient Greek comedians:

_Hinc omnis pendet Lucilius, hosce secutus,
Mutatis tantum pedibus numerisque; facetus,
Emunctæ naris, durus componere versus.
Nam fuit hoc vitiosus: in hora sæpe ducentos,
Ut magnum, versus dictabat stans pede in uno.
Cum flueret lutulentus, erat quod tollere velles;
Garrulus, atque piger scribendi ferre laborem;
Scribendi recte; nam ut multum, non moror._--

Towards the end of the Tenth Satire, the poet resumes the subject, and vindicates his character of Lucilius against those who had accused him of too much severity towards the ancient satirist; and again accuses him of carelessness, though he acknowledges his superiority to the more ancient models:

----_fuerit Lucilius, inquam,
Comis et urbanus; fuerit limatior idem,
Quam rudis, et Græcis intacti carminis auctor,
Quamque poetarum seniorum turba: Sed ille,
Si foret hoc nostrum fato dilatus in ævum,
Detereret sibi multa: recideret omne, quod ultra
Perfectum traheretur: et in versu faciendo
Sæpe caput scaberet, vivos et roderet ungues._

[22] The original runs thus: "_Et tamen in illis veteribus nostris quæ Menippum imitati, non interpretati, quadam hilaritate conspersimus, multa admis admista ex intima philosophia, multa dicta dialectice, quæ quo facilius minus docti intelligerent jucunditate quadam ad legendum invitati; in laudationibus, in iis ipsis antiquitatum proæmiis, philosophice scribere voluimus si modo consecuti sumus_."--Academic lib. iii. sect. 2. The sense of the last clause seems to be, that Varro had attempted, even in panegyrics, and studied imitations of the ancient satirists, to write philosophically, although he modestly affects to doubt of his having been able to accomplish his purpose.

[23] This pretended continuation of Petronius Arbiter was published at Paris in 1693, and proved to be a forgery by one Nodot, a Frenchman.

[24] Perhaps the Satires of Raübner.

[25] From this classification we may infer, that Dryden's idea of a Varronian satire was, that, instead of being merely didactic, it comprehended a fable or series of imaginary and ludicrous incidents, in which the author engaged the objects of his satire. Such being his definition, it is surprising he should have forgotten Hudibras, the best satire of this kind that perhaps ever was written; but this he afterwards apologizes for, as a slip of an old man's memory.

[26] _Horatii Persiique Satyras Isaacus Casaubonus et Daniel Heinsius certatim laudibus extulere, ac Persium ille suum tantopere adornavit, ut nihil Horatio, nihil Juvenali præter indignationem reliquisse videatur; hic verò Horatium curiosè considerando tam admirabilem esse docuit, ut plerisque jam in Persio nimia Stoici supercilii morositas jure displiceat. Juvenalis ingenium ambo quidem certè laudaverunt, sic tamen ut in eo sæpe etiam Rhetoricæ arrogantiæ quasi lasciviam, ac denique declamationem potiùs quàm Satyram esse pronunciaverunt._

[27] North has left the following account of this great lawyer's prejudices. "He was an upright judge, if taken within himself; and when he appeared, as he often did, and really was, partial, his inclination or prejudice, insensibly to himself, drew his judgment aside. His bias lay strangely for, and against, characters and denominations; and sometimes, the very habits of persons. If one party was a courtier, and well dressed, and the other a sort of puritan, with a black cap and plain clothes, he insensibly thought the justice of the cause with the latter. If the dissenting, or anti-court party was at the back of a cause, he was very seldom impartial; and the loyalists had always a great disadvantage before him. And he ever sat hard upon his lordship, in his practice, in causes of that nature, as may be observed in the cases of Cuts and Pickering, just before, and of Soams and Bernardiston elsewhere, related. It is said he was once caught. A courtier, who had a cause to be tried before him, got one to go to him, as from the king, to speak for favour to his adversary, and so carried his point; for the Chief Justice could not think any person to be in the right, that came so unduly recommended." _Life of Lord Keeper Guilford_, p. 61.

