Mr. ADDISON'S DISSERTATION Upon the most Celebrated
Roman
POETS, ALSO AN ESSAY UPON THE
Roman
Elegiac POETS.
By Major PACK.
The THIRD EDITION.
To which is Added,
n ESSAY upon Mr. ADDISON's Writings. By R. YOUNG,
Esq
LONDON:
inted for E. CURLL, over against
Catherine
Street in the
Strand,
1721. Price 1
s.
6
d.
Nomina AUTHORUM.
I. VIRGILIUS.
II. Lucretius.
III. Ovidius.
IV. Statius.
V. Lucanus.
VI. Claudianus.
VII. Horatius.
VIII. Juvenalis.
IX. Plautus.
X. Terentius.
XI. Seneca.
XII. Martialis.
XIII. Catullus.
XIV. Tibullus.
XV. Propertius.
DISSERTATIO DE INSIGNIORIBUS
ROMANORUM
POETIS.
O MNIUM, in re Poeticâ, maxime inclaruerunt Romani, & Romanorum VIRGILIUS: Optimae quaeque Regulae, huic Arti inservientes, non tam Criticorum Praeceptis, quam MARONIS exemplo, sunt depromendae. Ut ideo de reliquis Heroici Carminis Scriptoribus, recte statuamus Virtutes & Vitia, quae apud singulos occurrunt, lectioni conferamus
Virgilianae;
qui, si ullibi defecerit
Bucolicis,
nonnunquam puriorem immiscuit Styli elegantiam, quam quae
Pastoribus
conveniat; & saepe grandior sonat Carminum Majestas, quam quae tenui avenae consona videatur. Apud quemlibet
Georgicorum
librum, inimitabili quâdam Sermonis Elegantiâ, Res rusticae explicantur; sed ultimus, de
Apum Naturâ,
valdè, praeter caeteros, animum delectat; ubi, dum in tenui Argumento procedit Poema, solennem quandam Sententiarum & Verborum Pompam studiosè affectat Poeta. Apum ideo Opera
Cyclopum
assimulat Laboribus, nec majori Carminum tumultu AENEAE & TURNI recitat Certamina, quam hasce Insectorum Turmas inter sese depraeliantes. Ubique exiguae Reipublicae Duces, Populi, Studia, Mores, & tenue illud Imperium, quod intra Alvearii Angustias exercetur, venustâ, nescio quâ, Carminis Magnificentiâ exprimuntur: Quin hoc certe in toto Opere praecipue occurrit admirandum, quomodo, dum Plantationis, Pastionis, & Agriculturae curas exequitur Poeta, omissis usitatioribus loquendi formulis, materiae tam incultae locutionem Poeticam accommodaret; quomodo ignobiliori depressus Argumento nunquam ad Stylum Plebeium Orationem demiserat: Sed tanta undique apparet Locutionum vis, ut multi (quamvis temerè)
Georgicos
etiam
Aeneidi
praetulisse non dubitarint; sed in hoc Opere, per Argumentum, non licuit alias Poese
s Partes praeftitisse, quam Styli & Descriptionum Elegantiam. Quod ad utrumque attinet, illud sibi proprium semper vendicat MARONIS Pagina, ut, quicquid exprimat, mirâ quâdam Dulcedine animum ingrediatur, & quod describat, melius quam si Oculis subjiciatur, tanquam praesens intueamur.
In Styli puritate proxime accedit LUCRETIUS, cujus Dictio, si obsoletae aliquando Verborum Antiquitati, & Numeris pene solutis agnoscas, illorum Palato, qui
Romanè
sapiunt, persuavis videatur. In Descriptionibus tamen CLAUDIANO secundus debetur Honos, qui amoenas Rerum Imagines ubique venustissimâ contexuit Oratione, in hoc solummodo vitiosus, quod fusius, quam par eft, semper expatietur, eosdemque Versus diversis exponat Loquendi Modis. In hac Arte sese maximè profecisse satis noverat CLAUDIANUS; de quacunque enim re satagit, assiduè semper quaerit quae describenda sunt, imo plurima sumpsit Argumenta, quae tota in Descriptionibus occupantur, ut videre est in Praefationibus, in
Idylliis,
in Libris de raptu PROSERPINAE, de PHOENICE, HISTRICE, TORPEDINE, & plerisque Epigramatum.
OVIDIUS (ut erat
Aulici
Ingenii Homo) terso quidem & polito Carmine res exhibuit amatorias, in caeteris tamen Operibus istiusmodi occurrit Sermo, quali in Triviis uti solent: Ille enim Ingenio suo confisus de operosiori Dictione elaborandâ parum erat satis solicitus: In Libro tamen Metamorphose
s varias optime depinxit Animalium Mutationes, dum prior paulatim exuitur Forma & nova superinducitur.
Utrumque hoc, quod jam tractamus, Poetis Officium non rarò optimè praestitit PAPINIUS; LUCANUS neutrum, cujus Dictio, quanquam multùm sonat inflata, nullâ tamen Phraseorum aut Epithetorum Venustate animatur, sed Orationi magis solutae convenit, quam Poeticae; imo certe tali plerumque utitur Verborum delectû, qualem vel Liber dedignetur Sermo. Et quanquam in Descriptionibus saepissimè versatur, & in hujusmodi diverticula nunquam non excurrit, raro tamen, ut debet, Opus absolvit. Jam vero, quod ad STATIUM attinet, plurima certe composuit summis Poetarum invidenda, sed, inter magnas Virtutes, maxima occurrunt Vitia. In Dictione enim Verba nimis admittit sesquipedalia, nullâque de Argumento habitâ ratione, vana numeris miscet Tonitrua; Nec minus in Descriptionibus peccat; nimio enim calori indulgens, dum totis viribus excellere conatur, ultra Finem tendit opus, & in tumorem excrescit. In utrumque hujusmodi vitium aliquando incidit CLAUDIANUS. Jam vero, quoniam de VIRGILII
Aeneidis
Argumento varii multa scripserunt & praeclara, pauca solummodo de STATII & LUCANI Carminibus sunt advertenda; utpote, quae
Latinorum
omnium sola Epica haberi debent. De LuCANO id saepe in Disputationem venit, an Historia, quâ constat
Pharsalicum
Poema, idoneum sit Heroici Carminis Argumentum.
