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+ background: #ffffff; + text-decoration: none; + } + + a:active { + text-decoration: underline; + } + + a.contents:link { + color:#000000; + background: #ffffff; + text-decoration:none; + } + + a.contents:visited { + color:#000000; + background: #ffffff; + text-decoration:none; + } + + a.contents:hover { + color:blue; + background:#ffffff; + text-decoration:none; + } + + a.contents:active { + color: #cc0099; + background: #ffffff; + text-decoration:underline; + } + + a.note:link { + color:#000000; + background: #ffffff; + text-decoration:underline; + } + + a.note:visited { + color:#000000; + background: #ffffff; + text-decoration:underline; + } + + a.note:hover { + color:blue; + background:#ffffff; + text-decoration:underline; + } + + a.note:active { + color: #cc0099; + background: #ffffff; + text-decoration:underline; + } + + </style> + </head> + + <body> + + +<pre> + +The Project Gutenberg EBook of Letters Concerning Poetical Translations, by +William Benson + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Letters Concerning Poetical Translations + And Virgil's and Milton's Arts of Verse, &c. + +Author: William Benson + +Release Date: January 18, 2006 [EBook #17548] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK LETTERS CONCERNING POETICAL *** + + + + +Produced by Jonathan Ingram, Carol David, Lesley Halamek +and the Online Distributed Proofreading Team at +http://www.pgdp.net + + + + + + +</pre> + + + +<div class="figcenter"><img src="images/02-1.png" width="500" height="56" alt="glyph" border="0" /></div> + +<h1><span class="emph">LETTERS</span></h1> + +<br /><br /> + +<h2>CONCERNING</h2> + +<br /><br /> + +<h1>Poetical Translations, &c.</h1> + +<br /><br /><br /><br /> + +<h5>(Price One Shilling.)</h5> + +<div class="figcenter"> +<img src="images/02-2.png" width="500" height="52" alt="glyph" border="0" /> +</div> + + + +<h1><span class="emph">LETTERS</span></h1> + +<br /> + +<h2>CONCERNING</h2> + +<br /> + +<h1>Poetical Translations,</h1> + +<h3>AND</h3> + +<h2><span class="sc">Virgil's</span> and <span class="sc">Milton's</span></h2><br /> + +<h2>ARTS of VERSE, &c.</h2> + +<br /> + +<h5><span class="sc">by</span></h5> + +<br /> + +<h2><span class="sc">William Benson</span></h2> + +<hr class="short" /> +<div class="figcenter"> +<img src="images/12-1.png" width="150" height="125" alt="" border="0" /> + +</div> +<hr class="short" /> + +<h4><i>LONDON</i>:</h4> +<h5>Printed for <span class="sc">J. Roberts</span>, near the <i>Oxford-Arms</i><br /> +in <i>Warwick-Lane</i>. <span class="sc">Mdccxxxix</span>.</h5> + +<div class="figcenter"> +<img src="images/06-1.png" width="479" height="198" alt="glyph" border="0" /> + +</div> + +<a name="page1" id="page1"></a><span class="left">[page 1]</span> +<h1>LETTER I.</h1> + +<p class="indent"> +<i>SIR</i>,</p> +<p><span style="float: left"> +<img src="images/06-2-75.png" width="75" height="79" alt="I" border="0" hspace="10" /></span> +am now going to obey your Commands; +but you must let me do +it in my own way, that is, write +as much, or as little at a time as I +may have an Inclination to, and +just as things offer themselves. After +this manner you may receive in +a few Letters, all that I have said to you about +poetical Translations, and the resemblance there is +between <i>Virgil's</i> and <i>Milton's</i> Versification, and +some other Matters of the same nature.</p> +<p> +To begin with the Business of Translation.</p> +<p> +Whoever sits down to translate a Poet, ought in +the first place to consider his Author's peculiar <i>Stile</i>; +for without this, tho' the Translation may be very +good in all other respects, it will hardly deserve the +Name of a Translation.</p> +<p> +The two great Men amongst the Antients differ +from each other as much in this particular as in the +Subjects they treat of. The Stile of <i>Homer</i>, who +sings the Anger or Rage of <i>Achilles</i>, is <i>rapid</i>.<a name="page2" id="page2"></a><span class="left">[page 2]</span> +The Stile of <i>Virgil</i>, who celebrates the Piety of <i>Æneas</i>, +is <i>majestick</i>. But it may be proper to explain +in what this Difference consists.</p> +<p> +The Stile is <i>rapid</i>, when several Relatives, each +at the head of a separate Sentence, are governed by +one Antecedent, or several Verbs by one Nominative +Case, to the close of the Period.</p> +<p> +Thus in <i>Homer</i>:</p> + +<div class="poem"> +<div class="stanza"> +<p>"Goddess, sing the pernicious Anger of <i>Achilles</i>,</p> +<p>which brought infinite Woes to the <i>Grecians</i>,</p> +<p>and sent many valiant Souls of Heroes to Hell,</p> +<p>and gave their Bodies to the Dogs, and to the</p> +<p>Fowls of the Air."</p> +</div> +</div> + +<p> +Here you see it is the Anger of <i>Achilles</i>, that +does all that is mentioned in three or four Lines. +Now if the Translator does not nicely observe <i>Homer's</i> +Stile in this Passage, all the Fire of <i>Homer</i> +will be lost. For Example: "O Heavenly Goddess, +sing the Wrath of the Son of <i>Peleus</i>, the +fatal Source of all the Woes of the <i>Grecians</i>, +that Wrath which sent the Souls of many Heroes +to <i>Pluto's</i> gloomy Empire, while their Bodies lay +upon the Shore, and were torn by devouring +Dogs, and hungry Vultures."</p> +<p> +Here you see the Spirit of <i>Homer</i> evaporates; +and in what immediately follows, if the Stile of +<i>Homer</i> is not nicely attended to, if any great matter +is added or left out, <i>Homer</i> will be fought for in +vain in the Translation. He always hurries on as +fast as possible, as <i>Horace</i> justly observes, <i>semper ad +eventum festinat</i>; and that is the reason why he introduces +his first Speech without any Connection, +by a sudden Transition; and why he so often brings +in his <a class="contents" href="#greek1" title="ton d' apameibomenos">τòν δ’ απαμηβόμενος</a><a name="rgreek1"></a>: He has not patience to +stay to work his Speeches artfully into the Subject.</p> +<p> Here you see what is a <i>rapid</i> Stile. I will now<a name="page3" id="page3"></a><span class="left">[page 3]</span> + shew you what is quite the contrary, that is, a <i>majestic one</i>. To instance + in <i>Virgil</i>: "Arms and the Man I sing; the first who from the Shores of + <i>Troy</i> (the Fugitive of Heav'n) came to <i>Italy</i> and the <i>Lavinian</i> + Coast." Here you perceive the Subject-matter is retarded by the <i>Inversion + of the Phrase</i>, and by that <i>Parenthesis</i>, the <i>Fugitive of Heaven</i> + all which occasions <i>Delay</i>; and <i>Delay</i> (as a learned Writer upon + a Passage of this nature in <i>Tasso</i> observes) is the Property of Majesty: + For which Reason when <i>Virgil</i> represents <i>Dido</i> in her greatest Pomp, + it is,</p> + +<div class="poem"> +<div class="stanza"> +<p>—<i>Reginam</i> cunctantem <i>ad limina primi</i></p> +<p><i>Pœnorum expectant</i>.—</p> +</div> +</div> + +<p> +For the same Reason he introduces the most solemn +and most important Speech in the <i>Æneid</i>, +with three Monosyllables, which causes great Delay +in the Speaker, and gives great Majesty to the +Speech.</p> + +<div class="poem"> +<div class="stanza"> +<p>—<i>O Qui Res</i> Hominumq; Deumq;—</p> +</div> +</div> + +<p> +These three Syllables occasion three short Pauses. +<i>O—Qui—Res</i>—How slow and how +stately is this Passage!</p> +<p> +But it happens that I can set the Beginning of the +<i>Æneid</i> in a clear Light for my purpose, by two +Translations of that Passage, both by the same +Hand; one of which is exactly in the manner of +<i>Virgil</i>, the other in the manner of <i>Homer</i>: The +two Translations are made by the Reverend Mr. +<i>Pitt</i>. He published the first among some Miscellany +Poems several Years since, the latter in his four +Books of the <i>Æneid</i> about two Years ago.</p> + +<a name="page4" id="page4"></a><span class="left">[page 4]</span> +<h4>I.</h4> + +<div class="poem"> +<div class="stanza"> +<p>"Arms and the Man I sing; the first who driv'n</p> +<p>From <i>Trojan</i> Shores, the Fugitive of Heav'n,</p> +<p>Came to th' <i>Italian</i> and <i>Lavinian</i> Coast;—</p> +</div> +</div> + +<h4>II.</h4> + +<div class="poem"> +<div class="stanza"> +<p>"Arms and the Man I sing, the first who bore</p> +<p>His Course to <i>Latium</i> from the <i>Trojan</i> Shore.—</p> +</div> +</div> + +<p> +The first Translation is exact in every respect: +You have in it the Suspence and Majesty of <i>Virgil</i>. +The second is a good Translation, though not at +all like <i>Virgil</i>, but exactly like <i>Homer</i>: There is +no Hesitation, but the Verse and the Matter hurry +on together as fast as possible.</p> +<p> +I have now shown you what is a <i>rapid</i>, and what +is a <i>majestick Stile</i>. But a few more Lines of the Beginning +both of the <i>Iliad</i> and of the <i>Æneid</i> will +make it still more plain.</p> + + +<h4><span class="sc">Iliad</span>.</h4> + +<div class="poem"> +<div class="stanza"> +<p>"The Anger of <i>Achilles</i>, Goddess, sing;</p> +<p>Which to the <i>Greeks</i> did endless Sorrows bring;</p> +<p>And sent untimely, to the Realms of Night,</p> +<p>The Souls of many Chiefs, renown'd in Fight:</p> +<p>And gave their Bodies for the Dogs to tear,</p> +<p>And every hungry Fowl that wings the Air.</p> +<p>And thus accomplish'd was the Will of <i>Jove</i>,</p> +<p>Since first <i>Atrides</i> and <i>Achilles</i> strove.</p> +<p>What God the fatal Enmity begun?</p> +<p><i>Latonâ</i>'s, and great <i>Jove</i>'s immortal Son.</p> +<p>He through the Camp a dire Contagion spread,</p> +<p>The Prince offended, and the People bled:</p> +<p>With publick Scorn, <i>Atrides</i> had disgrac'd</p> +<p>The Reverend <i>Chryses</i>, <i>Phœbus'</i> chosen Priest.</p> +<p>"He to redeem his Daughter, sought the Shore,</p><a name="page5" id="page5"></a><span class="left">[page 5]</span> +<p>Where lay the <i>Greeks</i>, and mighty Presents bore:</p> +<p>Deckt with the Ensigns of his God, he stands,</p> +<p>The Crown, the golden Sceptre in his Hands;</p> +<p>To all he su'd, but to the Princes most,</p> +<p>Great <i>Atreus</i>'s Sons, the Leaders of the Host:</p> +<p>Princes! and <i>Grecian</i> Warriors! may the Gods</p> +<p>(The Pow'rs that dwell in Heav'ns sublime Abodes)</p> +<p>Give you to level <i>Priam</i>'s haughty Tow'rs,</p> +<p>And safely to regain your native Shores.</p> +<p>But my dear Daughter to her Sire restore,</p> +<p>These Gifts accept, and dread <i>Apollo</i>'s Pow'r;</p> +<p>The Son of <i>Jove</i>; he bears a mighty Bow,</p> +<p>And from afar his Arrows gall the Foe.</p> +</div> +</div> + +<h4><span class="sc">Æneid</span>.</h4> + +<div class="poem"> +<div class="stanza"> +<p>Arms and the Man I sing, the first who driv'n</p> +<p>From <i>Trojan</i> Shores, the Fugitive of Heav'n,</p> +<p>Came to th' <i>Italian</i> and <i>Lavinian</i> Coast;</p> +<p>Much o'er the Earth was He, and Ocean tost,</p> +<p>By Heavenly Powers, and <i>Juno</i>'s lasting Rage;</p> +<p>Much too He bore, long Wars compell'd to wage;</p> +<p>E'er He the Town could raise, and of his Gods,</p> +<p>In <i>Latium</i> settle the secure Abodes;</p> +<p>Whence in a long Descent the <i>Latins</i> come,</p> +<p>The <i>Albine</i> Fathers, and the Tow'rs of <i>Rome</i>.</p> +</div> +</div> + +<p class="note1a"> +Sept. 6. 1736.</p> + +<p class="author"> +<i>I am</i>, <span class="sc">Sir</span>, <i>&c.</i></p> + + + <hr class="short" /> +<a name="page6" id="page6"></a><span class="left">[page 6]</span> +<h3><i>P.S.