[28] Casaubon published an edition of "Persius," with notes, and a commentary. Francesco Stelluti's version was published at Rome in 1630.

[29] This is a strange mistake in an author, who translated Persius entirely, and great part of Juvenal. The satires of Persius were written during the reign of Nero, and those of Juvenal in that of Domitian. This error is the more extraordinary, as Dryden mentions, a little lower, the very emperors under whom these poets flourished.

[30] David Wedderburn of Aberdeen, whose edition of "Persius," with a commentary, was published in 8vo. at Amsterdam, 1664.

[31] Persius died in his 30th year, in the 8th year of Nero's reign. Lucan died before he was twenty-seven.

[32] Casaubon's edition is accompanied, "_Cum Persiana Horatii imitatione_."

[33] A Stoic philosopher to whom Persius addresses his 5th Satire.

[34] The famous Gilbert Burnet, the Buzzard of our author's "Hind and Panther," but for whom he seems now disposed to entertain some respect.

[35] Dryden alludes to the beautiful description which Horace has given of his father's paternal and watchful affection in the 6th Satire of the 1st Book. Wycherley, the friend for whom he wishes a father of equal tenderness, after having been gayest of the gay, applauded by theatres, and the object of a monarch's jealousy, was finally thrown into jail for debt, and lay there seven long years, his father refusing him any assistance. And, although in 1697, he was probably at liberty, for King James had interposed in his favour and paid a great part of his debts, he continued to labour under pecuniary embarrassments untill his father's death and even after he had succeeded to his entailed property.

[36] The abuse of personal satires, or lampoons, as they were called, was carried to a prodigious extent in the days of Dryden, when every man of fashion was obliged to write verses; and those who had neither poetry nor wit, had recourse to ribaldry and libelling. Some observations on these lampoons may be found prefixed to the Epistle to Julian, among the pieces ascribed to Dryden.

[37] Wycherley, author of the witty comedy so called.

[38] The precise dates of Juvenal's birth and death are disputed; but it is certain he flourished under Domitian, famous for his cruelty against men and insects. Juvenal was banished by the tyrant, in consequence of reflecting upon the actor Paris. He is generally said to have died of grief; but Lepsius contends, that he survived even the accession of Hadrian.

[39] The learned Barten Holyday was born at Oxford, in the end of the 16th century. Wood says, he was second to none for his poetry and sublime fancy, and brings in witness his "smooth translation of rough Persius," made before he was twenty years of age. He wrote a play called "Technogamia, or the Marriage of the Arts," which was acted at Christ Church College, before James I., and, though extremely dull and pedantic, was ill received by his Majesty. Holyday's version of Juvenal was not published till after his death, when, in 1673, it was inscribed to the dean and canons of Christ Church. As he had adopted the desperate resolution of comprising every Latin line within an English one, the modern reader has often reason to complain, with the embarrassed gentleman in the "Critic," that the interpreter is the harder to be understood of the two.

[40] Sir Robert Stapylton, a gentleman of an ancient family in Yorkshire, who followed the fortune of Charles I. in the civil war, besides several plays and poems, published a version of Juvenal, under the title of "The manners of Men described in sixteen Satires by Juvenal." There are two editions, the first published in 1647, and the last and most perfect in 1660. Sir Robert Stapylton died in 1669. His verse is as harsh and uncouth as that of Holyday, who indeed charged him with plagiary; though one would have thought the nature of the commodity would have set theft at defiance.

[41] I presume, this celebrated finisher of the law, who bequeathed his name to his successors in office, was a contemporary of our poet. In the time of the rebellion, that operator was called Gregory, and is supposed, with some probability, to have beheaded Charles I. See the evidence for the prisoner in Hulet's trial after the Restoration. _State Trials_, Vol. II. p. 388.

[42] This is a strange averment, considering the "Reflections upon Absalom and Achitophel, by a Person of Honour," in composing and publishing which, the Duke of Buckingham, our author's Zimri, shewed much resentment and very little wit. See Vol. IX. p. 272.