Vora ideo Heroicae Poese
s Natura inquirenda est, quam, apud Librum, de Dignitate & Augmentis Scientiarum, his Verbis, optime exhibuit VERULAMIUS Nostras.
"De Poesi Narrativâ, sive eam Heroicam appellare placet (modo hoc intelligas de Materiâ, non de Versu) ea a Fundame nto prorsus nobili excitata videtur, quod ad dignitatem humanae Naturae imprimis spectat. Cum enim Mundus sensibilis sit, Animâ rationali, dignitate, inferior, videtur Poesis haec humanae Naturae largiri, quae Historia denegat; atque Animo, umbris rerum, utcunque satisfacere, cum solida haberi non possint. Si quis enim Rem acutius introspiciat, firmum ex Poesi sumitur argumentum, Magnitudinem Rerum magis illustrem, Ordinem magis perfectum, & Varietatem magis pulchram, Animae humanae complacere, quam, in Naturâ ipsâ, post Lapsum, reperire ullo modo possit. Quapropter, cum Res geftae, & Eventus, qui verae Historiae subjiciuntur, non sint ejus Amplitudinis, in quâ Anima humana sibi satisfaciat, praesto est Poesis, quae Facta magis Heroica confingat: Cum Historia vera, successus rerum, minime pro meritis Virtutum & Scelerum, narret; corrigit eam Poesis, & exitus, & fortunas, secundum merita, & ex lege Nemeseos, exhibet: Cum Historia vera, obviâ rerum satietate & similitudine, animae humanae fastidio sit; reficit eam Poesis inexpectata & varia, & vicissitudinum plena canens. Adeo ut Poesis ista, non solum ad delectationem, sed etiam ad Animi magnitudinem, & ad Mores conferat. Quare & meritò etiam Divinitatis cujuspiam particeps videri possit; quia animum erigit, & in sublime rapit: rerum simulachra ad animi desideria accommodando, non animum rebus (quod ratio facit & Historia) submittendo."
Ex quo satis patet, veram Historiam cum Epico Poemate male convenire; & proinde, LUCANUM, quoad Argumentum, maxime desecisse. Quinque, in
illius Poemate, maxime emicant Heroes, CAESAR, POMPEIUS, BRUTUS, CATO, & CICERO. Omnes sane tam Vitâ insignes, quam Morte luctuosi; quorum Virtutes (quantum licuit per humanam Naturam) Perfectioni isti Heroicae, quam reliqui Poetae Ducibus suis falsò tribuerunt, proxime accesserant. LUCANUS CAESARI undique oblatrat, POMPEII Partes ambitiosè fovet, sed BRUTI & CATONIS Encomia, ob Stoicum (credo) illud Ingenium, quod cum his habuit commune, maxime celebrat: Et plurima certe, quae LUCANO objicias, Philosophiae hujuscemodi sunt referenda. Inde immodicus iste Ingenii tumor, & ambitiosa Sententiarum ostentatio, quam, cum illâ Hominum turbâ semper habet in Deliciis; inde quae magna sunt, quam quae bona sunt, maluit praeferre. Hinc etiam, in eximiâ illâ Poese
s Virtute, Passionibus excitandis, ipse (qui omnes Philosophiae Affectus tanquam illicitos existimavit) malè successerat, cujus Vitii unicum tantum (ut taceam caetera) Argumentum proferam. Postquam in Pugnâ Pharsalicâ CAESAR de POMPEIO Victoriam reportaverit, LUCANUS maximè debuit, si aliquid ab ipsâ Historiâ alienum protulisset, lugubri quodam Carmine immeritam doluisse POMPEII sortem, quippe quem, in toto Opere, summo habuit honore; vel saltem ipsum POMPEIUM (ut ingens patuit Doloris Argumentum) aut de amissâ
Romae
Libertate, aut de Amicorum Mortibus, aut de propriis querentem Infortunns, introduxisse oportuit. Poeta tamen ab omni hujusmodi Dolore tam longè a best, ut POMPEIUM obnixè hortaretur, postquam victus a Bello decesserat, ut CAESARIS Victoris sui commiserescat, quia nempè CAESAR non sine Scelere Victoriâ potitus est;
Nonne juvat pulsum bellis cessisse, nec istud
Prospexisse (nefas!) spumantes caede catervas?
Respice turbatos in cursu sanguinis amnes,
Et Soceri miserere tui; Quo pectore Romam
Intrabit factus campis felicior istis?
Quis tulerit Poetam tam ridiculè philosophantem? quasi vero POMPEIUS Senex, Exul, Miser, Triumphatus, ob Victorem suum quamvis scelestum Commiserationem quandam conciperet: Illum quidem maximè Stoicè sapuisse oportuerat, qui omnibus hisce Fortunae Donis spoliatus, tantum in nudâ Virtute poneret Felicitatem. Sed nullus Poetarum, nisi VIRGILIUS, hujusmodi afficiat Dolore: Alii plerunque, dum moerorem aliquem Lectoribus inducerent, in illo peccant, quod nimiâ Prolixitate sese in questus effundant, nec unquam satis Lachrymarum exhaustum esse sentiant, vel Ingenium, quod maximè possint, Versibus infundendo, faciunt, ut magis Carmina miremur, quam materiam lugeamus. De utroque cavit VIRGILIUS, qui merâ semper Simplicitate luctuosa, ut in se sunt, exhibuit; & levitèr quicquid dolet perstrinxerat:
"Lamentationes enim, inquit CICERO, debent esse breves & concisae, quia Lachryma subito exarescit, & difficile est, Auditorem aut Lectorem, in summo illo animi animi affectu, tenere."