</i></h3> +<p> +I Should not part with the Passage in <i>Homer</i> above-mentioned +without observing that the +Speech of <i>Apollo</i>'s Priest is wonderfully Peinturesque, +and in Character. We plainly see the Priest holding +up his Hands, and pointing with his Crown +and Sceptre to Heaven.</p> + +<div class="poem"> +<div class="stanza"> +<p>"Princes! and <i>Grecian</i> Warriors! may the Gods</p> +<p>(The Pow'rs that dwell in Heav'ns sublime Abodes)</p> +</div> +</div> + +<p> +It is a Priest that speaks, and his Audience is +composed of Soldiers who had liv'd ten Years in a +Camp. He does not only put them in mind of the +<i>Gods</i>, but likewise of the <i>Place</i> where they dwelt, +and at the same time points up to it. Neither is the +Conclusion of the Speech less remarkable than the +Beginning of it: The Priest of <i>Apollo</i> does not end +in an humble supplicant manner like a common +Suitor; but he frankly offers his Presents, and +threatens the Generals and Princes he addresses himself +to, with the Vengeance of his God if they refuse +his Request: And he very artfully lets them +know that his God is not a Deity of inferior Rank, +but the Son of <i>Jove</i>; and that his Arrows reach +from a great Distance. The next Line to those last +mentioned I cannot omit taking notice of, because it +contains, in my Opinion, one of the most beautiful +Expressions in all the poetical Language. <i>To give +to do a thing.</i></p> + +<div class="poem"> +<div class="stanza"> +<p>"Princes! and <i>Grecian</i> Warriors! may the Gods</p> +<p>(The Pow'rs that dwell in Heav'ns sublime Abodes)</p> +<p><i>Give you to level Priam</i>'s haughty Tow'rs,</p> +<p>And safely to regain your native Shores.</p> +</div> +</div> +<a name="page7" id="page7"></a><span class="left">[page 7]</span> +<p> +<i>Virgil</i> was so sensible of this charming Expression, +that he has used it in the three following Passages, +and I believe in one or two others in the very +first <i>Æneid</i>.</p> + +<div class="poem"> +<div class="stanza"> +<p>"—<i>Tibi Divum paler atque hominum rex</i></p> +<p><i>Et mulcere</i> dedit <i>fluctus & tollere vento</i>.—</p> +</div> +</div> + +<div class="poem"> +<div class="stanza"> +<p>"—<i>Tu</i> das <i>epulis accumbere Divûm</i>.—</p> +</div> +</div> + +<div class="poem"> +<div class="stanza"> +<p>"<i>O regina, novam cui condere Jupiter urbem</i></p> +<p><i>Justitiaque</i> dedit <i>gentes frænare superbas</i>:—</p> +</div> +</div> +<p> +<i>Salvini</i> in his <i>Italian</i> Translation in 1723, dedicated +to his late Majesty, is attentive to all the Beauties +of the Passage in <i>Homer</i> last mentioned.</p> + +<div class="poem"> +<div class="stanza"> +<p>"—<i>A voi gl' Iddii</i>,</p> +<p><i>Che l'Olimpie magioni abitan</i>, dieno</p> +<p><i>Espugnar ilio e a casa far ritorno.</i>"</p> +</div> +</div> + +<div class="figcenter"> +<img src="images/12-1.png" width="150" height="125" alt="glyph" border="0" /> + +</div> + +<br /><br /><hr class="short" /><br /><br /><br /> +<a name="page8" id="page8"></a><span class="left">[page 8]</span> + + +<div class="figcenter"> +<img src="images/13-1.png" width="439" height="69" alt="glyph" border="0" /> +</div> + + +<h1>LETTER II.</h1> + +<p class="indent1a"> +<i>SIR</i>,</p> +<div class="figleft1"> +I</div> <br style="line-height: 30%" /><p>Should now go upon the Comparison of <i>Virgil</i>'s +and <i>Milton</i>'s Versification, in which you +will meet with that Paradox, as you thought it at +first, namely, that the principal Advantage <i>Virgil</i> +has over <i>Milton</i> is <i>Virgil</i>'s Rhyme. But I beg leave +to postpone that matter at present, because I have +a mind to make some Remarks upon the second +Line in the Translation of the beginning of the +<i>Iliad</i> mentioned in my former Letter, in which the +auxiliary Verb <i>did</i> (as our Grammarians call it) is +made use of. The Line runs thus.</p> + +<div class="poem"> +<div class="stanza"> +<p>"Which to the <i>Greeks did</i> endless Sorrows bring.</p> +</div> +</div> +<p> +It is commonly apprehended from a Passage in +Mr. <i>Pope</i>'s <i>Essay on Criticism</i>, that all auxiliary +Verbs are mere <i>Expletives</i>.</p> + +<div class="poem"> +<div class="stanza"> +<p>"While Expletives their feeble Aid <i>do</i> join,</p> +<p>And ten low Words oft creep in one dull Line.</p> +</div> +</div> +<p> +But this I believe Mr. <i>Pope</i> never intended to advance. +<i>Milton</i> has used them in many Places, +where he could have avoided it if he had pleased. +I will produce one.</p> +<a name="page9" id="page9"></a><span class="left">[page 9]</span> +<div class="poem"> +<div class="stanza"> +<p>————————"Him the most High</p> +<p>Wrapt in a balmy Cloud with fiery Steeds</p> +<p><i>Did</i>, as thou saw'st, receive.———</p> +</div> +</div> +<p> +<i>Milton</i> might have said,</p> + +<div class="poem"> +<div class="stanza"> +<p>"Receiv'd, as thou hast seen.———</p> +</div> +</div> +<p> +But he thought the auxiliary Verb added Strength +to the Expression, as indeed it does. I own where +the auxiliary Verb is brought close to its principal, +and <i>that</i> a thin monosyllable, as in the Line just now +referred to, the Verse is very rude and disagreeable. +But to prove that the auxiliary Verb may be +employed properly, I will produce an Instance +in rhym'd Verse, as strong as that of <i>Milton</i> just +mentioned.</p> + +<div class="poem"> +<div class="stanza"> +<p>"Then <i>did</i> the roaring Waves their Rage compose,</p> +<p>When the great Father of the Flood arose.</p></div> +<div class="stanza"> +<p class="i32"><i>Pit's</i> 1st Æneid.</p> +</div> +</div> +<p> +I believe it will not be disputed, but that this +Line is as full, as sonorous, and majestick as if the +auxiliary Verb had been left out, and the Author had +used <i>compos'd</i> instead of <i>did compose</i>. The Expression +is certainly more beautiful and more poetical; +and the reason of it is, that it occasions suspence, +which raises the attention; or in other Words the +auxiliary Verb gives notice of something coming, +before the principal thing itself appears, which is +another Property of Majesty. Mr. <i>Dryden</i>'s authority +might likewise be added on this occasion; even +in his celebrated Lines on <i>Milton</i> it is to +be met with.</p> +<a name="page10" id="page10"></a><span class="left">[page 10]</span> +<div class="poem"> +<div class="stanza"> +<p>"<i>Greece</i>, <i>Italy</i>, and <i>England did</i> adorn.</p> +</div> +</div> +<p> +In his Translation of the <i>Æneid</i> there are many +Instances of the same nature, one of which I will +mention;</p> + +<div class="poem"> +<div class="stanza"> +<p>"The Queen of Heav'n <i>did</i> thus her fury vent.</p> +</div> +</div> +<p> +The Metre of this Line, as the Words are here +rang'd, is not bad, as the Ear can judge; but it +would have been extremely so, if he had writ it +thus,</p> + +<div class="poem"> +<div class="stanza"> +<p>"The Queen of Heaven her Fury thus <i>did</i> vent.<sup>*</sup></p> +</div> +</div> + + +<div class="poem"> +<div class="stanza"> +<p class="note">[*His Heart, his Mistress and his Friends <i>did</i> share.</p></div> +<div class="stanza"> +<p class="i32" style="font-size: 0.8em;"><i>Pope</i>, on <i>Voiture</i>.]</p> +</div> +</div> +<p> +From whence it appears that the auxiliary Verb +is not to be rejected at all times; besides, it is a particular +Idiom of the <i>English</i> Language: and has a +Majesty in it superior to the <i>Latin</i> or <i>Greek</i> Tongue, +and I believe to any other Language whatsoever.</p> +<p> +Many Instances might be brought to support this +Assertion from Great Authorities. I shall produce +one from <i>Shakespear</i>.</p> + +<div class="poem"> +<div class="stanza"> +<p>——————————————<i>This to me</i></p> +<p><i>In dreadful Secrecy impart they</i> did.</p> +</div> +</div> +<p> +The Auxiliary Verb is here very properly made +use of; and it would be a great loss to <i>English</i> Poetry, +if it were to be wholly laid aside. In Translations +from the <i>Greek</i> and <i>Latin</i>, I believe it +wou'd sometimes be impossible to do justice to an +Author without this Help: I think the Passage in +<i>Homer</i> before us, I mean the two first Lines of the +<i>Iliad</i>, are an Instance of this kind. They have +been translated by many Persons of late, <i>Dryden</i>,<a name="page11" id="page11"></a><span class="left">[page 11]</span> +<i>Manwaring</i>, Mr. <i>Tickel</i>, and by Mr. <i>Pope</i> twice, +and not by any one of 'em, as I apprehend, in the +Spirit of <i>Homer</i>. As to Mr. <i>Pope</i>'s two Translations, +I don't understand why the latter ought to be +preferr'd to the former. Mr. <i>Pope</i>'s first Translation +stood thus.</p> + +<div class="poem"> +<div class="stanza"> +<p>The Wrath of <i>Peleus'</i> Son, the direful Spring</p> +<p>Of all the <i>Grecian</i> Woes, <i>O</i> Goddess sing.</p> +</div> +</div> +<p> +Mr. <i>Pope</i> had reason to be dissatisfy'd with the <i>O</i> +in the second Line, and to reject it; for <i>Homer</i> has +nothing of it. But now let us see how the Vacancy +is supplied in Mr. <i>Pope</i>'s new Translation.</p> + +<div class="poem"> +<div class="stanza"> +<p><i>Achilles'</i> Wrath, to <i>Greece</i> the direful Spring</p> +<p>Of Woes un-number'd, <i>Heav'nly</i> Goddess, sing.</p> +</div> +</div> +<p> +Is not <i>Heav'nly</i> as much an Expletive as <i>O</i>, and +can either of these Couplets deserve to be plac'd in +the Front of the Iliad? I could wish Mr. <i>Pope</i> +would return these two Lines once more to the Anvil, +and dismiss all Expletives here at least. But +enough of Expletives.</p> +<p> +I shall now say something of <i>Monosyllables</i>, which +seem to be absolutely condemn'd in the second Line +of the two Verses just mention'd from Mr. <i>Pope's +Essay on Criticism</i>.</p> + +<div class="poem"> +<div class="stanza"> +<p>And ten low Words oft creep in one dull Line.</p> +</div> +</div> +<p> +Mr. <i>Dryden</i> indeed has said in several Places, that +the vast Number of <i>Monosyllables</i> in our Language +makes it barbarous and rough, and unfit for Poetry. +I am apt to think Mr. <i>Pope</i> gave into Mr. <i>Dryden</i>'s +Sentiment a little too hastily. I own <i>ten low Words</i> +too frequently <i>creep on in one dull line</i>, in a Poet's +Works, whom Mr. <i>Pope</i> has formerly celebrated<a name="page12" id="page12"></a><span class="left">[page 12]</span> +with no mean Encomiums.</p> +<p> +The following Lines afford an Example in this +respect.</p> +<p> +At the beginning of the third Book of the <i>Davideis</i>, +this is the Description of <i>Goliah</i>'s Sword.</p> + +<div class="poem"> +<div class="stanza"> +<p>"A Sword so great, that <i>it</i> was only <i>fit</i></p> +<p>To take off his great Head, who came with <i>it</i>.</p></div> +<div class="stanza"> +<p class="i32"><i>Cowley.</i></p> +</div> +</div> +<p> +Here are ten <i>dull</i> Words most certainly in one <i>dull</i> +Line.</p> + +<div class="poem"> +<div class="stanza"> +<p>"To take off his great Head, who came with <i>it</i>.</p> +</div> +</div> +<p> +And miserable is the Metre in which they creep +on. But hundreds of <i>monosyllable</i> Lines are to be +found in <i>Milton</i> that are as sublime, as beautiful, and +as harmonious as can possibly be written. Look +only into the Morning Hymn in the fifth Book.</p> + +<div class="poem"> +<div class="stanza"> +<p>"Speak ye who best can tell, ye Sons of Light.</p> +</div> +</div> +<p class="center"> +Again,</p> + +<div class="poem"> +<div class="stanza"> +<p>"Thou Sun! of this great World both Eye and Soul.</p> +</div> +</div> +<p class="center"> +Again,</p> + +<div class="poem"> +<div class="stanza"> +<p>"And when high Noon hast gain'd, and when thou fall'st.