[43]

_Persius exclamat, Per magnos, Brute, deos te
Oro, qui regis consueris tollere, cur non
Hunc Regem jugulas? Operum hoc mihi crede tuorum est._

HOR. Satire 8. Lib. I.

[44] This gentleman, who was as great a gambler as a punster, regaled with his quibbles the minor class of the frequenters of Will's coffee-house, who, having neither wit enough to entitle them to mix with the critics who associated with Dryden, and were called _The Witty Club_, or gravity enough to discuss politics with those who formed the Grave Club, were content to laugh heartily at the puns and conundrums of Captain Swan.

[45] Mr Lewis Maidwell, the author of a comedy called "The Generous Enemies," represented by the Duke's company 1680. In the prologue, as Mr Malone informs us, there is an allusion to Rochester's mean assault on Dryden:

Who dares be witty now, and with just rage
Disturb the vice and follies of the age?
With knaves and fools, satire's a dangerous fault;
They will not let you rub their sores with salt:
Else _Rose street ambuscades_ shall break your head,
And life in verse shall lay the poet dead.

It is only farther known of this gentleman, that he was a friend of Shadwell, who gave him the epilogue for his comedy, and that he taught a private school.

[46] The Roman exclamation of high contentment at a recitation, like our _bravo! bravissimo!_

[47] Dryden, in his Epistle to Sir George Etherege, has shewn, however, how completely he was master even of a measure he despised.

[48] Scarron's _Virgile Travesti_.

[49] Sir George Mackenzie of Rosehaugh was lord advocate for Scotland, during the reigns of Charles II. and his successor. His works are voluminous, and upon various subjects, but chiefly historical and juridical. He left, however, one poem called "Cælia's Country-house," and some essays on moral subjects. The memory of Sir George Mackenzie is not in high estimation as a lawyer, and his having been the agent of the crown, during the cruel persecution of the fanatical Cameronians, renders him still execrated among the common people of Scotland. But he was an accomplished scholar, of lively talents, and ready elocution, and very well deserved the appellation of a "noble wit of Scotland."

[50] In illustration of Holyday's miserable success in his desperate attempt, we need only take the lines with which he opens:

Shall I be still an auditor, and ne'er
Repay that have so often had mine eare
Vexed with hoarse Codrus Theseads? shall one sweat
While his gownd comique sceane he does repeat,
Another while his elegies soft strain
The reader? and shall not I vex them again?
Shall mighty Telephus be unrequited,
That spends a day in being all recited?
Or volume-swoln Orestes, that does fill
The margin of an ample booke; yet still,
As if the book were mad too, is extended
Upon the very back, nor yet is ended.

THE

FIRST SATIRE

OF

JUVENAL.

THE ARGUMENT.

_The Poet gives us first a kind of humorous reason for his
writing: that being provoked by hearing so many ill poets
rehearse their works, he does himself justice on them, by
giving them as bad as they bring. But since no man will
rank himself with ill writers, it is easy to conclude,
that if such wretches could draw an audience, he thought
it no hard matter to excel them, and gain a greater esteem
with the public. Next, he informs us more openly, why he
rather addicts himself to satire than any other kind of
poetry. And here he discovers, that it is not so much
his indignation to ill poets as to ill men, which has
prompted him to write. He, therefore, gives us a summary
and general view of the vices and follies reigning in his
time. So that this first satire is the natural ground-work
of all the rest. Herein he confines himself to no one
subject, but strikes indifferently at all men in his way.
In every following satire he has chosen some particular
moral which he would inculcate; and lashes some particular
vice or folly, (an art with which our lampooners are not
much acquainted). But our poet being desirous to reform his
own age, and not daring to attempt it by an overt-act of
naming living persons, inveighs only against those who were
infamous in the times immediately preceding his, whereby
he not only gives a fair warning to great men, that their
memory lies at the mercy of future poets and historians,
but also, with a finer stroke of his pen, brands even the
living, and personates them under dead men's names._