Ut vero ad STATIUM redeamus, illi quidem Spiritus non rarò feliciter assurgit, cui dum temperare nequit, nescio quas projicit Ampullas, & vana Carminibus addit Numerorum Terricula menta. THEBAIDIS quidem Argumentum Ingenii sui Truculentiae, sed non Heroico Poemati satis aptum videatur: ETEOCLES enim, POLYNICES, & TYDEUS, quorum gesta hoc Carmine celebrantur, nihil habent eorum, si unicam Fortitudinem demas, quae conveniunt Heroibus: Imo, in toto Poemate, nulla nisi Scelerum, qualia sunt Parricidii, Perfidiae, Immanitatis, Odiorum, proferuntur Exemplaria; dum in omnibus ferè, quos suo Carmine induxit VIRGILIUS, praeclara
quaedam illucescunt, & in ipso AENEA summam Pietatem erga Deos, Natum, Conjugem, Amicos, & Parentem, Oculis semper habemus subjectam. Epitheta plerunque STATIANA multum sonant metaphoricè, dum inanimatis illa tribuuntur, quae Animalibus conveniunt. In Verbis tamen, nec rarò sinè maximâ Elegantiâ, Metaphoras consectatur CLAUDIANUS; VIRGILIUS in utrisque parcissimus; STATIUS plurimas rerum similitudines composuit, multum saepè de VIRGILII Ingenio referentes, in quâ arte meliùs successerat LUCANUS, si aliquid unquam mediocre admiserat; sed dum VIRGILIUS ad Apes, ad Formicas, & istiusmodi Naturae ludicra descendit, nihil unquam nisi Quercum fulminatam, Terrae Exitium, aut Mundi Conflagrationem ebuccinat LUCANUS. Et hisce tandem, quorum alii non operae Pretium duxerunt meminisse, de Heroicis Scriptoribus brevitèr perstrictis. De Satyricis restat dicendum; quorum omnium JUVENALIS & HORATIUS Palmam dubiam quidem fecerunt: Inter Literatos enim multum discrepat, utrum mordax illa Ingenii acerbitas, quâ suam armavit paginam JUVENALIS, an potius HORATII festivae Irrisiones, magis Satyrae conveniant: Ut vero de utroque rectiùs, statuatur, pauca prius sunt advertenda. Ob infamem vitae suae lasciviam, etiam nunc temporis, malè audit HORATIUS; Virtutem tamen semper rigide coluit JUVENALIS: Ille in absolutissimâ AUGUSTI Aulâ versatus est, hic in pessima DOMITIANI Tempora incidisset: Proinde, ut ad sua & Saeculi utriusque Ingenia Opera accommodarent Poetae, HORATIUS totus in ludicro exercetur Argumento, nec Morum Licentiam, sed indecoras quasdam Aulicorum Ineptias plerunque insectatur; non ideò abfuisset quin irrideretur, si, aliquâ Styli severitate, ad leviuscula hujusmodi castiganda, se accinxisset: Gravissima tamen in Temporibus suis reprehendit JUVENALIS, & de Vitiis ubique queritur, quae vel pudeat recitare, & isti sanè Materiae, summa Mentis Indignatio, Orationis Ardor, & Ingenii Acrimonia, rectissime aptari videantur. Quamvis ubi ad Jocularia Animum demittit, non rarò Satyris Festivitatem fundit HORATIANAM. Uterque ideo (modo diversum consulas Argumentum) suo quidem Genere perfectissimus emicuit; in illo Ridiculum Acri melius, in hoc Acre Ridiculo.
Reliqua certe HORATII Opera, Admiratione potius sunt digna quam Encomiis, nec majora solum Vituperatione, sed etiam Laude.
Jam vero, quod ad Dramaticos attinet, PLAUTI & TERENTII Argumenta, Sales, Elegantiae ubique adeò vulgantur, ut nihil de novo possit adjici.
De SENECA vero tam diverse sentiunt, ut alii inter summos Tragicorum, alii infra Infimum annumerent: Illi quidem Ingenium valde magnum, Oratio elegans & concisa, abundat Sententiis plerunque acutis, Stoicam semper Philosophiam, quam amplexus est, redolentibus. Unde omnibus fere, qui Artem Dramaticam parum sapiunt, semper est in Deliciis; si tamen ad hanc respicias, Tragoediae ubique plurimum laborant, & istud vitii (ut reliqua praetermittam) SENECAE peculiare videatur, ut quoscunque inducat Interlocutores, nullâ, ad Personas quas sustinet, habitâ ratione, eundem semper unicuique tribuat loquendi modum: Omnes severiora spirant Philosophiae Dogmata, & quae Stoae magis conveniant, quam Theatro. Eâdem semper Styli Magnificentiâ superbiunt Rex, & Nuncius: Imo ipsam Nutricem (plurima enim tam acute profert) Stoicorum Praeceptis non mediocritèr imbutam sentias.
Inter Epigrammatistas potissimùm emicuerunt MARTIALIS & CLAUDIANUS; Ille semper, in extremo Poemate, Ingenii subjecit acumen, & saepe similia insequitur Verborum Tintinnabula; Hic, per totum Epigramma, suum dispergit Salem; & venustissimâ ubique utitur Latinitatis Elegantiâ.
Caeterum tamen Poetarum Vulgus, de istiusmodi mediocribus sunt, quos nec Dii nec Homines concesserunt; & quamvis una aut altera apud affectatas CATULLI Cantatiunculas, TIBULLI aut PROPERTII inhonestam paginam, & Carmina incuriosa, illucescat Virtus, non tamen est Operae Pretium Gemmas inter Stercora eruere.
A DISSERTATION Upon the most Celebrated
Roman POETS.