</p> +</div> +</div> +<p class="center"> +Again,</p> + +<div class="poem"> +<div class="stanza"> +<p>"With the fixt Stars, fixt in their Orb that flies.</p> +</div> +</div> +<a name="page13" id="page13"></a><span class="left">[page 13]</span> +<p class="center"> +Again,</p> + +<div class="poem"> +<div class="stanza"> +<p>"Breathe soft or loud; and wave your Tops, ye Pines.</p> +</div> +</div> +<p class="center"> +Again,</p> + +<div class="poem"> +<div class="stanza"> +<p>"Bear on your Wings and in your Notes his Praise.</p> +</div> +</div> +<p> +Can it be said that ten dull Words creep on dully +in any one of these Lines? But Examples may likewise +be given in rhym'd Verse, of the Harmony of +<i>Monosyllables</i>. Harmony consists in mixing rough +and smooth, soft and harsh Sounds. What Words +can be rougher than such as these, <i>Rides</i>, <i>Rapt</i>, +<i>Throws</i>, <i>Storms</i>; or smoother than these, <i>Wheel</i>, +<i>Hush</i>, <i>Lull</i>?</p> + +<div class="poem"> +<div class="stanza"> +<p>"Then mounted on his radiant Carr he <i>rides</i>,</p> +<p>And <i>wheels</i> along the level of the Tides.</p></div> +<div class="stanza"> +<p class="i32"><i>Pit</i>'s 1st Æneid.</p> +</div> +</div> +<p> +How rough is the first Line, how soft the latter! +As soft as the Original, which is a Masterpiece.</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Rapt</i> by his Steeds he flies in open Day,</p> +<p><i>Throws</i> up the Reins, and skims the watry Way.</p></div> +<div class="stanza"> +<p>"Has given to thee great <i>Æolus</i> to raise</p> +<p><i>Storms</i> at thy sov'reign Will, and <i>smooth</i> the Seas.</p></div> +<div class="stanza"> +<p>"He spake, and speaking chas'd the Clouds away,</p> +<p><i>Hush'd</i> the loud Billows, and restor'd the Day.</p> +</div> +</div> +<a name="page14" id="page14"></a><span class="left">[page 14]</span> +<div class="poem"> +<div class="stanza"> +<p>"Mean time the Goddess on <i>Ascanius</i> throws,</p> +<p>A balmy Slumber and a sweet Repose.</p> +<p><i>Lull'd</i> in her Lap to Rest, the Queen of Love,</p> +<p>Convey'd him to the soft <i>Idalian</i> Grove.</p></div> +<div class="stanza"> +<p class="i32"><i>Pit</i>'s 1st Æneid.</p> +</div> +</div> +<p> +Where can a smoother Line than this be found in +our Language?</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Lull'd</i> in her Lap to Rest, the Queen of Love.</p> +</div> +</div> +<p> +And it may be observed that this Line is all Monosyllables.</p> +<p> +<i>Monosyllables</i> are likewise of great consequence on +another account. The Strength of the <i>English</i> Language +is greatly owing to them: For to them it is +principally obliged for its Conciseness; and Conciseness +is Strength. Now Conciseness is not only to +express ourselves in as few Words as we can, but +the Excellency of the Language shews itself, if those +few Words are composed of few Syllables. And +herein upon Examination, the Strength of the +<i>English</i> Tongue will be found to lye; and for +this reason it may be said to be more concise +than the <i>Latin</i>; which will appear if <i>Virgil</i> is +turned into <i>English</i>, I mean even <i>English</i> Verse. For +Example:</p> + +<div class="poem"> +<div class="stanza"> +<p>"—<i>Ubi tot Simois correpta sub undas</i></p> +<p><i>Scuta virum, Galeasq; & fortia Corpora volvit.</i></p></div> +<div class="stanza"> +<p>"Where <i>Simois</i> Streams incumber'd with the slain,</p> +<p>Roll'd Shields, and Helms, and Heroes to the Main.</p></div> +<div class="stanza"> +<p class="i32"><i>Pit</i>'s 1st Æneid.</p> +</div> +</div> +<a name="page15" id="page15"></a><span class="left">[page 15]</span> +<p> +To discover which of these two Passages is the +most concise, it is not sufficient to shew, that there +are two whole <i>English</i> Lines, and but one Line and +three Parts of another in the <i>Latin</i>. <i>Latin</i> and +<i>English</i> Lines cannot be compared together, because +in a <i>Latin</i> Line there are six Feet, and in an <i>English</i> +Line but five. Again, in <i>Latin</i> Verse there must +be in every Line one Foot of three Syllables, often +three or four, or even five Feet of three Syllables, +and sometimes four or five Syllables in one Foot. +Whereas in an <i>English</i> Line, there is hardly ever +more than two Syllables in a foot. So that an <i>English</i> +Verse cannot be compared with the <i>Latin</i> by the +Line, or by the Foot, but only by the Syllables of +which the Words are composed, which make the +Feet in both the Languages. The Business then is +to enquire whether we write or pronounce more Syllables +in the <i>Latin</i> or <i>English</i> Verses here quoted: +Upon Enquiry it appears that there are twenty nine +Syllables in the <i>Latin</i>, and but twenty one in the +<i>English</i>; so that the <i>English</i> is almost one third +part less than the <i>Latin</i>; which certainly shews the +former to be much more concise than the latter, +there being nothing left out in the <i>English</i>, but the +whole Thought is rather more fully expressed: And +this we see is owing to <i>Monosyllables</i> both Verbs +and Nouns, <i>Streams</i>, <i>Slain</i>, <i>Shields</i>, <i>Roll'd</i>, <i>Helms</i>, +<i>Main</i>. In short the whole Passage is equal to the +Original in Majesty and Harmony, and superior in +Conciseness.</p> +<p> +To give another Example or two of the same nature.</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Urbs antiqua fuit, Tyrii tenuere Coloni</i>,</p> +<p><i>Carthago, Italiam contra, Tyberinaque longe</i></p> +<p><i>Ostia, dives opum, studiisque Asperrima Belli</i>.</p> +</div> +</div> +<a name="page16" id="page16"></a><span class="left">[page 16]</span> +<div class="poem"> +<div class="stanza"> +<p>"Against the <i>Italian</i> Coast, of ancient Fame</p> +<p>A City rose, and <i>Carthage</i> was the Name;</p> +<p>A <i>Tyrian</i> Colony, from <i>Tyber</i> far,</p> +<p>"Rich, rough, and brave, and exercis'd in war.</p></div> +<div class="stanza"> +<p class="i32">Mr. <i>Pit</i>'s Æneid.</p> +</div> +</div> + +<div class="poem"> +<div class="stanza"> +<p>"—<i>Facti de Nomine Byrsam</i>,</p> +<p><i>Sed vos, qui tandem, quibus aut venistis ab oris</i>,</p> +<p><i>Quove tenetis iter?</i>—</p></div> +<div class="stanza"> +<p>"Hence <i>Byrsa</i> nam'd.—But now ye Strangers, say,</p> +<p>Who, whence you are, and whither lies your Way?</p> +</div> +</div> +<p> +I have chosen here three Passages of three very +different kinds, and in all of them the <i>English</i> appears +to be much more concise than the <i>Latin</i>; +neither is there any thing wanting in the Fulness of +the Sense, or in Majesty, or in Harmony of Numbers, +any more in the two last Passages than in the +former. Another Instance of this kind might be +produced out of <i>Virgil</i>'s most perfect Work, the +<i>Georgick</i>, although it wants the Advantage of being +translated by such a Hand as Mr. <i>Pit</i>'s.</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Si vero Viciamq; seres vitemq; Faselum</i>,</p> +<p><i>Nec Pelusiacœ curam aspernabere lentis</i>.</p></div> +<div class="stanza"> +<p>"But if the Vetch you sow, or meaner,</p> +<p>Nor shall disdain th' <i>Ægyptian</i> Lentil's Care.</p> +</div> +</div> +<p> +In the <i>Latin</i> there are thirty Syllables in the two +Lines, in the <i>English</i> but twenty one. So that the +<i>English</i> is almost one third more concise than the +<i>Latin</i>; and at the same time <i>Virgil</i>'s Sense fully +expressed.</p> +<a name="page17" id="page17"></a><span class="left">[page 17]</span> +<p> +I will conclude this Letter with the Opinion of a +Foreigner concerning our Monosyllables: A Person +not at all prepossessed in favour of our Language.</p> + +<blockquote><p> +"The <i>English</i> Language, besides the most significant +Words borrowed from the <i>Latin</i>, <i>Greek</i>, +&c. and often shortned, hath a vast Stock of its +own, and being for the most part Monosyllables, +no Speech is capable of expressing Thought in +Sounds so few as the <i>English</i> does: This is easily +observed by the Translations of the <i>English</i> into +Foreign Languages.</p> +<p> +"The Strength and Conciseness that Monosyllables +(especially in Verbs) produce, are of wonderful +Use in Lyrick Poetry, because they enter +into any Foot or Measure of Verses, by different +Transpositions; so that I dare venture to +assert, there is no <i>Italian</i> or Foreign Song, which +<i>English</i> Words will not suit; the Variety of +Feet and Metres producing equal Variety of +Mode and Movements in Composition. The +want of this is what makes the <i>French</i> vocal +Musick so confined and uniform; for I cannot +recollect above two of their Verbs in use in the +infinitive Mood, that are Monosyllables, and +not one exact Dactile in all their Polysyllables." +</p></blockquote> +<p class="center"> +<i>Röner</i>'s Preface to his <i>Melopeïa Sacra</i>.</p> + +<p class="note1a"> +Sept. 13. 1736.</p> +<p class="author"> +<i>I am</i>, <span class="sc">Sir</span>, <i>&c.</i></p> + +<br /><br /><hr class="short" /><br /><br /><br /> + + +<a name="page18" id="page18"></a><span class="left">[page 18]</span> +<div class="figcenter"> +<img src="images/23-1.png" width="475" height="67" alt="glyph" border="0" /></div> + +<h1>LETTER III.</h1> + +<p class="indent1a"> +<i>SIR</i>,</p> +<div class="figleft2"> +I</div> <br style="line-height: 30%" /> +<p> +N comparing <i>Virgil</i>'s and <i>Milton</i>'s Versification, +I shall begin with <i>Virgil</i>; and shew some of the +principal Beauties of his Poetry in this respect: And +here I must own myself not a little indebted to <i>La-Cerda</i>, +<i>Pontanus</i> and <i>Pierius</i>, but above all to the +most excellent <i>Erythræus</i>, who has not only considered +every Paragraph, every Line, every Foot, +every Word, and every Syllable, but even every +Letter in <i>Virgil</i>; and it is not easy to conceive how +much may depend on a single Letter, very often +the whole Harmony of a Line; and on this Account +we have vast Obligations to <i>Pierius</i>; to him +we owe this fine Verse, and many others.</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Atq; rotis summas levibus</i> pellabitur <i>undas</i>.———</p> +</div> +</div> + +<p> +All the common Editions read <i>perlabitur</i>; which +is horrid to the ear. But to go on with the Matter +in hand. The principal Excellencies of <i>Virgil</i>'s +Versification consist of the several following Particulars.</p> + + <br /><br /> +<ul><li> +1st, The continual varying of the Pause.</li> +<li> +2d, The Inversion of the Phrase.</li> +<li> +3d, The adapting of the Sound to the Sense.</li> +<li> +4th, The mixing of the singular and plural Numbers.<a name="page19" id="page19"></a><span class="left">[page 19]</span></li> +<li> +5th, The giving Majesty and Strength to his +Verse with the connecting Particles <i>Que</i> and <i>Et</i>.</li> +<li> +6th, The <i>Collocatio Verborum</i>, or artful way of +placing Words.</li> +<li> +7th, The changing the common Pronunciation of Words.</li> +<li> +8th, Verses contrary to the common Measure.</li> +<li> +9th, 10th, and 11th, His <i>Alliteratio</i>, <i>Allusio Verborum</i>, +and <i>Assonantia Syllabarum</i>.</li></ul> + +<br /><br /> +<p> +As these three last Articles arise from Observations +perfectly new at the time they were written by +<i>Erythræus</i>, namely, about 200 Years ago; and as +new at this time, having been almost quite lost by I +know not what Accident to the World; I must +follow my Master, and use his Terms for his Discoveries, +except where I differ a little from him.