_I have avoided, as much as I could possibly, the borrowed
learning of marginal notes and illustrations, and for
that reason have translated this satire somewhat largely;
and freely own, (if it be a fault,) that I have likewise
omitted most of the proper names, because I thought they
would not much edify the reader. To conclude, if in two
or three places I have deserted all the commentators, it is
because I thought they first deserted my author, or at
least have left him in so much obscurity, that too much
room is left for guessing._

Still shall I hear, and never quit the score,
Stunned with hoarse Codrus'[51] Theseid, o'er and o'er?
Shall this man's elegies and t'other's play
Unpunished murder a long summer's day?
Huge Telephus,[52] a formidable page,
Cries vengeance; and Orestes'[53] bulky rage,
Unsatisfied with margins closely writ,
Foams o'er the covers, and not finished yet.
No man can take a more familiar note
Of his own home, than I of Vulcan's grott,
Or Mars his grove,[54] or hollow winds that blow
From Ætna's top, or tortured ghosts below.
I know by rote the famed exploits of Greece,
The Centaurs' fury, and the Golden Fleece;
Through the thick shades the eternal scribbler bawls,
And shakes the statues on their pedestals.
The best and worst[55] on the same theme employs
His muse, and plagues us with an equal noise.
Provoked by these incorrigible fools,
I left declaiming in pedantic schools;
Where, with men-boys, I strove to get renown,
Advising Sylla to a private gown.[56]
But, since the world with writing is possest, }
I'll versify in spite; and do my best, }
To make as much waste paper as the rest. }
But why I lift aloft the satire's rod,
And tread the path which famed Lucilius[57] trod,
Attend the causes which my muse have led:--
When sapless eunuchs mount the marriage-bed;
When mannish Mævia,[58] that two-handed whore,
Astride on horseback hunts the Tuscan boar;
When all our lords are by his wealth outvied,
Whose razor on my callow beard was tried;[59]
When I behold the spawn of conquered Nile,
Crispinus, both in birth and manners vile,[60]
Pacing in pomp, with cloak of Tyrian dye,
Changed oft a-day for needless luxury;
And finding oft occasion to be fanned,
Ambitious to produce his lady-hand;
Charged with light summer-rings his fingers sweat,[61]
Unable to support a gem of weight:
Such fulsome objects meeting every where,
'Tis hard to write, but harder to forbear.
To view so lewd a town, and to refrain,
What hoops of iron could my spleen contain!
When pleading Matho, borne abroad for air,[62]
With his fat paunch fills his new-fashioned chair,
And after him the wretch in pomp conveyed,
Whose evidence his lord and friend betrayed,
And but the wished occasion does attend }
From the poor nobles the last spoils to rend, }
Whom even spies dread as their superior fiend, }
And bribe with presents; or, when presents fail,
They send their prostituted wives for bail:
When night-performance holds the place of merit,
And brawn and back the next of kin disherit;
(For such good parts are in preferment's way,)
The rich old madam never fails to pay
Her legacies, by nature's standard given,
One gains an ounce, another gains eleven:
A dear-bought bargain, all things duly weighed,
For which their thrice concocted blood is paid.
With looks as wan, as he who in the brake
At unawares has trod upon a snake;
Or played at Lyons a declaiming prize,
For which the vanquished rhetorician dies.[63]
What indignation boils within my veins, }
When perjured guardians, proud with impious gains, }
Choke up the streets, too narrow for their trains! }
Whose wards, by want betrayed, to crimes are led
Too foul to name, too fulsome to be read!
When he who pilled his province 'scapes the laws,
And keeps his money, though he lost his cause;
His fine begged off, contemns his infamy,
Can rise at twelve, and get him drunk ere three;
Enjoys his exile, and, condemned in vain,
Leaves thee, prevailing province, to complain.[64]