O F all the Nations in the World, the
Romans
have most excelled in the
Art of Poetry,
and even, among the
Romans,
VIRGIL has been the most deservedly celebrated; from whom the justest Rules of this Art are rather to be taken, than from the dry Precepts of the Criticks. To the End, therefore, that we may the more truly ascertain the
Beauties,
and
Faults,
which occur among the rest of the Writers of
Heroic Poetry,
let us compare them with the Style of VIRGIL; who, if he be in any Thing deficient, it is, when he has sometimes in his
Eclogues
mingled such a Purity of Style, as is not entirely agreeable with the Dialect of Shepherds; and frequently the Dignity of his Verse seems no way consonant to the Rural Pipe. In every Book of his
Georgicks,
he treats of
Country Affairs
with an inimitable Elegancy of Style; but, above all, we are most delighted with his last Book,
Of the Nature of
BEES; where, in a Poem on so inconsiderable a Subject, our Author purposely affects a peculiarly solemn and pompous Style. In this Piece he compares the Labours of the BEES to those of the
Cyclops;
and in the same lofty Numbers recounts the Skirmishes of these little
Insects
among themselves, as he does the Rencounters of AENEAS and TURNUS. All along, the Generals of this small Republick, the Populace, the Factions, the Customs and Forms of Government exercised within the narrow Limits of the
Bee-hive,
are described with an inexpressible Beauty and Magnificence. Throughout the whole Work, what mostly raises our Admiration, is, that in the Persuit of his Discourse on Planting, Grazing, and Agriculture, (waving the common Forms of Speech) he suits his Poetick Diction to so unpolite a Theme; how, seemingly depressed with the Meanness of his Subject, he never sinks into a
Plebeian
Style; but the Force and Energy of his Expression are so conspicuous, that many, too rashly indeed, have not scrupled to prefer the
Georgicks
to the
Aeneid:
But in a Work of this Nature, no other Parts of Poetry could be displayed, except an Elegance of Style and Description: In both these Ways VIRGIL has this, peculiar to himself, that he captivates the Soul with his wonderful Sweetness, and his Descriptions are as Lively, as if we had the Object placed before our Eyes.
In the Purity of his Style next follows LUCRETIUS, whose Diction, allowing for his Obsoleteness, and Numbers almost Prosaick, may challenge a Share of Praise, in those who have any Taste of the
Roman Eloquence:
For Descriptions however, the second Post of Honour is due to CLAUDIAN, who has throughout, in a most beautiful Style, interwoven his agreeable Images; faulty in this alone, that he expatiates upon his Subjects beyond all Decency, and frequently gives us the same Thoughts, diversified only in Expression. CLAUDIAN well knew what a Master he was in this Art, for on whatsoever Topick he is engaged, he diligently searches out Matter for Description, nay most of the Subjects he has wrote upon, are wholly such, as may be seen in his
Prefaces,
his
Eclogues,
his Books of the
Rape of
PROSERPINE, his
Phoenix,
his
Porcupine,
his
Cramp-fish,
and most of his EPIGRAMS.
OVID (like a true Courtier as he was) describes the Affairs of
Love
in neat and polite Verse. In the rest of his Works we meet with the more vulgar Way of Expression; for trusting to a good Genius, he was little soli
itous about forming a more elaborate Stile: but yet, in his
Metamorphoses,
he has Painted, in the greatest Perfection, the various
Changes
of all Creatures, and the
Transformations
proceed in a most easy and gradual manner.
STATIUS has frequently discharged both these Requisites of a Poet, we just now observed; LUCAN neither, whose Diction, altho' very bombast, is not enlivened either by beautiful Phrases or Epithets, but comes nearer Prose than Poetry; nay, there is in him commonly such a mean Choice of Words, as is sometimes even beneath Profe itself: And although he abounds in Descriptions, and is always making Excursions of that Kind, yet he seldom finishes his Work as he ought, or brings his Thoughts to any Justness of Conclusion.
But now, as to STATIUS, he has given us Compositions worthy of the Envy of the best Poets. But with all his Beauties, he has greater Faults; for, in his Expression, he makes too much use of Gigantick Words; and, not considering his Subject, mingles useless Thunder in his Numbers; Nor is he less faulty in his Descriptions; for, encouraging too great a Heat, while he attempts to excel, he shoots beyond his Mark, and swells unnaturally. Of both which Extreams CLAUDIAN is too often guilty.
And now, since there have been many Pieces written, and those of Note, on the Subject of VIRGIL's
Aeneis,
(and less notice is taken of the Poetry of STATIUS and LUCAN) to whose Productions only the
Latins
allow the Title of
Epick Poetry.
As to LUCAN, it has been often disputed, whether
History,
of which the
Pharsalia
consists, be a proper Subject for an
Heroick Poem.
For the Decision of this Point, we must enquire into the true Nature of
Heroick Poetry,
which our Countryman, the Lord BACON, has admirably described in his Treatise of
The Advancement of Learning.
"—[As for
Narrative Poesie,
or, if you please,
Heroical,
(so you understand it of the Matter, not of the Verse) it seems to be raised altogether from a noble Foundation, which makes much for the Dignity of Man's Nature. For, seeing this sensible World is, in Dignity, inferior to the Soul of Man,
Poesie
seems to endow human Nature with that which
History
denies; and to give Satisfaction to the Mind, with, at least, the Shadow of Things, where the Substance cannot be had. For, if the Matter be thoroughly considered, a strong Argument may be drawn from
Poesie,
that a more stately greatness of Things, a more perfect Order, and a more beautiful Variety delights the Soul of Man, than any Way can be found in Nature since the
Fall.
Wherefore, seeing the Acts and Events, which are the Subject of true
History,
are not of that Amplitude, as to content the Mind of Man,
Poesie
is ready at Hand to feign Acts more
Heroical:
Because
True History
reports the Successes of Business not proportionable to the Merit of Virtues and Vices,
Poesie
corrects it, and presents Events and Fortunes according to Desert, and according to the Law of Providence: Because
True History,
thro' the frequent Satiety and Similitude of Things, works a Distaste and Misprision in the Mind of Man;
Poesie
cheereth and refresheth the Soul, chaunting Things rare, and various, and full of Vicissitudes. So as
Poesie
serveth and conferreth to Delectation, Magnanimity, and Morality; and therefore it may seem deservedly to have some Participation of Divineness, because it accommodates its Images and Descriptions to the utmost Desire and Wish of the Soul, not subjecting the Mind to Things or Facts, as
Reason
and
History
do."]