</p> + + <br /><br /> +<p> +1st, To begin with the first Article mentioned +in this Letter, <i>The Varying of the Pause</i>. This Subject +I have met with in several Books, but not fully +explained in any one of them to my Capacity; for +I must confess I should never have thoroughly apprehended +the Varying of the Pause in any Language, +if I had not thought of an Expedient to discover +what is the common Pause in a Verse that +each Language naturally stops at, of which I have +any Knowledge.</p> +<p> +To find out this, I consulted the middling sort +of Poets, or the first Practicers in this Art: In +this Enquiry I observ'd from <i>Hesiod</i> and <i>Ennius</i> among +the <i>Greek</i> and <i>Latin</i> Poets, and afterwards +from <i>Ovid</i> with relation to the latter, and which I +am now to speak of, that the common Pause or +Stop in all <i>Latin</i> Heroick Verse (to say nothing of +the <i>Greek</i>, which agrees with it in this Respect) is +upon the 1st Syllable of the 3d Foot. For<a name="page20" id="page20"></a><span class="left">[page 20]</span> +Example,</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Ante mare & tellus | & quod tegit omnia, cælum</i>,</p> +<p><i>Unus erat toto | Naturæ vultus in orbe</i>,</p> +<p><i>Quem dixêre Chaos | rudis indigestaque moles</i>;</p> +<p><i>Nec quicquam, nisi pondus, iners; | congestaque eodem</i></p> +<p><i>Non bene junctarum | discordia semina rerum</i>.</p> +<p><i>Nullus adhuc mundo | præbebat lumina Titan</i>;</p> +<p><i>Nec nova crescendo | reparabat cornua Phœbe</i>,</p> +<p><i>Nec circumfuso | pendebat in aëre tellus</i>———</p> +</div> +</div> + +<p> +Here we have eight Lines all paused in the same +Place, except one, (the 4th); and in this kind of +Measure the <i>Metamorphosis</i> is generally written; +from whence I collected the natural Pause in the +<i>Latin</i> Language to be as abovementioned: I then +consulted the best Poem of the best <i>Latin</i> Poet, +which begins with these Lines.</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Quid faciat lætas segetes, | quo Sydere Terram</i></p> +<p><i>Vertere, | Mæcenas, | ulmisque adjungere Vites</i></p> +<p><i>Conveniat, | quæ cura Boum, | qui cultus habendo</i></p> +<p><i>Sit Pecori, | Apibus quanta experientia parcis</i></p> +<p><i>Hinc canere incipiam |</i>.———</p> +</div> +</div> + +<p> +Here I observed that this great Master had artfully +avoided the common Pause till he came to the +fifth Line; and he takes care to do it as much as +possible throughout the whole Work; from whence +arises one of the most material Differences in the +Versification of <i>Ovid</i> and <i>Virgil</i>; and to produce +more Examples would be a needless Labour. In +this Place let me take Notice that it is on Account +of Varying the Pause that <i>Virgil</i> makes his broken +Lines in the <i>Æneid</i>, which suspend all Pauses, and +the Ear is relieved by this Means, and attends with +fresh Pleasure. Whoever intends to come up to<a name="page21" id="page21"></a><span class="left">[page 21]</span> +<i>Virgil</i> in Harmony in Heroick Numbers in any long +Work, must not omit this Art.</p> + +<br /><br /> +<p> +2d, The next thing to be attended to, is, <i>The +Inversion of the Phrase</i>. This flings the Stile out of +Prose, and occasions that Suspense which is the Life +of Poetry. This <i>builds the lofty Rhyme</i> (as <i>Milton</i> +expresses it) in such manner as to cause that Majesty +in Verse of which I have said so much before, that +there is no need of saying any thing more here.</p> + + <br /><br /> +<p> +3d. The third thing is, <i>The adapting the Sound to +the Sense</i>.</p> +<p> +Most People know such Instances of this Nature, +as <i>Quadrupedante</i>, &c. and <i>Illi inter sese</i>, &c. +But few attend to an Infinity of other Examples.</p> +<p> +How is the Verse drawn out in length, and how +does it labour when strong heavy Land is to be +ploughed!</p> + +<div class="poem"> +<div class="stanza"> +<p>"—————————————<i>Ergo, age teræ</i></p> +<p>"<i>Pingue solum, primis extemplo a Mensibus Anni</i></p> +<p>"<i>Fortes invortant tauri</i>.————————————</p> +</div> +</div> + +<p> +How nimbly does the Verse move when the +turning over very light Ground is represented!</p> + +<div class="poem"> +<div class="stanza"> +<p>"———————————<i>Sub ipsum</i></p> +<p><i>"Arcturum</i>, tenui sāt erit <i>suspendere sulco</i>.———</p> +</div> +</div> + +<p> +How slow does the heavy Waggon proceed in +this Line!</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Tardaque Eleusinæ Matris Volventïa Plaustra.</i>—</p> +</div> +</div> + +<p> +How does the Boat bound over the <i>Po</i> in these +two Hemisticks!</p> + +<a name="page22" id="page22"></a><span class="left">[page 22]</span> + +<div class="poem"> +<div class="stanza"> +<p>"——————————————<i>Levis innatat alnus</i></p> +<p><i>Missa Pado</i>.———</p> +</div> +</div> + +<p> +See Feathers dancing on the Water in this!</p> + +<div class="poem"> +<div class="stanza"> +<p>"———————<i>In aqua colludere plumas.</i>———</p> +</div> +</div> + +<p> +No Stem of the Crab-tree is more rough than +this Verse.</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Inseritur vero ex fœtu nucis arbutus horrida:</i></p> +</div> +</div> + +<p> +Water is not more liquid than this.</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Speluncisque lacus Clausos, lucosque sonantis.</i>——</p> +</div> +</div> + +<p> +<i>S. & L. liquescit Carmen instar aquarum</i>, says <i>Erythræus</i> +in his Note on this Line.</p> +<p> +How gently flow the Streams in this Verse!</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Unde pater Tiberinus, & unde Aniena fluenta.</i>—</p> +</div> +</div> + +<p> +What a roaring do the <i>Hypanis</i> and <i>Caicus</i> make +in the next!</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Saxōsumque sōnans Hypanis, Mysusque Caïcus.</i></p> +</div> +</div> + +<p> +But now observe how he raises his Song to honour +his Favourite <i>Eridanus</i>!</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Et gemina</i> auratus <i>taurino cornua vultu</i></p> +<p>Eridanus; <i>quo non</i> alius <i>Per Pinguia culta</i></p> +<p><i>In mare purpureum vīolentīor īnfluīt amnīs.</i></p> +</div> +</div> + +<p> +The former Line strikes the Ear with <i>Mysus</i> and +<i>Caïcus</i>; here you have <i>Auratus</i>, <i>Eridanus</i>, and +<i>Alius</i>. Then an Alliteration, <i>Per Pinguia</i>, and at<a name="page23" id="page23"></a><span class="left">[page 23]</span> +last the whole Passage rolls on in a Dactyl Line, +and rushes into the Sea with an <i>Assultus</i> of the Vowel +<i>i</i>, repeated five times in three Words.</p> + +<div class="poem"> +<div class="stanza"> +<p>"————<i>Violentior influit amnis.</i></p> +</div> +</div> + +<p> +The following Line tours into the Skies with the +highest Mountain in <i>Italy</i>.</p> + +<div class="poem"> +<div class="stanza"> +<p>"—————————————<i>Gaudetque nivali</i></p> +<p><i>Vertice se attollens pater Appeninus, ad auras.</i>———</p> +</div> +</div> + +<p> +This falls down as low as the deepest Valley.</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Saxa per, & scopulos, & depressas convalles.</i></p> +</div> +</div> + +<p> +In short there is nothing in Nature that <i>Virgil's</i> +Verse does not convey to the <i>Ear</i>, and the <i>Eye</i>; +so that this Subject is inexhaustible, and must be left +to every one's particular Observation.</p> +<p> +The learned <i>Morhophius</i> has a Passage relating to +this Matter which comes in too properly here to be +omitted.</p> + +<blockquote><p> +"Solent Carminibus suæ esse a Numeris Veneres, +& certa quædam Artificia, quæ mirifice ornant +versum, quales apud Virgilium, mirum +numeri Poetici Observatorem, frequenter occurrunt, +e.g. cum versus terminantur Monosyllabis, +ut: <i>procumbit humi bos: nascetur ridiculus mus</i>. +Vel cum Spondæi multi adhibentur, ut; <i>media +agmina circumspexit: Illi inter sese magnâ vi brachia +tollunt.</i> Aut cum Dactyli & Spondæi ita +miscentur, ut <span class="sc">rei naturam exprimant</span>, +ut cum de turri ruente ait: +</p></blockquote> + +<a name="page24" id="page24"></a><span class="left">[page 24]</span> + +<div class="poem"> +<div class="stanza"> +<p>"——————————————<i>Convellimus altis</i></p> +<p><i>Sedibus; impulimusq;, ea lapsa repente</i> ruinam</p> +<p><i>Cum sonitu trahit.</i>———</p> +</div> +</div> + +<div class="poem"> +<div class="stanza"> +<p>"Talia infinita apud Virgilium habentur quæ</p> +<p>homo in iis non exercitatus contemnat, doctus</p> +<p>vero & prudens admiretur.</p></div> +<div class="stanza"> +<p class="i32"><i>Polyhist.</i></p> +</div> +</div> + +<p> +There is also a Remark of the judicious <i>Columna</i> +on a celebrated Line in <i>Virgil</i>, which is very much +to the present Purpose.</p> + +<div class="poem"> +<div class="stanza"> +<p><i>Unus Homo Nobis Cunctando Restituit Rem.</i>]</p> +</div> +</div> + +<p> +Virgilius de eodem loquens Æneid l. 6. integrum +hoc carmen sumpsit, ita tamen, ut <i>spondeorum tarditate +Fabii moram referret</i>,</p> + +<div class="poem"> +<div class="stanza"> +<p>———————————tu Maximus ille es,</p> +<p>Unus, qui nobis cunctando restituis rem.</p></div> +<div class="stanza"> +<p class="i32"><i>Enn. Frag.</i></p> +</div> +</div> + +<p class="note1a"> +Sept. 21, 1736,</p> +<p class="author"> +<i>I am</i>, <span class="sc">Sir</span>, <i>&c.</i></p> + + <hr /> + +<h3><i>P.S.</i></h3> +<p> +The Passage in the learned <i>Muhlius</i>, which I +should have inserted at the beginning of +this Letter, I send you in a Postscript. You have +seen it before, but it is worth reading more than +once. You know it belongs principally to the +Article that treats of <i>the varying the Pause</i>.</p> + +<a name="page25" id="page25"></a><span class="left">[page 25]</span> + +<blockquote><p> +"Neque potest unus idemque semper tenor in +carmine usurpari, sed debet is pro varià periodorum +Poeticarum ratione distingui. Et ut insurgat +decore & intumescat aliquando, iterumque +remittat, ubi opus est, consequimur cæsorum ac +periodorum sola inæqualitate. Quod pulcerrime +observat <i>Virgilius</i>, cujus alia mensura, alia +pedum compositio est in narrationibus, descriptionibus, +orationibus, & tanta periodorum numerorumque +variatio, ut ad eam perfectionem +nihil addi possit. Hujus rei quanta negligentia +in <i>Statio</i>, <i>Lucano</i>, <i>Claudiano</i>, <i>Silio Italico</i>? Ubi +admirabilis illa harmonia, suavitas, gravitas ipsorum +pedum æqualiter, inæqualiter temperatorum, +per clausulas verborum fractorum, ac intra +regiones suas aliter aliterq; interceptorum? Ut +de junctura illa literarum nihil addam, cum vocales +ac consonantes ipsæque syllabæ ita miscentur, +ut rei naturam tam apte jucundeque exprimant, +ut ea <i>geri</i> potius quam <i>cani</i>, <i>spectari</i> magis +quam <i>audiri</i> videatur. Talia infinita sunt +apud <i>Virgilium</i>, quæ captum imperitorum longe +excedunt, doctiores vero & prudentiores impense +admirantur; quæ nihil tritum, vulgare, hiuclum +nihil elumbe ac contortum patiuntur, at nescio +quid virile & stupendum plane, ac majus humana +voce videntur sonare. <i>Claudianus</i> certe istud +fastigium non attingit, & quod in <i>Maroniana</i> +dictione, in illa periodorum ac numerorum varietate +præclarum putamus, vix est, ut ejus vel +levem umbram ostentet. Sic eadem semper +oberrat chorda, quod ridiculum existimat magnus +iste dicendi magister." +</p></blockquote> + +<br /><br /><hr class="short" /><br /><br /><br /> +<a name="page26" id="page26"></a><span class="left">[page 26]</span> + +<div class="figcenter"> +<img src="images/31-1.png" width="482" height="50" alt="glyph" border="0" /> +</div><br /><br /> + +<h1>LETTER IV.