Such villanies roused Horace into wrath;
And tis more noble to pursue his path,[65]
Than an old tale of Diomede to repeat, }
Or labouring after Hercules to sweat, }
Or wandering in the winding maze of Crete; }
Or with the winged smith aloft to fly,
Or fluttering perish with his foolish boy.
With what impatience must the muse behold
The wife, by her procuring husband sold?
For though the law makes null the adulterer's deed
Of lands to her, the cuckold may succeed,
Who his taught eyes up to the ceiling throws,
And sleeps all over but his wakeful nose.
When he dares hope a colonel's command,
Whose coursers kept, ran out his father's land;
Who yet a stripling, Nero's chariot drove, }
Whirled o'er the streets, while his vain master strove }
With boasted art to please his eunuch love[66] }
Would it not make a modest author dare
To draw his table-book within the square,
And fill with notes, when, lolling at his ease,
Mecænas-like,[67] the happy rogue he sees
Borne by six wearied slaves in open view,
Who cancelled an old will, and forged a new;
Made wealthy at the small expence of signing
With a wet seal, and a fresh interlining?
The lady, next, requires a lashing line,
Who squeezed a toad into her husband's wine:
So well the fashionable medicine thrives,
That now 'tis practised even by country wives;
Poisoning, without regard of fame or fear,
And spotted corpse are frequent on the bier.
Wouldst thou to honours and preferments climb?
Be bold in mischief, dare some mighty crime,
Which dungeons, death, or banishment deserves;
For virtue is but dryly praised, and starves.
Great men to great crimes owe their plate embost, }
Fair palaces, and furniture of cost, }
And high commands; a sneaking sin is lost. }
Who can behold that rank old letcher keep
His son's corrupted wife, and hope to sleep?[68]
Or that male-harlot, or that unfledged boy,
Eager to sin, before he can enjoy?
If nature could not, anger would indite
Such woful stuff as I or Sh----ll[69] write.
Count from the time, since old Deucalion's boat,
Raised by the flood, did on Parnassus float,[70]
And, scarcely mooring on the cliff, implored
An oracle how man might be restored;
When softened stones and vital breath ensued,
And virgins naked were by lovers viewed;
What ever since that golden age was done,
What human kind desires, and what they shun;
Rage, passions, pleasures, impotence of will,
Shall this satirical collection fill.
What age so large a crop of vices bore,
Or when was avarice extended more?
When were the dice with more profusion thrown?
The well-filled fob not emptied now alone,
But gamesters for whole patrimonies play;
The steward brings the deeds which must convey
The lost estate: what more than madness reigns,
When one short sitting many hundreds drains,
And not enough is left him to supply }
Board-wages, or a footman's livery? }
What age so many summer-seats did see? }
Or which of our forefathers fared so well,
As on seven dishes at a private meal?
Clients of old were feasted; now, a poor
Divided dole is dealt at the outward door;
Which by the hungry rout is soon dispatched:
The paltry largess, too, severely watched,
Ere given; and every face observed with care,
That no intruding guest usurp a share.
Known, you receive; the crier calls aloud }
Our old nobility of Trojan blood, }
Who gape among the crowd for their precarious food. }
The prætor's and the tribune's voice is heard;
The freedman jostles, and will be preferred;
First come, first served, he cries; and I, in spite
Of your great lordships, will maintain my right;
Though born a slave, though my torn ears are bored,[71]
'Tis not the birth, 'tis money makes the lord.
The rents of five fair houses I receive;
What greater honours can the purple give?
The poor patrician is reduced to keep,
In melancholy walks, a grazier's sheep:
Not Pallus nor Licinius[72] had my treasure;
Then let the sacred tribunes wait my leisure.
Once a poor rogue, 'tis true, I trod the street,
And trudged to Rome upon my naked feet:
