The Art of Poetry: an Epistle to the Pisos Part 15

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 ill.u.s.trate "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 p.r.o.nounced 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 lecons, que ma Muse au Parna.s.se, 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 Lords.h.i.+p, 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 pa.s.sages 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 ill.u.s.tration, as a matter of amus.e.m.e.nt 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 pa.s.sages, 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...o...b..lius,_ and translating the _prosodia_ of the Latin Grammar. Borrowers and Imitators cull the sweets, and suck the cla.s.sick 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 n.o.ble 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 parle plus modestment. Mais il ne s'eflort pat donne la temps de le bien comprendre. Ce Livre estoit trop pet.i.t pour estre goute 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 a.s.surement un ouvrage d'une erudition infinie; on y trouve par tout des choses fort recherchees, & 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 maitres, 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 got & de plaisir dans un ruisseau dont les eaux seront clairs & pures, que dans un fleuve plein de bourbe & de limon: tout de meme, un esprit fin qui ne cherche que la justesse & une certaine fleur de critique, trouvera bien mieux son compte dans ce pet.i.te traite 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 este a.s.sez heureux pour la bien eclaircir, & pour en dissiper si bien toutes les difficultes, qu'il n'y en reste aucune. Les plus grandes de ces difficultes, viennent des pa.s.sages qu'Horace a imite des Grecs, ou des allusions qu'il y a faites. Je puis dire au moins que je n'en ay laisse pa.s.ser aucune sans l'attaqaer; & je pourrais me vanter,

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

En general je puis dire que malgre la soule des Commentateurs & des Traducteurs, Horace estoit tres-malentendu, & que ses plus beaux endroits estoient defigures par les mauvais sens qu'on leur avoit donnes jusques icy, & il ne faut paus s'en etonner. La pluspart des gens ne reconnoissent pas tant l'autorite 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 secoue ce joug, _& que sans m'a.s.sijetir au sentiment de personne, j'ay tache de suivre Horace, & de demeler ce qu'il a dit d'avec ce qu'on luy a fait dire._ J'ay mesme tojours remarque (& j'en pourrais donner des exemples bien sensibles) que quand des esprits accotumes aux cordes, comme dit Montagne, & qui n'osent tenter de franches allures, entreprennent de traduire & de commenter ces excellens Ouvrages, _ou il y a plus de finesse & plus de mystere qu'il n'en paroist,_ tout leur travail ne fait que les gater, & que la seule vertu qu'ayent leurs copies, c'est de nous degoter presque des originaux.

Comme j'ay pris la liberte de juger du travail de ceux qui m'ont precede, & que je n'ay pas fait difficulte de les cond.a.m.ner 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.