Chapter XV: Part III (10)

_would either bring
No joy, or be destructive of the thing_:

That is, the learned would either have no relish for the delights of so widely different a situation; or, which hath oftener been the case, would lose the learning itself, or the _love_ of it at least, on which their pretensions to this _reward_ are founded.

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232. GRATUS ALEXANDRO REGI MAGNO &c.] This praise of Augustus, arising from the comparison of his character with that of Alexander, is extremely fine. It had been observed of the Macedonian by his historians and panegyrists, that, to the stern virtues of the _conqueror_, he had joined the softer accomplishments of the _virtuoso_, in a just discernment and love of _poetry_, and of the _elegant arts_. The one was thought clear from his admiration and study of Homer: And the _other_, from his famous edict concerning Apelles and Lysippus, could not be denied. Horace finds means to turn both these circumstances in his story to the advantage of his prince.

From his extravagant pay of such a wretched versifier, as _Choerilus_, he would insinuate, that Alexander’s love of the muse was, in fact, but a blind unintelligent impulse towards _glory_. And from his greater skill in the arts of _sculpture_ and _painting_, than of _verse_, he represents him as more concerned about the _drawing_ of his figure, than the pourtraiture of his _manners_ and _mind_. Whereas Augustus, by his liberalities to _Varius_ and _Virgil_, had discovered the truest taste in the _art_, from which he expected immortality: and, in trusting to _that_, as the _chief_ instrument of his fame, had confessed a prior regard to those _mental virtues_, which are the real ornament of humanity, before that _look of terror_, and _air and attitude of victory_, in which the brute violence of Alexander most delighted to be shewn.

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243. MUSARUM DONA] The expression is happy; as implying, that these _images_ of virtue, which are represented as of such importance to the glory of princes, are not the mere _offerings_ of poetry to greatness, but the _free-gifts_ of the muse to the poet. For it is only to such _works_, as these, that Horace attributes the wondrous efficacy of expressing the _manners and mind_ in fuller and more durable relief, than _sculpture_ gives to the _exterior figure_.

_Non magis expressi vultus per aënea signa,
Quam per vatis opus mores animique virorum
Clarorum adparent._

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247.—VIRGILIUS.] Virgil is mentioned, in this place, simply as a _Poet_. The precise idea of his _poetry_ is given us elsewhere.

_molle atque facetum
Virgilio annuerunt gaudentes rure Camoenae._
1 Sat. x. 44.

But this may appear a strange praise of the sweet and polished Virgil. It appeared so to Quinctilian, who cites this passage, and explains it, without doubt, very justly, yet in such a way as shews that he was not quite certain of the truth of his explanation.

The case, I believe, was this. The word _facetum_, which makes the difficulty, had acquired, in Quinctilian’s days, the sense of _pleasant_, _witty_, or _facetious_, _in exclusion_ to every other idea, which had formerly belonged to it. It is true that, in the Augustan age, and still earlier, _facetum_ was sometimes used in this sense. But its proper and original meaning was no more than _exact_, _factitatum, benè factum_. And in this strict sense, I believe, it is always used by Horace.

_Malthinus tunicis demissis ambulat: est qui
Inguen ad obscoenum subductis usque facetus._
1 S. ii. 25.

i. e. _tucked up, trim, expedite_.

_Mutatis tantùm pedibus numerisque facetus._
1 S. iv. 7.

i. e. he [Lucilius] adopted a _stricter_ measure, than the writers of the old comedy; or, by changing the loose iambic to the Hexameter verse, he gave a proof of his _art_, _skill_, and _improved judgment_.

_frater, pater, adde;
Ut cuique est aetas, ita quemque facetus adopta._
1. Ep. vi. 55.

i. e. _nicely_ and _accurately_ adapt your address to the age and condition of each.

I do not recollect any other place where _facetus_ is used by Horace; and in all these it seems probable to me that the principal idea, conveyed by it, is that of _care_, _art_, _skill_, only differently modified according to the subject to which it is applied: a gown tucked up _with care_—a measure _studiously_ affected—an address _nicely_ accommodated—No thought of _ridicule_ or _pleasantry_ intended.

It is the same in the present instance—

MOLLE ATQUE FACETUM

i. e. _a soft flowing versification_, and _an exquisitely finished expression_: the two precise, characteristic merits of Virgil’s _rural_ poetry.

This change, in the sense of words, is common in all languages, and creeps in so gradually and imperceptibly as to elude the notice, sometimes, of the best critics, even in their own language. The transition of ideas, in the present instance, may be traced thus. As what was _wittily_ said, was most _studied_, _artificial_, and _exquisite_, hence in process of time _facetum_ lost its primary sense, and came to signify merely, _witty_.

We have a like example in our own language. A _good wit_ meant formerly a man of good natural sense and understanding: but because what we now call _wit_ was observed to be the flower and quintessence, as it were, of good sense, hence _a man of wit_ is now the exclusive attribute of one who exerts his good sense in that peculiar manner.

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247. DILECTI TIBI VIRGILIUS &c.] It does honour to the memory of Augustus, that he bore the _affection_, here spoken of, to this amiable poet; who was not more distinguished from his contemporary writers by the force of an original, inventive genius, than the singular benevolence and humanity of his character. Yet there have been critics of so perverse a turn, as to discover an inclination, at least, of disputing both.

1. Some have taken offence at his supposed unfriendly neglect of Horace, who, on every occasion, shewed himself so ready to lavish all his praises on him. But the folly of this slander is of a piece with its malignity, as proceeding on the absurd fancy, that Virgil’s friends might as easily have slid into such works, as the Georgics and Eneïs, as those of Horace into the various occasional poems, which employed his pen.

Just such another senseless suspicion hath been raised of his jealousy of Homer’s superior glory (a vice, from which the nature of the great poet was singularly abhorrent), only, because he did not think fit to give him the first place among the poets in _Elysium_, several hundred years before he had so much as made his appearance upon _earth_.

But these petty calumnies of his _moral_ character hardly deserve a confutation. What some greater authorities have objected to his _poetical_, may be thought more serious. For,

2. It has been given out by some of better note among the moderns, and from thence, according to the customary influence of authority, hath become the prevailing sentiment of the generality of the learned, that the great poet was more indebted for his fame to the _exactness of his judgment; to his industry, and a certain trick of imitation_, than to the energy of natural genius; which he is thought to have possessed in a very slender degree.

This charge is founded on the similitude, which all acknowledge, betwixt his great work, the Aeneis, and the poems of Homer. But, “how far such similitude infers imitation; or, how far imitation itself infers an inferiority of natural genius in the imitator,” this hath never been considered. In short the affair of _imitation_ in poetry, though one of the most curious and interesting in all criticism, hath been, hitherto, very little understood: as may appear from hence, that there is not, as far as I can learn, one single treatise, now extant, written purposely to explain it; the discourse, which the learned _Menage_ intended, and which, doubtless, would have given light to this matter, having never, as I know of, been made public. To supply, in some measure, this loss, I have thought it not amiss to put together and methodize a few reflexions of my own on this subject, which (because the matter is large, and cannot easily be drawn into a compass, that suits with the nature of these occasional remarks) the reader will find in a distinct and separate dissertation upon it[53].