</h1> + +<p class="indent1a"> +<i>SIR</i>,</p> +<div class="figleft2a"><br style="line-height: 12%" /> +<span class="left1">IV.</span></div> +<div class="figleft2a">T</div> <br style="line-height: 30%" /> +<p> +HE fourth thing to be consider'd is, +<i>Virgil</i>'s <i>mixing the Singular and Plural +Numbers</i>. This has a wonderful Effect, and is very +diligently attended to by <i>Virgil</i>; but I believe +never once thought of by <i>Ovid</i>, or any other <i>Roman</i> +Writer in the Days of <i>Augustus</i>.</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Quid faciat lætas</i> Segetes, <i>quo sidere</i> terram</p> +<p><i>Vertere, Mæcenas, ulmisque adjungere</i> vites,</p> +<p><i>Conveniat: quæ cura boum, qui cultus habendo</i></p> +<p><i>Sit</i> pecori, apibus <i>quanta experientia parcis</i>.</p> +</div> +</div> + +<p> +Here you have <i>segetes</i> and <i>terram</i>, and then <i>vites</i>, +and after that <i>pecori</i> and <i>apibus</i>.</p> +<p class="center"> +Again,</p> + +<div class="poem"> +<div class="stanza"> +<p>"———<i>Camposque, & flumina late</i></p> +<p><i>Curva tenent: ut molle</i> siler, <i>lentæque</i> genistæ,</p> +<p>Populus, & <i>glauca canentia fronde</i> Salicta.</p> +<p><i>Pars autem posito surgunt de semine: ut altæ</i></p> +<p>Castaneæ; <i>nemorumq; Jovi quæ maxima frondet</i></p> +<p>Esculus, <i>atque habitæ Graiis oracula</i> quercus.</p> +</div> +</div> + +<p> +Here are <i>Siler</i> and <i>Genistæ</i>, <i>Populus</i> and <i>Salicta</i>, +<i>Castaneæ</i> and <i>Esculus</i>, and <i>Quercus</i>.</p> + +<a name="page27" id="page27"></a><span class="left">[page 27]</span> +<p class="center"> +Again,</p> + +<div class="poem"> +<div class="stanza"> +<p>"Arma Virumque <i>cano, Trojæ qui primus ab oris</i></p> +<p>Italiam, <i>fato profugus</i>, Lavinaque <i>venit</i></p> +<p>Litora. <i>Multum ille &</i> terris <i>jactatus &</i> alto,</p> +<p><i>Vi</i> Superum <i>sævæ memorem</i> Junonis <i>ob iram</i>.</p> +<p><i>Multa quoq; & bello passus, dum conderet</i> urbem,</p> +<p><i>Inferretque</i> Deos <i>Latio</i>: genus <i>unde Latinum</i></p> +<p><i>Albanique</i> patres, <i>atque altæ mœnia Romæ</i>.</p> +</div> +</div> + +<p> +These <i>two first Words</i> of the <i>Æneid</i> are an Example +of what I am taking notice of; and then we +have in this Introduction <i>Italiam</i> and <i>Litora Lavina</i>, +<i>Terris</i> and <i>Alto</i>, <i>Superum</i> and <i>Junonis</i>, <i>Urbem</i> and +<i>Deos</i>, <i>Genus</i> and <i>Patres</i>.</p> +<p> +But the most beautiful Passage of this Nature is +in the <i>Georgics</i>. Here the thing to be done, and +the Instrument with which it is to be done, are varied +alternately.</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Quod nisi & assiduis</i> terram <i>insectabere</i> rastris,</p> +<p><i>Et</i> sonitu <i>terrebis</i> aves, <i>& ruris opaci</i></p> +<p>Falce <i>premes</i> umbras, votisq; <i>vocaveris</i> imbrem.</p> +</div> +</div> + +<p> +Terram <i>rastris</i>, sonitu <i>aves</i>, falce <i>umbras</i>, votis +<i>imbrem</i>.</p> +<p> +Upon which <i>La Cerda</i> makes this Remark:</p> + +<blockquote><p> +"<i>Placet</i> Virgilius <i>semper, sed cur placeat sæpe +ignoratur. In rebus quatuor recensendis numquam +pluralem cum plurali, neque singularem cum singulari, +quod minus ad varietatem: sed semper cum +singulari pluralem. Unica terra multis rastris insectanda +est, unica pluvia multis votis petenda. +Contra, multæ aves terrendæ unico sonitu, multæ +umbræ unica falce compescendæ.</i>" +</p></blockquote> + +<a name="page28" id="page28"></a><span class="left">[page 28]</span> +<p> +Now in <i>Ovid</i> nothing of this Art is to be +found.</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Ante</i> mare & tellus, <i>& (quod tegit omnia)</i> cœlum,</p> +<p><i>Unus erat toto naturæ</i> vultus <i>in orbe</i>,</p> +<p><i>Quem dixere</i> chaos: <i>rudis indigestáque</i> moles,</p> +<p><i>Nec quicquam nisi</i> pondus <i>iners.</i></p> +</div> +</div> + +<p> +Here are <i>Mare</i>, <i>Tellus</i>, <i>Cœlum</i>, <i>Vultus</i>, <i>Chaos</i>, +<i>Moles</i>, and <i>Pondus</i>, without any one word of the +Plural Number amongst them.</p> + +<br /><br /> +<p> +V. The next Particular to be taken notice of, is +<i>Virgil</i>'s uncommon Use of the Particles <i>Et</i> and <i>Que</i>.</p> + +<div class="poem"> +<div class="stanza"> +<p>"————<i>Multum ille</i> et <i>terris jactatus</i> et <i>alto</i>;</p> +<p><i>Multa quoque</i> et <i>bello passus</i>———</p> +<p>Et <i>premere</i>, et <i>laxas sciret dare jussus habenas</i>.</p> +</div> +</div> + +<p> +And more frequently in his most finish'd Piece.</p> + +<div class="poem"> +<div class="stanza"> +<p><i>Quid tibi odorato referam sudantia ligno</i>.</p> +<p><i>Balsama</i>que, et <i>Baccas</i>——————————</p> +<p><i>Quod nisi</i> et <i>assiduis terram insectabere rastris</i>,</p> +<p>Et <i>sonitu terrebis aves</i>, et <i>ruris opaci</i></p> +<p><i>Falce premes umbras, votis</i>que <i>vocaveris imbrem</i>.</p> +<p><i>Si vero viciam</i>que <i>seres, vilem</i>que <i>Faselum</i>.</p> +</div> +</div> + +<p> +This Manner of using these connecting Particles, +gives Majesty and Strength to the Verse. It gives +Majesty, because it occasions Suspense and raises +the Attention. For Example:</p> + +<div class="poem"> +<div class="stanza"> +<p><i>Si vero Viciam</i>que <i>seres</i>————</p> +</div> +</div> + +<p> +Here the <i>que</i> hinders the Sense from being concluded, +till you have read the rest of the Line,</p> + +<div class="poem"> +<div class="stanza"> +<p>————<i>Vilemque Faselum.</i></p> +</div> +</div> + +<a name="page29" id="page29"></a><span class="left">[page 29]</span> +<p> +But if the Poet had writ (supposing the Verse +would have allowed it)</p> + +<div class="poem"> +<div class="stanza"> +<p><i>Si vero Viciam seres</i>————</p> +</div> +</div> + +<p> +the Reader would have understood him without going +any farther; and it is easily perceiv'd the Verse +would have been very flat to what it is now. This +double Use of the Particles gives Strength to the +Verse; because, as the Excellent <i>Erythræus</i> observes, +the copulative Conjunctions are in Language +of the same Use as Nerves in the Body, they serve +to connect the Parts together; so that these Sorts of +Verses which we are speaking of may be very properly +called, Nervous Lines.</p> +<p> +This Art <i>Virgil</i> most certainly learnt from <i>Homer</i>: +for there is nothing more remarkable in <i>Homer</i>'s +Versification, nothing to which the Majesty of it is +more owing, than this very thing, and I wonder +none of his Commentators (that I have seen) +have taken notice of it. There are four in the +23 first Lines of the Iliad, of this Kind. I will +put the <i>Latin</i> for the sake of the generality of +Readers.</p> + +<div class="poem1"> +<div class="stanza"> +<p><i>Atrides</i>que, <i>rex virorum,</i> et <i>nobilis Achilles</i>.</p> +<p><i>Redempturus</i>que <i>filiam, ferens</i>que <i>infinitum pretium liberationis</i>,</p> +<p><i>Atridæ</i>que, et <i>alii bene ocreati Achivi</i>,</p> +<p><i>Reverendum</i>que <i>esse sacerdotem,</i> et <i>splendidum accipiendum pretium.</i></p></div> +<div class="stanza"> +<p class="i32">Clarke's <i>Translation</i>.</p> +</div> +</div> + + <br /><br /> +<p> +VI. I come now to the <i>Collocatio Verborum</i>, of +which there is no occasion to give any more than one +Instance:</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Vox quoque per lucos vulgo exaudita silentes</i></p> +<p>Ingens.——————</p> +</div> +</div> + +<a name="page30" id="page30"></a><span class="left">[page 30]</span> +<p> +The Reader cannot but perceive that the Manner +of placing <i>Ingens</i> has a wonderful Effect; it makes +him hear the melancholy Voice <i>groan through the +Grove</i>.</p> + +<br /><br /> +<p> +VII. The <i>changing the common Pronunciation of +Words</i>, as thus:</p> + +<div class="poem"> +<div class="stanza"> +<p><i>"Fluviŏrum Rex Eridanus.</i>————</p> +</div> +</div> + +<p class="center"> +And</p> + +<div class="poem"> +<div class="stanza"> +<p><i>"Stridĕre apes utero & ruptis effervĕre costis.</i></p> +</div> +</div> + + <br /><br /> +<p> +VIII. <i>Lines contrary to the common Measure</i>, or +rather without any Measure at all, <i>viz.</i></p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Quod fieri ferro, liquidove potest electro</i>,</p> +<p><i>Saxa per & scopulos & depressas convalles.</i></p> +</div> +</div> + + <br /><br /> +<p> +IX, X, XI. These are the three Articles formerly +mentioned, namely, the <i>Alliteratio</i>, the <i>Allusio +Verborum</i>, and the <i>Assonantia Syllabarum</i>.</p> + +<br /><br /> +<p> +1. As to the <i>Alliteratio</i>. This is of several +Kinds, it is <i>Initial</i>, <i>Single</i> and <i>Double</i>; sometimes +<i>Treble</i>, or more frequent. It is likewise <i>Mix'd</i>, +that is, both in the first Letters of the Words, and +in the following Syllables. It is sometimes so often +repeated, that it may be term'd <i>Assultus</i>, or an Attack +upon, or a storming of the Ear.</p> +<p> +The following are Examples of the <i>Single Alliteratio</i>.</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Quid faciat lætas</i> segetes, <i>quo</i> sidere <i>terram</i></p> +<p>Vertere, <i>Mæcenas</i>, <i>ulmisque adjungere</i> vites,</p> +<p>Conveniat: <i>quæ</i> cura <i>boum</i>, <i>qui</i> cultus <i>habendo</i>.</p> +</div> +</div> + +<a name="page31" id="page31"></a><span class="left">[page 31]</span> +<p class="center"> +Again,</p> + +<div class="poem"> +<div class="stanza"> +<p>"————————<i>Sed</i> viva volare</p> +<p><i>Sideris in numerum</i>.————</p> +</div> +</div> + +<p class="center"> +And,</p> + +<div class="poem"> +<div class="stanza"> +<p>"————————<i>Asia longe</i></p> +<p>Pulia palus.————————</p> +</div> +</div> + +<p> +Of the <i>Double</i> initial <i>Alliteratio</i>, this is an Example:</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Totaque thuriferis Panchaia pinguis arenis.</i></p> +</div> +</div> + +<p> +Of the <i>Treble</i> and more frequent initial <i>Alliteratio</i>, +this is an Instance:</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Et sola in siccâ secum spatiatur arena.</i></p> +</div> +</div> + +<p> +The <i>Mix'd Alliteratio</i>, and the <i>Assultus</i> are to be +found in these two Lines:</p> + +<div class="poem"> +<div class="stanza"> +<p>"Illas <i>ducit</i> amor trans Gargara, transque sonantem</p> +<p>Ascanium: superant <i>montes</i>, & flumina tranant.</p> +</div> +</div> + +<p> +In these two Lines the Vowel <i>a</i> is repeated fourteen +times, and what an Effect this has upon the +Ear, the Reader cannot but perceive.</p> + + <br /><br /> +<p> +2. Of the <i>Allusio Verborum</i>, the following are +Examples:</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Nec nocturna quidem carpentes pensa puellæ.</i></p> +</div> +</div> + +<p class="center"> +Again,</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Hoc metuens; molemque & montes insuper altos.</i></p> +</div> +</div> + +<a name="page32" id="page32"></a><span class="left">[page 32]</span> +<p class="center"> +Again,</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Stat sonipes, ac frena ferox spumantia mandit.</i></p> +</div> +</div> + +<p class="center"> +Again,</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Vitavisse vices Danaum.</i></p> +</div> +</div> + + <br /><br /> +<p> +3. Of the <i>Assonantia Syllabarum</i> or <i>Rhyme</i>, there +are in <i>Virgil</i> the several following Sorts.