Part 15 (1/2)
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.