From whence it is sufficiently manifest, that
History
and
Epick Poetry
are by no means proper Companions; and therefore, that LUCAN has very much failed in his principal Subject: The five Heroes, who make the greatest Figure in his Poem, are CAESAR, POMPEY, BRUTUS, CATO, and CICERO; each of them indeed as distinguishable in their Lives, as to be lamented in their Deaths; Men, whose Virtues, allowing for the Frailties of Human Nature, came nearest to that Pitch of Heroick Perfection, which other Poets have falsely attributed to their Heroes. LUCAN every where snarls at CAESAR, and passionately espouses POMPEY's Interest; but most of all, celebrates the Characters of BRUTUS and CATO, for that Spirit of
Stoicism,
which he had equally imbibed with them: And, indeed, most of the Faults objected to LUCAN, are rather to be imputed to this Kind of Philosophy. From whence sprung that boundless Vein of Wit, and that peculiar Affectation of a lofty Style; which, like that Sect of Men, he always delighted in, and therefore gives the Preference rather to Great, than Good Actions. And upon this Account, in raising the Passions, (that most excellent Part of Poetry) he succeeded but ill; because, upon the Principles of his Philosophy, the Passions themselves were accounted as absolutely unlawful. To confirm this, (passing by many others) I will produce but one Instance: After CAESAR had obtained the Victory over POMFEY, in the Battle of
Pharsalia,
LUCAN certainly, (if he had enlarged on any Circumstance foreign to History it self) should, upon so remarkable an Occasion, have lamented the undeserved Fate of POMPEY, in the most mournful Strain; especially since he pays so high a Deference to him throughout his whole Work; or, at least, (as there was an open Field for Grief) he should have introduced POMPEY, either complaining of
Rome
's lost Liberty, the Death of his Friends, or his own Misfortunes. But LUCAN is so far from raising the Passions to this just Heighth, that he warmly advises POMPEY (when vanquished, he retires from the Field of Action) to commiserate the Condition of his Conqueror CAESAR, because he had not won the Day, but by unjustifiable Methods.
Don't you rejoice that your superiour Foes
Have snatch'd you from a Scene of future Woes?
That blest in Exile you escape the Sight
Of Armies bleeding in domestick Fight?
Behold each River drags her tardy Flood,
Choak'd up with Carnage and distain'd with Blood;
Your
Victor-Sire
with pitying Eyes survey,
Nor envy him the Fortune of the Day.
How shall he enter
Rome
devoid of Shame,
Who on the publick Ruins builds his Name?
Who can bear to hear the Poet Philosophizing in this ridiculous Manner? As if POMPEY, a Man in Years, an Exile, Miserable, and Vanquished, should have any Concern upon him for the Crimes of his Conqueror: He ought to have been very much stoicized indeed, who, despoiled of all the Goods of Fortune, could place the Sum of his Felicity in meer naked Virtue. But none of the Poets have touched this Passion of
Grief
like VIRGIL. The Generality of other Writers, when they attempt to move their Readers, offend in this Point, that they are too prolix in spinning out their Complaints, and think their Flood of Tears inexhaustible; or else, while they labour to express the Greatness of their Genius, in the Profuseness of their Verse, rather raise our Admiration at the Flowing of their Numbers, than excite our Pity in the Catastrophe of their Story. VIRGIL has carefully avoided both these Extreams, and dresses his Images of Sorrow in their Native Simplicity; and where-ever he touches upon the Pathetick, he does it with a masterly quickness: For, according to CICERO,
Our expressions of Grief ought to be short and concise, because our Tears quickly dry up, and it is unnatural to detain either an Auditor or Reader in too long a Suspension of Grief.
But to return to STATIUS, his Spirit is indeed lofty and aspiring, to which while he gives too great a Loose, he runs into Bombast, and to his Poetry often adds useless sounding Words. The Subject of his
Thebais
seems indeed suited to the Barbarity of his Genius, but is beneath the Dignity of an Heroick Poem. For neither ETEOCLES, POLYNICES, nor TYDEUS, whose Actions are recorded in this Poem, have any thing in them, except their Fortitude, agreeable to Heroes: Nay, throughout the whole Piece, there are no Examples produc'd, unless of Persons infamous for the most flagitious Enormities, such as Parricide, Treachery, Cruelty, and Revenge; while, on the contrary, every Thing Praise-worthy shines bright in VIRGIL's Heroes; and in the Person of AENEAS we have plac'd before our Eyes an Instance of consummate Piety towards the GOD's, his Son, his Wife, his Friends, and his Father. The Epithets of STATIUS are generally forced and very metaphorical, while such Properties are ascribed to Inanimates, as really only belong to Animals. In the Choice of his Words, and frequently in his Metaphors, he is followed by CLAUDIAN with the utmost Elegance. VIRGIL is sparing in both these Particulars; STATIUS abounds much with Similitudes, in which he seems to imitate VIRGIL; but in this Instance LUCAN had had better Success, if he had hit upon the proper Medium: But while VIRGIL stoops down to the humble Subjects of
Bees, Ants,
and other such like delightful Themes of Nature; on the other Hand, LUCAN bellows out nothing but Stories of
Oaks
split by Lightening,
Earthquakes,
and the World's
Conflagration.
Let this, in short, suffice, observable, concerning the Writers of Heroic Poetry, in itself New, and never before taken Notice of.
Something now remains to be said of the
Satyrists,
among whom whether JUVENAL or HORACE have most Right to the
Bays,
it is dfficult to determine; for it has been long a Dispute among the Learned, whether that Keenness and Bitterness of Expression with which JUVENAL has armed his
Satires,
or HORACE's more jocose
Lampoons
are most agreeable to the End of SATIRE. Now that we may give a clearer Decision on this Head, a few Things must be premised. HORACE bears, to this Day, an ill Character for the Looseness of his Conduct in Life. JUVENAL was a rigid Practiser of Virtue. The one was conversant in the most perfectly polite Court of AUGUSTUS; the other lived in the Dregs of DOMITIAN's Time; and therefore both these Poets accommodated their Writings to the Manners of the different Ages they lived in: For HORACE is intirely upon the ludicrous, and persues not so much the Licentiousness of the Times, as the ridiculous Fopperies of some particular Courtiers; for had he attempted to correct these Trifles with Severity, he had not missed of being laughed at: But JUVENAL lashes the grossest Crimes prevalent in his Time, and complains of Enormities which one would be ashamed to mention; and nothing less than the highest Resentmemt of Soul, Ardency of Expression, and Sharpness of Speech, could be an equal Match to Crimes so notorious; though whenever he descends to be
jocose,
we frequently meet with the Pleasantry of HORACE. Both of them, allowing for the different Manner of their Writing, are perfect Masters in their several Ways; in the one, the
Ridicule
appears better than the
Severe,
in the other, the
Severe
better than the
Ridicule.