</p> +<p> +1. <i>The plain direct Rhyme</i>, which is of two Kinds, +<i>Single</i> or <i>Double</i>.</p> +<p> +2. <i>The intermediate</i> or <i>casual plain Rhyme</i>.</p> +<p> +3. <i>The scanning conclusive Rhyme</i>. So called, because +it would hardly be perceived by the Generality +of Readers, unless they first scann'd the Verse; +but when they have done that in three or four Lines, +the Ear will afterwards make the necessary Distinction +without any farther trouble.</p> +<p> +I will explain and give Examples of all these several +sorts of <i>Rhyme</i> in their Order.</p> + + <br /><br /> +<p> +1. To treat of the plain <i>Single</i> direct <i>Rhyme</i>. +The following Verses are Examples of this sort of +Rhyme: But to make them more like our own, I +will divide the Verse into two Parts.</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Poculaque inventis</i></p> +<p><i>Acheloia miscuit uvis.</i></p></div> +<div class="stanza"> +<p>"<i>Totaque Thuriferis</i></p> +<p><i>Panchaia pinguis arenis.</i></p></div> +<div class="stanza"> +<p>"<i>Et premere, & laxas</i></p> +<p><i>Sciret dare, jussus habenas.</i></p></div> +<div class="stanza"> +<p>"<i>Atque rotis summas</i></p> +<p><i>Levibus pellabitur undas.</i></p> +</div> +</div> + +<a name="page33" id="page33"></a><span class="left">[page 33]</span> + +<div class="poem"> +<div class="stanza"> +<p>"<i>O nimium cœlo</i></p> +<p><i>Et pelago confise sereno.</i></p> +</div> +</div> + +<p> +Many more of these Lines might be produced, +but these are sufficient.</p> +<p> +Of the plain direct <i>Double</i> Rhyme (which is the +Sort of Rhyme the <i>Spectator</i> speaks of N° 60, and +which the Monks were in Love with) the following +are Instances.</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Hic labor extremus, lon</i>garum <i>hæc meta vi</i>arum.</p> +</div> +</div> + +<p class="center"> +Again,</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>I nunc & verbis</i></p> +<p><i>Virtutem illude superbis</i>.</p> +</div> +</div> + +<p class="center"> +Again,</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Cornua veletarum</i></p> +<p><i>Obvertimus Antennarum.</i></p> +</div> +</div> + + <br /><br /> +<p> +2. <i>Of the intermediate plain Rhyme</i>, the following +are Examples.</p> + +<div class="poem"> +<div class="stanza"> +<p>"Imposuit, <i>regemque</i> dedit, <i>qui fœdere certo</i>.</p> +</div> +</div> + +<p class="center"> +And,</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Descendo, ac ducente</i> Deo <i>flammam inter & hostes</i>.</p> +</div> +</div> + +<p> +In this Passage <i>Virgil</i> uses <i>Deus</i> in speaking of a +<i>Goddess</i>, for no other Reason imaginable but to enrich +his Verse with Rhyme.</p> + +<br /><br /> +<a name="page34" id="page34"></a><span class="left">[page 34]</span> +<p> +3. Of the <i>scanning conclusive Rhyme</i> the following +are Instances.</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Sylvestrem tenui musam medi—taris ā—venā.</i></p> +</div> +</div> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Nudus in ignota pali—nure jā—cebis ā—renā.</i></p> +</div> +</div> + +<p> +From whence it appears that <i>Virgil</i>'s Poetry is +almost all Rhyme of one kind or other; and it is +evident beyond Dispute that he generally concludes +his strong, sounding, majestick Paragraphs with a +full Rhyme, for which I refer to that fine Line already +more than once mentioned, which sums up +the Praises of <i>Italy</i>.</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Totaque thuriferis Panchaia pinguis arenis.</i></p> +</div> +</div> + +<p> +And to the Conclusion of his finest work.</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Hic vero subitum, ac dictu mirabile monstrum</i></p> +<p><i>Aspiciunt: liquefacta boum per viscera toto</i></p> +<p><i>Stridere apes utero, & ruptis effervere costis</i>,</p> +<p><i>Immensasque trahi nubes; jamque arbore summa</i></p> +<p><i>Confluere, & lentis uvam demittere ramis</i>.</p> +</div> +</div> + +<p> +And to this I will add the last Line of the Epilogue +to the <i>Georgicks</i>.</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Tytyre te patulæ cecini sub tegmine fagi.</i></p> +</div> +</div> + +<p> +Where the two several Hemisticks or Parts of +the Verse Rhyme each to itself.</p> +<p> +I would observe here that both <i>Ovid</i> and <i>Lucan</i>, +for want of Judgment, begin with a full Rhyme; +the consequence of which is, that the Conclusion of +the Paragraph is less sonorous than the Beginning, +which must needs have a bad Effect.</p> + +<a name="page35" id="page35"></a><span class="left">[page 35]</span> + +<div class="poem"> +<div class="stanza"> +<p>"<i>In nova fert animus muta</i>tas <i>discere for</i>mas.</p></div> +<div class="stanza"> +<p class="i32">Ovid.</p> +</div> +</div> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Bella per Æmath</i>ios <i>plus quam Civilia Cam</i>pos.</p></div> +<div class="stanza"> +<p class="i32">Lucan.</p> +</div> +</div> + +<p> +But a modern Writer, and a much better Composer +of <i>Latin</i> Verses than either <i>Ovid</i> or <i>Lucan</i>, +has with great Judgment taken care to follow <i>Virgil</i>'s +Example in this and many other Particulars. +I mean <i>Vanerius</i>. There are a great Number of +Lines in his <i>Prædium Rusticum</i> which are worthy of +<i>Virgil</i> himself: I shall entertain you with some of +them.</p> +<p> +In his Kitchen-Garden, the following Passage is +a Description of all the numerous Family of Colworts, +or the Cabbage-kind.</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Quid dicam quanta jactat se Brassica laude?</i></p> +<p><i>Sive volubilibus redit in se frondibus, Orbesque</i></p> +<p><i>Orbibus agglomerans, capitis sub mole laborat</i>;</p> +<p><i>Tornato similes Ebori seu candida Flores</i></p> +<p><i>Ediderit, seu Coniacas imitata Cupressus</i>,</p> +<p><i>Seque suas plicat in frondes, & acumen in album</i></p> +<p><i>Desinit, & tenui venit haud ingloria Mensæ</i>.</p> +<p><i>Sive hieme in media cum cætera frigore torpent</i></p> +<p><i>Lœta viret, Boreamque trucem, Caurosque malignos</i></p> +<p><i>Despiciens, vacuis ultro Dominatur in hortis</i>."</p> +</div> +</div> + +<p> +In his Description of the Farm-yard, he paints +the following several Sorts of Fowls in this Manner:</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Se pictæ cervicis</i> Anas | <i>& Garulus</i> Anser</p> +<p><i>Tarda mole movent: | habitu</i> Gallina <i>modesto</i></p> +<p><i>Progreditur: | Caudam</i> Gallus <i>Cristasque rubentes</i></p> +<p><i>Erigit, | & motis sibi plaudit Lætior alis</i>."</p> +</div> +</div> + +<a name="page36" id="page36"></a><span class="left">[page 36]</span> +<p> +And I cannot omit this most charming Verse +which describes the Courtship of a Pigeon.</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Sæpe solum verrens Pennâ pendente rotator.</i>"</p></div> +<div class="stanza"> +<p>"Oft with his trailing Wing the wanton Dove</p> +<p>Brushes the Ground, and wheels about his Love.</p> +</div> +</div> + +<p> +Such Verse as this must please in all Ages, and +in all Countries, where the Readers have any Taste +and Delicacy of Ear. All the Beauties of <i>Virgil</i>'s +Poetry are in these Lines; and you may observe in +the four last mentioned,</p> + + <br /><br /> +<p> +1. How curiously the <i>Pause</i> is varied.</p> +<p> +In the first Line it is upon the first Syllable of the +fourth Foot.</p> +<p> +In the second Line it is upon the first Syllable of +the third Foot.</p> +<p> +In the third Line it is upon the first Syllable of +the second Foot.</p> +<p> +In the fourth Line it is upon the last Syllable of +the first Foot.</p> + +<br /><br /> +<p> +2. Observe the <i>initial Alliteration</i> in the first, second +and third Lines.</p> +<p> +In the first, <i>Anas</i> and <i>Anser</i>.</p> +<p> +In the second, <i>Mole</i>, <i>Movent</i>, and <i>Modesto</i>.</p> +<p> +In the third, <i>Caudam</i>, <i>Cristasque</i>.</p> + +<br /><br /> +<p> +The mixt Alliteration in the first Line where +<i>Garrulus</i> is placed betwixt <i>Anser</i> and <i>Anas</i>, makes +the Verse very sonorous; but the mixt Alliteration +in the last Line where the Vowel <i>i</i> is repeated eight +times in seven Words, is a very masterly Stroke;</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Er</i>i<i>g</i>i<i>t, & mot</i>i<i>s s</i>i<i>b</i>i <i>plaud</i>i<i>t lœt</i>i<i>or al</i>i<i>s</i>.</p> +</div> +</div> + + +<a name="page37" id="page37"></a><span class="left">[page 37]</span> + +<div class="poem"> +<div class="stanza"> +<p>————I<i>lle h</i>i<i>nc concentus</i> i<i>n omn</i>i</p> +<p><i>Carm</i>i<i>ne D</i>i<i>v</i>i<i>n</i>i <i>vat</i>i<i>s</i>.————————</p> +</div> +</div> + +<p> +Which <i>extempore</i> Remark is itself an Instance of +what I am taking notice of as imitated from <i>Virgil</i>.</p> + + <br /><br /> +<p> +3. You will perceive the <i>Allusio Verborum</i> to +have a very good Effect in the second Line.</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Tarda m</i>o<i>le m</i>o<i>vent, habitu gallina m</i>o<i>dest</i>o."</p> +</div> +</div> + + <br /><br /> +<p> +4. The mixing the singular and plural Numbers +in the third Line is very judicious.</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Caudam</i> Cristasque <i>rubentes.</i></p> +</div> +</div> + +<p> +<i>Ovid</i> would have said,</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Caudam</i> Cristamque————</p> +</div> +</div> + + <br /><br /> +<p> +Lastly, The full Rhyme in the fourth Line makes +the whole Paragraph very harmonious. It is not +improper to produce here the Conclusion of the Description +of <i>Æolus</i>'s Cave, which is one of the finest +Passages in the <i>Æneid</i>.</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Sed pater omnipotens spelunc</i>is <i>abdidit at</i>ris</p> +<p><i>Hoc metuens</i>, mo<i>lemque &</i> mo<i>ntis insuper altos</i></p> +<p><i>Imposu</i>it, <i>regemque ded</i>it, <i>qui fœdere certo</i></p> +<p><i>Et premere, & lax</i>as <i>sciret dare jussus haben</i>as.</p> +</div> +</div> + +<p> +Would not any body think that <i>Vanerius</i> intended +to vie with <i>Virgil</i> in this Place?</p> + +<p class="note1a"> +October 2. 1736.</p> +<p class="author"> +<i>I am</i>, <span class="sc">Sir</span>, <i>&c.</i></p> + + +<br /><br /> + +<a name="page38" id="page38"></a><span class="left">[page 38]</span> + +<h3><i>P.S.</i></h3> +<p> +The Examples I have given in this Letter +of <i>plain direct Rhyme</i> are only in <i>long</i> or +<i>heroic</i> Verse, but I might have instanc'd in <i>Lyric +Lines</i>. <i>Horace</i> abounds in Rhyme. In the first +Ode we find</p> + +<div class="poem"> +<div class="stanza"> +<p><i>Metaque fervidis</i></p> +<p><i>Evitata rotis</i></p> +<p><i>Palmaque nobilis</i></p> +<p><i>Illum si proprio</i></p> +<p><i>Condidit horreo</i></p> +</div> +</div> + +<p> +and several others.</p> +<p> +In two of his finest Odes the following Lines are +as full Rhymes as can possibly be made,</p> + +<div class="poem"> +<div class="stanza"> +<p><i>Nec venenatis</i></p> +<p><i>Gravida sagittis</i></p> +<p><i>Pone me Pigris</i></p> +<p><i>Ubi nulla campis</i></p> +<p><i>Arbor æstiva</i></p> +<p><i>Recreatur Aura</i></p> +<p><i>Aut in umbrosis</i></p> +<p><i>Heliconis Oris</i></p> +<p><i>Aut super Pindo</i></p> +<p><i>Gelidove in Hæmo.</i></p> +</div> +</div> + +<p> +The two last are doubly rhym'd.</p> + +<br /><br /><hr class="short" /><br /><br /><br /> +<a name="page39" id="page39"></a><span class="left">[page 39]</span> + +<div class="figcenter"> +<img src="images/44-1.png" width="481" height="75" alt="glyph" border="0" /> +</div><br /><br /> + +<h1>LETTER V.