Gold is the greatest God; though yet we see
No temples raised to money's majesty;
No altars fuming to her power divine,
Such as to valour, peace, and virtue shine,
And faith, and concord; where the stork on high[73] }
Seems to salute her infant progeny, }
Presaging pious love with her auspicious cry.-- }
But since our knights and senators account,
To what their sordid begging vails amount,
Judge what a wretched share the poor attends,
Whose whole subsistence on those alms depends!
Their household fire, their raiment, and their food,
Prevented by those harpies;[74] when a wood
Of litters thick besiege the donor's gate,
And begging lords and teeming ladies wait
The promised dole; nay, some have learned the trick
To beg for absent persons; feign them sick,
Close mewed in their sedans, for fear of air; }
And for their wives produce an empty chair. }
This is my spouse; dispatch her with her share; }
'Tis Galla.--Let her ladyship but peep.--
No, sir, 'tis pity to disturb her sleep.[75]
Such fine employments our whole days divide:
The salutations of the morning tide
Call up the sun; those ended, to the hall
We wait the patron, hear the lawyers bawl;
Then to the statues; where amidst the race }
Of conquering Rome, some Arab shows his face, }
Inscribed with titles, and profanes the place;[76] }
Fit to be pissed against, and somewhat more.
The great man, home conducted, shuts his door.
Old clients, wearied out with fruitless care,
Dismiss their hopes of eating, and despair;
Though much against the grain, forced to retire,
Buy roots for supper, and provide a fire.
Meantime his lordship lolls within at ease,
Pampering his paunch with foreign rarities;
Both sea and land are ransacked for the feast,
And his own gut the sole invited guest.
Such plate, such tables, dishes dressed so well,
That whole estates are swallowed at a meal.
Even parasites are banished from his board;
(At once a sordid and luxurious lord;)
Prodigious throat, for which whole boars are drest;
(A creature formed to furnish out a feast.)
But present punishment pursues his maw,
When, surfeited and swelled, the peacock raw
He bears into the bath; whence want of breath,
Repletions, apoplex, intestate death.
His fate makes table-talk, divulged with scorn,
And he, a jest, into his grave is borne.
No age can go beyond us; future times
Can add no farther to the present crimes.
Our sons but the same things can wish and do; }
Vice is at stand, and at the highest flow. }
Then, Satire, spread thy sails, take all the winds can blow! }
Some may, perhaps, demand what muse can yield
Sufficient strength for such a spacious field?
From whence can be derived so large a vein,
Bold truths to speak, and spoken to maintain,
When godlike freedom is so far bereft
The noble mind, that scarce the name is left?
Ere _scandalum magnatum_ was begot,
No matter if the great forgave or not;
But if that honest licence now you take, }
If into rogues omnipotent you rake, }
Death is your doom, impaled upon a stake; }
Smeared o'er with wax, and set on fire, to light
The streets, and make a dreadful blaze by night.
Shall they, who drenched three uncles in a draught
Of poisonous juice, be then in triumph brought,
Make lanes among the people where they go, }
And, mounted high on downy chariots, throw }
Disdainful glances on the crowd below? }
Be silent, and beware, if such you see;
'Tis defamation but to say, That's he!
Against bold Turnus the great Trojan arm,
Amidst their strokes the poet gets no harm:
Achilles may in epic verse be slain,
And none of all his myrmidons complain:
Hylas may drop his pitcher, none will cry,
Not if he drown himself for company;
But when Lucilius brandishes his pen,
And flashes in the face of guilty men,
A cold sweat stands in drops on every part,
And rage succeeds to tears, revenge to smart.[77]
Muse, be advised; 'tis past considering time,
When entered once the dangerous lists of rhime;
Since none the living villains dare implead,
Arraign them in the persons of the dead.