The rest of HORACE's Pieces are so admirable, that they exceed our highest Encomiums, and are not only beyond our Dislike, but above our Praise.
As to what concerns the Dramatic
Poets,
PLAUTUS and TERENCE bear away the Bell, whose Plots, Turns, and Elegancy of Style, are so well known, that nothing New can be said upon them.
As ro SENECA, Mankind have had different Opinions of him; some have ranked him with the best
Tragoedians,
others have sunk him below the worst. He certainly had a great Genius, an elegant and concise Way of Expression; he abounds with smart Turns, which always savour much of that Stoicism of which he was a Follower, upon which Account he has always been esteemed by those who have had little or no Taste of
Dramatic Poetry;
but then if we consider him as such, his Tragedies are throughout too elaborate; and this, to pass by his other Faults, seems peculiarly SENECA's, that he makes all his Actors (without any Regard to the Characters they bear) talk in the same Strain; all of them inculcate rigid philosophical
Dogmata,
and such Morality as is rather fit for the Schools of the Stoicks, than the
Roman
Theatre: For with him the King and the Slave strut in the same Buskin; nay, you may perceive the Nurse herself deeply tinged with the Principles of Stoicism.
Among the
Epigrammatists,
MARTIAL and CLAUDIAN have bore the greatest Reputaion; the first, for the severe Point in the Close of his
Epigrams,
and the peculiar Jingle of his Words. The other, for dispersing the Poignancy of his Wit throughout his
Epigrams,
and that in the most beautiful
Latin
Phrase.
The rest of the
lower Class
of the
Latin
Poets creep so low in their Numbers, that they are beneath the Notice either of GODS or Men: And tho' we may now and then discover in the affected Songs and Sonnets of CATULLUS, and the obscene POETRY of TIBULLUS and PROPERTIUS, some not disagreeable Pieces, yet it is not worth our while to rake the
Dunghills
for the sake of the JEWELS.
TENTAMEN De POETIS
Romanis
ELEGIACIS.
S Aepe Mecum ipse mirari soleo, Ex tot tantisque viris in Antiquâ classicorum Poetarum paginâ Transferendâ, vel operosè, vel commodè Jucundèque Versatis, tam paucos Extitisse, Qui
Elegiarum Scriptores,
vel dignos operâ sua Judicaverint, vel quidem suo otio dignos. Haud Ego quidem possum credere, quin Hi in propriâ scribendi Normâ perinde feliciter Successerint, atque alii; ac proinde cum non minori Emolumento, quam cum voluptate Legantur. Ad me quod Attinet, Affirmare possum, Eam fuisse semper animi temperationem mei, ut Eandem vel casui protervè fortuito vel Difficultati rerum procaciter obliquae Stomachantem, Longe facilius Lenire me, atque mulcere potuisse Senserim, Dulcem optando Comitem
Tibullum,
quam vel Philosophorum Lectiones vel praecepta Theologorum Consulendo. Quicquid enim est solenne valde, id omne, aliquam, nescio quam, prohibitoriam Coactionis faciem, prae se ferre atque ostentare videtur. Adeoque est paene semper inauspicata aut
Discentis
cujuslibet aut
Docentis
Indoles, Ut, Ex quovis severioris disciplinae Genere, nostrae potius poena voluntatis, quam mentis Emendatio Nascatur. Verbis Enim ita strenue contendere, ut,
munus
esse rectae rationis, hoc vel illud agere, mens hominum convicta fateatur, non est res duri forsitan plena Negotii: At vero, ad illud idem munus obeundum, aliquem fortiter & Suaviter Impellere, Hic est plane operosus flexanimae Orationis Labor, Hoc summum Artis Misterium. Digna quidem Haec
Horatii
Sententia, quae altâ mente reposta maneat.
Virtus est Vitium fugere, & sapientia prima
Stultitiâ Caruisse.
Annon Eodem prorsus Jure dicere possimus, E voluntariâ quadam Erumnarum nostrarum Oblivione primum Surgere ad felicitatem gradum. Quem quidem Si assequi Optume Volumus, non debere nos cogitabundam nimis, sollicitamque illam, quae nobis est Insita, particulam Exuscitare; tumultuantes autem rerum ideas Mulcere, & motos animi fluctus Componere, multomagis opportere Confido.
Donec Nostra hujusmodi Corpuscula, Misera illa quidem & vacillantia navigiola, incertum hujus vitae cursum tenent, & in prope medium usque oceanum immani & feroci ventorum vi pelluntur, Longe ab aspectu Littoris hospitibus Mansueti; Certo Certius est, Navigantes in illis animas Nostras, Gaudia permagna Intùs Oborientia Sentire, Quando ab Ingruenti extrinsecùs procellâ ipsae sese quasi furtim Retrahentes, & Laevatius affectantes iter, Leniter natant voluptatis aquas, placidâque fruuntur passionis aurâ Secundo (ut ita dicam) teneritatis flumini Conjunctâ.