</h1> + +<p class="indent1a"> +<i>SIR</i>,</p> +<div class="figleft1"> +I</div> <br style="line-height: 30%" /> +<p> Am now to consider <i>Milton</i>'s Versification under +the same Heads as I have considered <i>Virgil</i>'s, +so far as there is Opportunity of doing it.</p> + + <br style="line-height: 40%" /> +<p> +I. To begin with <i>The Varying of the Pause</i>, which +is the Soul of all Versification in all Languages. +Verse is Musick, and Musick is more or less pleasing +as the Notes are more or less varied, that is, +raised or sunk, prolonged or shortned.</p> +<p> +In order to judge of the varying of <i>English</i> Versification, +I first endeavour'd (as I have already +said, with respect to the <i>Latin</i>) to find out the common +Pause in <i>English</i> Verse, that is, where the +Voice naturally makes some sort of Stop when a +Verse is read. To this purpose I look'd into Mr. +<i>Cowley</i>'s <i>Davideis</i> (for it would be of no use to +quote such Authors as <i>Quarles</i> and <i>Ogilby</i>, who never +had any Reputation for Poetry; but this Gentleman +has been stil'd, and is at present recorded in +<i>Westminster-Abbey</i>, as <i>Anglorum Pindarus</i>, <i>Maro</i>, +<i>Flaccus</i>) and there I soon found the common Pause +to be upon the last Syllable of the second Foot. For +Example:</p> + +<a name="page40" id="page40"></a><span class="left">[page 40]</span> + +<div class="poem"> +<div class="stanza"> +<p>"I sing the Man | who <i>Judah</i>'s Sceptre bore</p> +<p>In that Right-hand, | which held the Crook before;</p> +<p>Who from best Poet, | best of Kings <i>did</i> grow:</p> +<p>The two chief Gifts | Heav'n could on Man bestow.</p> +<p>Much Dangers first, | much Toil did he sustain,</p> +<p>Whilst <i>Saul</i> and Hell | crost his strong Fate in vain.</p> +<p>Nor did his Crown | less painful Work afford—</p> +</div> +</div> + +<p> +Here we have seven Lines, and all of them, except +the third, paus'd in the same place.</p> +<p> +Thus I discovered from <i>Cowley</i> in <i>English</i> what +I perceived from <i>Ovid</i> in <i>Latin</i>. I then turned to +the <i>Paradise Lost</i>, and there I found <i>Milton</i> even +surpasses <i>Virgil</i> in this particular. <i>Virgil</i> uses the +common Pause at the fifth Line of the <i>Georgicks</i>, +but <i>Milton</i> does not use it till he comes to the sixth +Line in his <i>Paradise Lost</i>.</p> + +<div class="poem"> +<div class="stanza"> +<p>"Of Man's first Disobedience | and the Fruit</p> +<p>Of that forbidden Tree | whose mortal Taste</p> +<p>Brought Death into the World | and all our Woe,</p> +<p>With Loss of <i>Eden</i> | 'till one greater Man</p> +<p>Restore us | and regain the blissful Seat,</p> +<p>Sing Heavenly Muse |—————————</p> +</div> +</div> + +<p> +It would be needless to produce more Examples +to this purpose; and I believe I may venture to affirm +that the Verse is varied at least with as much +Skill in the <i>Paradise Lost</i>, as even in the <i>Georgick</i> +itself: I am inclinable to think with more, because +in this respect the <i>English</i> Language surpasses the +<i>Latin</i>, by reason of its Monosyllables, of which I +have said enough for any body at all versed in these +Matters, to be able to make out what is here advanc'd. +But before I quit this Article, I will observe +that it is to the artful and uncommon varying +the Pause, that the Harmony is owing in those two<a name="page41" id="page41"></a><span class="left">[page 41]</span> +celebrated Lines of Sir <i>John Denham</i>.</p> + +<div class="poem"> +<div class="stanza"> +<p>"Tho' deep | yet clear; | tho' gentle | yet not dull.</p> +<p>Strong | without Rage, | without o'erflowing | full.</p> +</div> +</div> + +<p> +This is one of those Mysteries in Versification +which the late Duke of <i>Bucks</i> would not suffer Mr. +<i>Dryden</i> to communicate to the Publick. To the +same Art is owing the Delicacy of two of the finest +Lines in all the <i>Latin</i> Tongue.</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Te | dulcis conjux | te | solo in littore | secum</i>,</p> +<p><i>Te | veniente die | te | decedente | canebat.</i></p> +</div> +</div> + +<p> +Of the same Nature are many Lines in <i>Milton</i>, +of which this is one:</p> + +<div class="poem"> +<div class="stanza"> +<p>"Him first | Him last | Him midst | and without End.</p> +</div> +</div> + + <br /><br /> + +<p> +II. I come now to the second Particular: <i>The Inversion +of the Phrase</i>. Every Page affords Instances +of this Nature.</p> + +<div class="poem"> +<div class="stanza"> +<p>"———————Him the Almighty Pow'r</p> +<p>Hurl'd headlong flaming from the ethereal Sky.</p> +</div> +</div> + +<p class="center"> +Again,</p> + +<div class="poem"> +<div class="stanza"> +<p>"———Up stood the Corny Reed</p> +<p>Embattell'd in her Field.————</p> +</div> +</div> + +<p class="center"> +Again,</p> + +<div class="poem"> +<div class="stanza"> +<p>"————————Him the most High</p> +<p>Rapt in a balmy Cloud with winged Steeds</p> +<p>Did, as thou saw'st, Receive.</p> +</div> +</div> + +<a name="page42" id="page42"></a><span class="left">[page 42]</span> + +<p> +And in one of <i>Milton</i>'s juvenile Poems we have</p> + +<div class="poem"> +<div class="stanza"> +<p>"Trip the pert Fairies.———————</p> +</div> +</div> + +<p class="center"> +And,</p> + +<div class="poem"> +<div class="stanza"> +<p>"Revels the spruce jocund Spring.</p></div> +<div class="stanza"> +<p class="i32"><i>Comus.</i></p> +</div> +</div> + + <br /><br /> + +<p> +III. The third thing to be consider'd, is, <i>The adapting +the Sound to the Sense</i>.</p> +<p> +Who does not hear the Warbling of a <i>Brook</i>, +the Rustling of <i>Wings</i>, the rough Sound of <i>Trumpets</i> +and <i>Clarions</i>, and the soft one of <i>Flutes</i> and +<i>Recorders</i> in the following Lines?</p> + +<div class="poem"> +<div class="stanza"> +<p>"Fountains, and ye that warble as ye flow</p> +<p>Melodious Murmur warbling, tune his Praise.</p> +</div> +</div> + +<p class="center"> +Again,</p> + +<div class="poem"> +<div class="stanza"> +<p>"———————But Chief the spacious Hall</p> +<p>Thick swarm'd, both on the Ground and in the Air,</p> +<p><i>Brush'd with the Hiss of rustling Wings</i>.</p> +</div> +</div> + +<p class="center"> +Again,</p> + +<div class="poem"> +<div class="stanza"> +<p>"Then strait commands, that at the warlike Sound</p> +<p>Of <i>Trumpets</i> loud and <i>Clarions</i>, be uprear'd</p> +<p>His mighty Standard.—————</p> +</div> +</div> + +<p class="center"> +Again,</p> + +<div class="poem"> +<div class="stanza"> +<p>"———Nor with less Dread, the loud</p> +<p>Ethereal Trumpet from on High <i>'gan blow</i>.</p> +</div> +</div> + +<a name="page43" id="page43"></a><span class="left">[page 43]</span> + +<p class="center"> +Again,</p> + +<div class="poem"> +<div class="stanza"> +<p>"———————————Thus they</p> +<p>Breathing united Force with fixed Thought</p> +<p>Mov'd on <i>in Silence to soft Pipes</i>.</p> +</div> +</div> + +<p> +Who does not see Porpoises and Dolphins tumbling +about in the Ocean when he reads this Line?</p> + +<div class="poem"> +<div class="stanza"> +<p>"———————————On smooth the Seal,</p> +<p>And bended Dolphins play: part huge of Bulk,</p> +<p>Wallowing unwieldy, enormous in their Gate,</p> +<p>Tempest the Ocean.———————</p> +</div> +</div> + +<p> +How variously the Rivers run in these Verses?</p> + +<div class="poem"> +<div class="stanza"> +<p>"——————————So the watry Throng</p> +<p>Wave rowling after Wave, where way they found,</p> +<p>If steep, with Torrent rapture, if through plain</p> +<p>Soft Ebbing.——————————</p> +</div> +</div> + +<p> +How is the Verse extended where the Whale lies +at length upon the Ocean!</p> + +<div class="poem"> +<div class="stanza"> +<p>"—————————There Leviathan</p> +<p>Hugest of living Creatures, on the Deep</p> +<p>Stretch'd like a Promontory sleeps.———</p> +</div> +</div> + +<p> +How does the Line labour when the Elephant is +working himself through the stiff Clay, whilst the +lesser Animals sprout up as it were in an Instant!</p> + +<div class="poem"> +<div class="stanza"> +<p>"————————Scarce thro' his Mould</p> +<p><i>Behemoth</i>, biggest born of Earth, upheav'd</p> +<p>His Vastness.——————————</p> +</div> +</div> + +<a name="page44" id="page44"></a><span class="left">[page 44]</span> + +<p class="center"> +And,</p> + +<div class="poem"> +<div class="stanza"> +<p>"———Fleec'd the Flocks and bleating, rose</p> +<p>As Plants.————</p> +</div> +</div> + +<p> +But I shall have occasion to take notice of this +Subject hereafter.</p> + + <br /><br /> + +<p> +IV. The fourth thing to be enquir'd into is, <i>The +mixing of singular and plural Numbers</i>, in which +<i>Milton</i> excels.</p> + +<div class="poem"> +<div class="stanza"> +<p>"———————Flowers were the Couch</p> +<p>Pansies, and Violets, and <i>Asphodel</i>,</p> +<p>And <i>Hyacinth</i>, Earth's freshest softest Lap.</p> +</div> +</div> + +<p class="center"> +Again,</p> + +<div class="poem"> +<div class="stanza"> +<p>"———Through many a dark and dreary Vale</p> +<p>They pass'd, and many a Region dolorous,</p> +<p>O'er many a frozen, many a fiery Alp,</p> +<p>Rocks, Caves, Lakes, Fens, Bogs, Dens, and</p> +<p>Shades of Death.</p> +</div> +</div> + +<p class="center"> +Again,</p> + +<div class="poem"> +<div class="stanza"> +<p>"Sporting the <i>Lion</i> ramp'd, and in his Paw</p> +<p>Dandled the <i>Kid</i>; Bears, Tigers, Ounces, Pards,</p> +<p>Gambol'd before them.————</p> +</div> +</div> + +<p class="center"> +Again,</p> + +<div class="poem"> +<div class="stanza"> +<p>"———————Sweet Interchange</p> +<p>Of Hill and Valley, Rivers, Woods and Plains,</p> +<p>Now Land, now Sea, and Shores with Forest crown'd</p> +<p>Rocks, Dens and Caves.</p> +</div> +</div> + +<a name="page45" id="page45"></a><span class="left">[page 45]</span> + +<p class="center"> +Again,</p> + +<div class="poem"> +<div class="stanza"> +<p>"The glittering Guard he pass'd, and now is come</p> +<p>Into the blissful Field, thro' Groves of Myrrh,</p> +<p>And flow'ry Odours, <i>Cassia</i>, <i>Nard</i>, and <i>Balm</i>.</p> +</div> +</div> + + <br /><br /> + +<p> +V. As to the fifth Remark upon <i>Virgil</i>, which +relates to his using the Particles <i>Que</i> and <i>Et</i> in his +Verse, there can be nothing of that nature in <i>Milton</i>. +So that I proceed to</p> + +<br /><br /> + +<p> +VI. The sixth thing to be observed, which is, +<i>The Collocatio Verborum</i>.</p> +<p> +<i>Milton</i> often places the Adjective after the Substantive, +which very much raises the Stile.</p> + +<div class="poem"> +<div class="stanza"> +<p>"Strait he commands that at the warlike Sound</p> +<p>Of Trumpets <i>loud</i>, and Clarions, be uprear'd</p> +<p>His mighty Standard. That proud Honour claim'd</p> +<p><i>Azazel</i>, as his Right; a Cherub <i>tall</i>.————</p> +</div> +</div> + +<p class="center"> +Again,</p> + +<div class="poem"> +<div class="stanza"> +<p>"Thy Goodness beyond Thought and Pow'r <i>Divine</i>.———</p> +</div> +</div> + +<p> +And again,</p> + +<div class="poem"> +<div class="stanza"> +<p>"Then from the Mountain hewing Timber <i>tall</i>.</p> +</div> +</div> + +<p> +But the utmost of his Art in this respect consists +in his removing the Adjective, the Substantive, and +even the Verb, from the Line or Verse in which the +Sense is previously contained, and the grammatical +Construction inverted, to the Beginning of the<a name="page46" id="page46"></a><span class="left">[page 46]</span> +next Line. This has a wonderful Effect; especially +when the Word is a Monosyllable.