FOOTNOTES:

[51] Codrus, or it may be Cordus, a bad poet, who wrote the life and actions of Theseus.--[This and almost all the following notes are taken from Dryden's first edition. Those which are supplied by the present Editor, are distinguished by the letter E.]

[52] The name of a tragedy.

[53] Another tragedy.

[54] Some commentators take this grove to be a place where poets were used to repeat their works to the people; but more probably, both this and Vulcan's grott, or cave, and the rest of the places and names here mentioned, are only meant for the common places of Homer in his Iliads and Odyssies.

[55] That is, the best and the worst poets.

[56] This was one of the themes given in the schools of rhetoricians, in the deliberative kind; whether Sylla should lay down the supreme power of dictatorship, or still keep it?

[57] Lucilius, the first satirist of the Romans, who wrote long before Horace.

[58] Mævia, a name put for any impudent or mannish woman.

[59] Juvenal's barber, now grown wealthy.

[60] Crispinus, an Egyptian slave; now, by his riches, transformed into a nobleman.

[61] The Romans were grown so effeminate in Juvenal's time, that they wore light rings in the summer, and heavier in the winter.

[62] Matho, a famous lawyer, mentioned in other places by Juvenal and Martial.

[63] Lyons, a city in France, where annual sacrifices and games were made in honour of Augustus Cæsar.

[64] Here the poet complains, that the governors of provinces being accused for their unjust exactions, though they were condemned at their trials, yet got off by bribery.

[65] Horace, who wrote satires; it is more noble, says our author, to imitate him in that way, than to write the labours of Hercules, the sufferings of Diomedes and his followers, or the flight of Dædalus, who made the Labyrinth, and the death of his son Icarus.

[66] Nero married Sporus, an eunuch; though it may be, the poet meant Nero's mistress in man's apparel.

[67] Mecænas is often taxed by Seneca and others for his effeminacy.

[68] The meaning is, that the very consideration of such a crime will hinder a virtuous man from taking his repose.

[69] Shadwell, our author's old enemy.--E.

[70] Deucalion and Pyrrha, when the world was drowned, escaped to the top of Mount Parnassus, and were commanded to restore mankind, by throwing stones over their heads; the stones he threw became men, and those she threw became women.

[71] The ears of all slaves were bored, as a mark of their servitude; which custom is still usual in the East Indies, and in other parts, even for whole nations, who bore prodigious holes in their ears, and wear vast weights at them.

[72] Pallus, a slave freed by Claudius Cæsar, and raised by his favour to great riches. Licinius was another wealthy freedman belonging to Augustus.

[73] Perhaps the storks were used to build on the top of the temple dedicated to Concord.

[74] He calls the Roman knights, &c. harpies, or devourers. In those days, the rich made doles intended for the poor; but the great were either so covetous, or so needy, that they came in their litters to demand their shares of the largess; and thereby prevented, and consequently starved, the poor.

[75] The meaning is, that noblemen would cause empty litters to be carried to the giver's door, pretending their wives were within them. "'Tis Galla," that is, my wife; the next words, "Let her ladyship but peep," are of the servant who distributes the dole; "Let me see her, that I may be sure she is within the litter." The husband answers, "She is asleep, and to open the litter would disturb her rest."

[76] The poet here tells you how the idle passed their time; in going first to the levees of the great; then to the hall, that is, to the temple of Apollo, to hear the lawyers plead; then to the market-place of Augustus, where the statues of the famous Romans were set in ranks on pedestals; amongst which statues were seen those of foreigners, such as Arabs, &c. who, for no desert, but only on account of their wealth or favour, were placed amongst the noblest.

[77] A poet may safely write an heroic poem, such as that of Virgil, who describes the duel of Turnus and Æneas; or of Homer, who writes of Achilles and Hector; or the death of Hylas, the catamite of Hercules, who, stooping for water, dropt his pitcher, and fell into the well after it: but it is dangerous to write satire, like Lucilius.

THE

THIRD SATIRE

OF

JUVENAL.

THE ARGUMENT.

_The story of this satire speaks itself. Umbritius, the
supposed friend of Juvenal, and himself a poet, is leaving
Rome, and retiring to Cumæ. Our author accompanies him out
of town. Before they take leave of each other, Umbritius
tells his friend the reasons which oblige him to lead a
private life, in an obscure place. He complains, that an
honest man cannot get his bread at Rome; that none but
flatterers make their fortunes there; that Grecians, and
other foreigners, raise themselves by those sordid arts
which he describes, and against which he bitterly inveighs.
He reckons up the several inconveniences which arise from a
city life, and the many dangers which attend it; upbraids
the noblemen with covetousness, for not rewarding good
poets; and arraigns the government for starving them.
The great art of this satire is particularly shown in
common-places; and drawing in as many vices, as could
naturally fall into the compass of it._