Occulta quaedam Inest Carminibus Incantatio, quae nunquam non solet benè formatum pectus gratâ dulcedine afficere; atque Ego quidem Opinor, in Probae illius atque Ingenuae Classis Poetarum, Catulli nempe, Tibulli, Propertii, & Ovidii versibus, aliquid, nescio quid, singulare atque valde patheticum Existere. Certum Est, inter illa Elegiaci ordinis carmina, Catulli perpauca esse aptè Judicatòque numeranda. At, quandocunque teneriora humanitatis argumenta tractat, Minervae suavem afflant odorem sententiae omnes, proprietatem prietatem vel accuratissimam sapiunt, Summamque redolent Elegantiae amaenitatem. Ac proinde nihil aliud agere potui, quam ut Insigne ipsius nomen in sociorum eâdem studiorum ratione valentium numerum referrem. Eminebant Hi Quatuor, in Patriâ suâ, clari Natalibus, &, ut tum erant tempora, re plusquam mediocri Fruebantur. Ad voluptatem traxit sua quemque Indoles; singuli vero, rectâ usi ratione, eò sapientiae processerunt, ut, & publici pravitatem negotii, & caducam prorsus Elati fastus incertique honoris Exploraverint inanitatem. Tres Priores Jure merito dicantur Triumviratum perinde Illustrem constituisse, atque ulla unquam protulit Aeta
; Siquidem vivendi modum splendidè otiosum spectemus. Perpolitis ornati moribus, Rerum copia affluentes, bene succedentes in amoribus, summâ cum familiaritate sibi Invicem beatè conjuncti, Quamdiu vixerunt, tamdiu usque viguere humani Generis deliciae; & tandem cum a vivorum regionibus discesserunt, eas utique omnes discessum Lugentes Reliquere. Quantum ad Ovidium attinet, erat ille quidem omnibus illis Apprimè ornatus & morum & ingenii dotibus, quae ad absolutè fingendum hominem planè generosum conducere posse videantur. Quippe Iratus illi Augustus, vel quod Insperatò istius imperatoris occultae Lasciviae testis aderat fortuitus, vel quod proprios a mores (utilli speciosè vertebatur Crimini) impudicè nimis describebat, Eundem Annum habentem Quinquagesimum Ex Italia in Exilium mittebat. Exul reliquum miseriae vitae tempus Languidè valdè consumens inter sauromatas in Civitate (cui nomen recens
Temeswaer,
uti putant Nonnulli) Extremum obiit Diem. Hujusmodi Suppliciorum Exempla non nisi Bina in omnibus Historiarum Monumentis Esse credo reperienda, ubi, quod est punitum (si malum quam durissimè appellemus) illud inconsideratè solummodo atque temerè factum vocare possumus; Alterum Ovidii Personae sorte Contigit, Rabutini alterum. Horum quidem Principes, pari certè, illoque supremo dominandi Jure Gaudebant, Sapientiâ fruebantur Pari, paribus Suspicionibus angebantur.
Haec Geniorum, quibus Hi Erant praediti, perexigua sanè delineatio, Nos abundè doceat rectè Judicare, quantum Scientiae lumen, quamque dulce & Elegans Emolumentum, Compositissima quaeque Horum Poetarum themata, mentibus afferant benè atque nitidè preparatis. Ac Revera, Quam in amicitia fidem inviolatam, Quos teneros in amore Impulsus, Quam in propinquos Benevolentiam assiduam, Quae tandem omnium virtutum Moralium Monumenta intuemur? Quae videmus Exemplaria? Quae, quaeso Utique, non videmus? Ut mille Ingenii ornamenta Omittam, ut praeteream miram illam Dulcedinem & felices musicae numeros poeticae tenerè Cadentes, Ut taceam denique Genuinas illas & quasi Iammodo Spirantes vitae Imagines, quae quidem Efficiunt, ut vix, primâ facie, opinemur, Scenam Earandem in saeculo perinde remoto fuisse repraesentatam, atque nobiscum magis ipsi cogitantes revera sentimus.
Una Porro objectio non est silentio praetereunda: Quippe Crimini in universo paenè orbe Christiano Ducitur Hisce Poetis, nimiam in inhonestis rerum ideis Excogitandis Licentiam, nimiamque in eisdem exprimendis obscenitatem Affectasse.
Sed tamen est certum quid respondeam. Siquando, parva Blanditiarum suarum quasi stratagemata Explicantes, tali verborum usi sint delectu, qualem Religiosa dedignaretur morum simplicitas, ortam indé tamen vitiosam oblectationem omnem, non singulari cuidam turpitudini ab his unicè affectatae, sed Communi potissimum atque Effrenatae illius, in quâ viguere, aetatis Licentiae attribuere nos debere contendo. Siquidem ejusdem reum criminis Agimus Horatium; Habere certe debemus confitentem reum. Porro autem ipse Virgilius, cujus ad Coelos usque tollitur Modestia, Multa in Bucolicis scripsit, quae, apud nos, Lasciva atque ab honestate remota ponuntur. Ne plura, totum argumentum Haec Unica Consideratio Determinat. Qui animum bonis & Intaminatis vitae Institutis retinet Imbutum, ille cum hisce Authoribus versari facillimè potest, Omnis Expers periculi contagionis. Atque Quantum ad eos spectat, Quorum Improbitas superat Ingenium (Execrabilius autem accidere fatuo nihil potest) illi Proprii & insensati quidem vitii tempestate abrepti, aras focosque & res omnes quam maxumè sacras, Nequissimi cujusque facinoris perpetrandi gratâi, prosternent. At, Quandoquidem Omnia horum poetarum Carmina, uti erant primitùs & Latinè scripta, tute & sine labe Legi queant; singula tamen, salvâ morum pietate, anglicè reddi posse, Minimè Contendo. Sed, quum multa possint; Dolendum videtur, Linguam Anglicanam non perfrui pluribus, quippe quae Ditiorem redderent Sermonem nostrum, atque pleniorem Dulcium varietate Imaginum, quae aequè sunt innocuae, atque sunt suaves.
Qui vero hujusce operis provinciam in se Susceperint, illi profecto desudabunt, Cum novos passim invenient Labores Ex crebris clausulis ad ritualem Religionis cultum & superstitiosa quaelibet Dogmata altè respicientibus Oriundos. Hisce Exemplis abundant Ea Carmina, in quibus Reperitur maxima vis Libidinis: Nempe Lasciviae Lenocinari Superstitio Jugitèr solet. Quantum autem ad illa attinet, quae non indecora Tralatione digna sunt, Eaquidem Omnia, paucis illustrata Commentariis, non solum Erunt Intellectu facilia, verum Etiam Lectoribus merè Anglicanis magnam afferent Voluptatem.
AN ESSAY UPON THE
Roman
ELEGIAC POETS.
I Have often
wondered,
that, among so Many, who have Busied or Diverted Themselves in
Translating
the Ancient
Classick
POETS, so Few have thought the
Writers
of ELEGY Worthy their Pains, or Amusement. I cannot but Believe that,
These
have succeeded as happily in their Way, as the
Others,
and that They may be Read with no less
Advantage
than
Pleasure.
For my own Part, I can affirm, that when at any time my Mind hath been ruffled by some
peevish Accident
or
Disappointment,
I have always found my temper sooner Composed by taking a Turn with
TIBULLUS
in my Hand, than by having recourse to the
Lessons
of PHILOSOPHY, or the
Precepts
of DIVINES. Whatever is very
solemn,
carrieth with it, I don't know how, somewhat of
Constraint:
And it frequently happens by an unlucky Disposition either in the
Pupil,
or the
Preacher,
that
Those severer
Kinds of
Discipline
(I speak not This with the least Irreverence) serve rather to
Punish,
than
Reform
Us. It is perhaps no Difficult Matter to
Convince
One of the
Reasonableness
of This or That Action, but the Secret lies in
Engaging
One in the
Practice.
It is a
Memorable Sentence
of a
Celebrated
MORALIST
This,
Virtus est vitium fugere, & Sapientia prima
Stultitiâ caruisse.—
Horat.
"It is the
Beginning
of VIRTUE to
Depart
from VICE; and the
First Step
towards WISDOM is to
Forsake
our FOLLY."
May it not as justly be said, The
First Step
towards HAPPINESS is to
Forget
our MISERY? The best Method to bring
That
about is not, I presume, by
Alarming
the THINKING FACULTY, but by
Soothing
and
Lulling
to
Rest
our
too Active
and
Unquiet
REFLECTIONS.
WHILST
Our poor tottering
BARK continues in This Uncertain
Voyage
of Life, and is so often kept out at
Sea
in
rough
and
stormy Weather,
far from the sight of any
Hospitable Shoar,
the SOUL, its PASSENGER, cannot sure but feel a
mighty Satisfaction
arising within, when she finds Herself afterwads
Stealing,
as it were, away under
smoother Courses,
and born
gently
down the
Tide
of TENDERNESS in
soft
and
easie Gales
of PASSION.
THERE is a
Charm
in VERSE that never fails
agreeably
to Affect a
Heart
that is
rightly plac'd:
And there is, in my Opinion, something
peculiarly moving
in the VERSES of That
Good-natured Class
of POETS
CATULLUS, TIBULLUS, PROPERTIUS,
and
OVID.
There are but
Few Pieces
of
CATULLUS,
it is true, that can strictly be ranked among
Those
of the ELEGIAC ORDER: But whenever HE doth Touch upon the
softer Subjects
of HUMANITY, his
Sentiments
have the utmost
Propriety
and
Delicacy;
and therefore I could not but mention HIM among
His Companions.
They were,
All Four,
Men of
Family
and
Condition
in their Country. Their
Inclinations
led Them naturally to PLEASURE, and Their
Good Sense
to a Discovery of the
Knavery
of BUSINESS, and the
Vanity
of AMBITION. The
Three Former
may be said to have Been as
Extraordinary
a
TRIUMVIRATE,
as, perhaps, any Age hath Produced, I mean in an
Idle Way
of Life:
Polite
in their MANNERS;
Easie
in Their FORTUNES;
Successful
in Their AMOURS;
Happy
in
each Other's
ACQUAINTANCE;
Beloved,
in general, while they LIVED; and Universally
Lamented,
when They DIED. As for
OVID,
He was certainly Master of all the
fine Qualities
and
Accomplishments
that could be desired in a GENTLEMAN. But having Offended
AUGUSTUS,
either by Happening to be an
Unexpected Witness
of that EMPEROR's
Love-Intrigues,
or else by too
lasciviously
Describing
His Own
(which was the
Crime
Pretended) He was
Banished
from
ITALY
in his
Fiftieth
Year; and Languished out the Remainder of His Days at
TAMOS
(the Modern
TEMESWAER
as some think) There are I believe but two Instances in Story of a
Punishment
like
This
for What, at the worst, could be called
only
an
Indiscretion:
One in the Person of
OVID,
The Other in That of
RABUTIN.
Their
Masters
were equally
Absolute,
equally
Wise,
and equally
Jealous.
FROM this Little Draught of
Their Characters,
One may judge how
Edifying
any of
Their Compositions
must needs be to an
Elegant Understanding.
And, indeed, What
Sincerity
in FRIENDSHIP, What
Fondness
in LOVE, What
Kindness
to RELATIONS, What
Instances
of
all the Social
VIRTUES do We not meet with in Their Writings? Not to mention a thousand Ornaments of
Wit,
a wonderful
Sweetness,
and easy
Cadence
in their
Numbers,
and so True a
Picture
of Life, that one can scarce Fancy the
Scene
to lye at the
Distance
it is placed.
THERE is One
Objection,
which I must not pass over, and that is generally charged upon
These
POETS: Imean, Their too great
License,
and
Obscenity
in Their
Ideas
and
Language,
To This I would Reply, That if upon some Occasions, They seem not to have been very
Scrupulous
about the
Terms
They made use of in Communicating their
Amorous Adventers,
it ought not to be imputed to a
Scandalous Singularity
in THEM, but to the
Common
Indulgence
of the AGE in which They Flourished.
HORACE
must Plead
Guilty
to the
same Indictment.
Nay,
VIRGIL
Himself, as Applauded as HE is for
Modesty,
hath left many
Expressions
in his ECLOGUES that might be Argued of
Wantonness.
After All, the whole Matter will turn upon this Single Point. A Person whose
Principles
are
Uncorrupted
may freely Converse with
These
AUTHORS without Danger of
Infection:
And for Such who have more
Wickedness
than
Wit
(the greatest
Curse
that can befal a FOOL) their
sensless Vice
will tempt Them to Pervert even the most
Sacred Things
to the
vilest Purposes.
However, though
All
their POEMS may be
Read
in the
Originals
with
Safety,
I do not pretend to say They can
All
be
Translated
with
Decency.
But since Many of Them may, it is Pity, I think, We have not More of Them in ENGLISH, to Enrich our Language with a Variety of
Pleasing Images
that are as
Innocent,
as they are
Delightful.
THERE is
One Difficulty
that will still lye upon the Hands of Any who shall Undertake this Work, and
This
ariseth from their frequent
Allusions
to the
Ceremonies
ând
Notions
of Their RELIGION.
Instances
of This abound even in
Those Copies
of their Verses that are writ the most in the
Spirit
of LEWDNESS: (As SUEPRSTITION hath ever been an
Especial Bawd
to LUST) But for All such as are Proper to be
Translated,
they may be Rendered by a few
Explanatory Notes
not only
Intelligible,
but very
Entertaining,
to a
mere
ENGLISH
Reader.
FINIS.