</p> + +<div class="poem"> +<div class="stanza"> +<p>"Here finish'd he, and all that he had made</p> +<p><i>View'd</i>—and behold all was entirely good.</p> +</div> +</div> + +<p class="center"> +Again,</p> + +<div class="poem"> +<div class="stanza"> +<p>"Over their Heads triumphant Death his Dart</p> +<p><i>Shook</i>—But refus'd to strike.</p> +</div> +</div> + +<p> +This artful Collocation commands the Attention, +and makes the Reader feel and see what is offer'd to +him.</p> +<p> +That this Effect is owing to the Collocation will +appear by considering any one of the Instances now +produc'd. For Example:</p> + +<div class="poem"> +<div class="stanza"> +<p>"Over their Heads triumphant Death his Dart</p> +<p><i>Shook</i>.———</p> +</div> +</div> + +<p> +This Passage makes the Reader see Death with his +Dart in his Hand, making it over the Heads of the +unhappy Creatures describ'd in the <i>Lazar-house</i>, as +plainly as if the whole was painted upon Canvas. +But let this Line be alter'd thus:</p> + +<div class="poem"> +<div class="stanza"> +<p>"Over their Heads Death shook his dreadful Dart.</p> +</div> +</div> + +<p> +How much of the Fire and Spirit of this Passage +is lost, will be easily perceiv'd.</p> +<p> +I was long of Opinion that <i>Milton</i> had invented +this Art himself, for I knew he had it not from +<i>Virgil</i>: The <i>Latin</i> Language is hardly capable of it. +But by Accident I found <i>Milton</i> learn'd it from <i>Homer</i>, +though it is plain what is <i>Art</i> in the former was +<i>Chance</i> in the latter; which cannot be disputed when<a name="page47" id="page47"></a><span class="left">[page 47]</span> +it is considered that in so many thousand Lines that +we have of <i>Homer</i>'s, there is I believe but one single +Instance of this Monosyllable Collocation; but in +<i>Milton</i> there are many, both Substantives, Adjectives +and Verbs. The single Instance in <i>Homer</i> is +in <i>Odysse</i> 9. in the Story of <i>Polyphemus</i>.</p> +<a name="rgreek2"></a> +<div class="poem"> +<div class="stanza"> +<p><a class="contents" href="#greek1" title="Sun de duô marpsas, hôs te phulakas poti gaiê / Kopt'"> +Συν δὲ δύω μαρπσας, +ὥς τε φύλακας +ποτὶ γαίη<br /> +Κοπτ'.</a></p></div> + +<div class="stanza"> +<p><span class="note">[ Συν δε δύω μαρπσας, +ώς τε φύλακας +ποτι γαίη<br /> + Κοπτ'. ]</span></p></div> + +<div class="stanza"> +<p class="i32"><i>Hom.</i> Odyss. <i>&c.</i></p> +</div> +</div> + +<div class="poem"> +<div class="stanza"> +<p>"Two of my hapless Friends with all his Pow'r,</p> +<p>Like Dogs, the Monster on the rocky Floor</p> +<p>D<span style="font-size: 0.7em;">ASH'D</span>.———</p> +</div> +</div> + +<p> +Can any body be insensible of the Power of this +Word, <i>Dash'd</i>, as it is here plac'd.</p> +<p> +I remember an Instance of this Monosyllable +Collocation at the Beginning of a Line in rhym'd +Verse, which is very well worth inserting here. It +is at the Conclusion of Mr. <i>Pit</i>'s 4th <i>Æneid</i>, when +<i>Juno</i> sends <i>Iris</i> from Heaven in haste to relieve <i>Dido</i> +from the Agonies of Death.</p> + +<div class="poem"> +<div class="stanza"> +<p><i>"Tum Juno Omnipotens, longum miserata dolorem</i>,</p> +<p><i>Difficilesque obitus, Irim</i> Demisit Olympo</p> +<p><i>Quæ luctantem animam, nexosque resolveret artus</i>.</p> +</div> +</div> + +<div class="poem"> +<div class="stanza"> +<p>"Then mighty <i>Juno</i> with a melting Eye,</p> +<p>Beheld her dreadful Anguish from the Sky;</p> +<p>And bade fair <i>Iris</i> from the starry Pole,</p> +<p><i>Fly</i>, and enlarge her agonizing Soul.</p> +</div> +</div> + +<p> +How is the Verse animated by the placing that +Monosyllable, <i>Fly</i>, at the Beginning of the last +Line.—The Reader sees all the Concern of <i>Juno</i>, +and all the Hurry she is in to get the unhappy Queen +released from the Pangs of Death.</p> + +<a name="page48" id="page48"></a><span class="left">[page 48]</span> + +<p> +<i>Milton</i> likewise uses his Monosyllables very artfully +in placing them at the Conclusion of a Line, so +as to divide the last Foot of the Verse, which has a +very extraordinary Effect.</p> + +<div class="poem"> +<div class="stanza"> +<p>"Silence, ye troubled Waves, and thou, <i>Deep</i>,</p> +<p>Peace.</p> +</div> +</div> + +<p> +Again he divides the last Foot by making a Monosyllable +the Beginning of a new Sentence, which +is very pleasing.</p> + +<div class="poem"> +<div class="stanza"> +<p>"——————Up flood the Corny Reed</p> +<p>Imbattled in his Plain, the humble Furz</p> +<p>And Bush with frisled Hair implicit. <i>Last</i></p> +<p>Rose as in Dance the stately Trees.</p> +</div> +</div> + +<p> +<i>Milton</i> also sometimes places two Monosyllables +at the End of the Line, stopping at the 4th Foot, +to adapt the Measure of the Verse to the Sense; and +then begins the next Line in the same manner, +which has a wonderful Effect.</p> + +<div class="poem"> +<div class="stanza"> +<p>"Now at their shady Lodge arriv'd, <i>both stopt</i>,</p> +<p><i>Both turn'd</i>, and under open Sky ador'd</p> +<p>The God who made, <i>&c.</i></p> +</div> +</div> + +<p> +This artful Manner of writing makes the Reader +see them <i>Stop</i> and <i>Turn</i> to worship God before they +went into their Bower. If this Manner was alter'd, +much of the Effect of the Painting would be lost.</p> + +<div class="poem"> +<div class="stanza"> +<p>"And now arriving at their shady Lodge</p> +<p><i>Both stopt, both turn'd</i>, and under open Sky</p> +<p>Ador'd the God, <i>&c.</i></p> +</div> +</div> + +<p> +This falls very short of the Original. So in +<i>Latin</i>,</p> + +<a name="page49" id="page49"></a><span class="left">[page 49]</span> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Jamq; domûs ventum est umbrosæ ad limina</i>: sistunt</p> +<p>Ambo, ambo vertunt, & <i>aperto numen adorant</i></p> +<p><i>Sub Cœlo</i>.——————</p> +</div> +</div> + +<p> +Alter these Lines, thus,</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Et nunc Arborei ventum est ad limina tecti</i>;</p> +<p>Sistunt Ambo, Ambo vertunt, <i>& numen Adorant</i></p> +<p><i>Sub Cœlo</i>.——————</p> +</div> +</div> + +<p> +There is here just the same Difference in the <i>Latin</i> +as in the <i>English</i>.</p> +<p> +I cannot omit two other Instances of <i>Milton</i>'s +wonderful Art in the Collocation of Words, by +which the Thoughts are exceedingly heighten'd.</p> + +<div class="poem"> +<div class="stanza"> +<p>"Under his forming Hands a Creature grew</p> +<p>Manlike, but different Sex, so lovely fair,</p> +<p>That what seem'd fair in all the World, seem'd now</p> +<p><i>Mean</i>, or in her summ'd up.————</p> +</div> +</div> + +<p> +What a Force has that Word <i>mean</i>, as it is +plac'd!</p> +<p> +Again,</p> + +<div class="poem"> +<div class="stanza"> +<p>"I turn'd my Thoughts, and with capacious Mind</p> +<p>Considered all Things visible in Heav'n,</p> +<p>Or Earth, or Middle, all Things fair and good;</p> +<p>But all that Fair and Good, in thy Divine</p> +<p><i>Semblance</i>, and in thy Beauty's heav'nly Ray</p> +<p>United I beheld————————</p> +</div> +</div> + +<p> +I presume there is no other Language in which +Perfection equal to this is to be found: And I could +give many more Instances of the same kind out of +the <i>Paradise Lost</i>.</p> + + <br /><br /> + +<a name="page50" id="page50"></a><span class="left">[page 50]</span> + +<p> +VII. The seventh Particular in <i>Virgil</i> was his <i>Varying +the Common Pronunciation</i>, in which <i>Milton</i> +has imitated him in several Places; the following is +one Instance.</p> + +<div class="poem"> +<div class="stanza"> +<p>———Thus to his Son au—<span style="text-decoration:overline;">di</span>—bly spake.</p> +</div> +</div> + +<p> +For so it must be read, and not after the common +manner.</p> +<p class="center"> +Again,</p> + +<div class="poem"> +<div class="stanza"> +<p>"Hoarse Murmur eccho'd to his Words Applause</p> +<p>"Thro' the in—<span style="Text-decoration: overline;">fi</span>—nite Host————</p> +</div> +</div> + +<p> +And the like in many other Places.</p> + + <br /><br /> +<p> +VIII. <i>His Verses contrary to the Common Measure.</i> +The following is an Example of this kind.</p> + +<div class="poem"> +<div class="stanza"> +<p>"Drove headlong down to the Bottomless Pit.—</p> +</div> +</div> + +<p> +Those who may be apt to find fault with such +Arts as these (for Arts they are in <i>Virgil</i> and <i>Milton</i>) +little think what it is to write 10 or 12 thousand +Lines, and to vary the Sound of them in such manner +as to entertain the Ear from the Beginning to +the End of the Work.</p> + + <br /><br /> +<p> +IX. I come now to the <i>Alliteratio</i>.</p> +<p> +And 1. To speak of the single <i>Alliteratio</i>. This +is so common in <i>Milton</i>, that you need but begin +the Poem, or open any Page of it, and you will +meet with it.</p> + +<a name="page51" id="page51"></a><span class="left">[page 51]</span> + +<div class="poem"> +<div class="stanza"> +<p>"Of Man's <i>first</i> Disobedience, and the <i>Fruit</i></p> +<p>Of that forbidden <i>Tree</i>, whose mortal <i>Taste</i></p> +<p>Brought Death into the <i>World</i>, and all our <i>Woe</i>.</p> +</div> +</div> + +<p class="center"> +Again,</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Restore</i> us, and <i>Regain</i> the blissful Seat.</p> +</div> +</div> + +<p class="center"> +And</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Sing</i> Heav'nly Muse! that on the <i>Secret</i> Top.</p> +</div> +</div> + +<p class="center"> +And a little lower,</p> + +<div class="poem"> +<div class="stanza"> +<p>"That <i>Shepherd</i> who first taught the chosen <i>Seed</i>.</p> +</div> +</div> + +<p> +But I will produce an Example or two of this +kind out of our Author's juvenile Poems. His +Verses upon the Circumcision are addressed to the +Angels that appear'd to the Shepherds, and begin +thus,</p> + +<div class="poem"> +<div class="stanza"> +<p>"Ye flaming Pow'rs, and <i>winged Warriors</i> bright,</p> + <p class="i2">That erst with Musick and triumphant Song</p> +<p>Through the <i>soft Silence</i> of the listning Night</p> + <p class="i2"><i>So sweetly sung</i> your Joy the Clouds along.</p> +</div> +</div> + +<p> +All the Masters of Verse from <i>Chaucer</i> to <i>Milton</i>, +and from <i>Milton</i> to this time, were sensible of this +Art. <i>Dryden</i> attends to it more than any thing +else.</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Beneath</i> the Shade which <i>Beechen Boughs</i> diffuse,</p> +<p><i>You Tityrus</i> entertain <i>your</i> Sylvan Muse:</p> +<p><i>Round</i> the <i>wide World</i> in Banishment <i>we roam</i>,</p> +<p><i>Forc'd from</i> our pleasing <i>Fields</i> and native Home.</p> +</div> +</div> + +<a name="page52" id="page52"></a><span class="left">[page 52]</span> + +<p class="center"> +Again,</p> + +<div class="poem"> +<div class="stanza"> +<p><i>Arms and</i> the Man I sing, who <i>forc'd</i> by <i>Fate</i></p> +<p>And <i>haughty</i> Juno's unrelenting <i>Hate</i>,</p> +<p><i>Expell'd</i> and <i>Exil'd</i>, left the <i>Trojan</i> Shore:</p> +<p><i>Long Labours</i>, both by Sea and <i>Land</i> he bore.</p> +</div> +</div> + +<p> +Mr. <i>Pope</i> begins his Poems with this Delicacy.</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>First</i> in these <i>Fields</i> I try the <i>Sylvan Strains</i>,</p> +<p>Nor <i>blush</i> to sport on <i>Windsor's blissful</i> Plains.</p> +<p><i>Fair</i> Thames <i>flow</i> gently <i>from</i> thy <i>Sacred Spring</i>,</p> +<p>While on thy Banks <i>Sicilian</i> Muses <i>Sing</i>;</p> +<p>Let Vernal Airs <i>thro' tre</i>mbling Osiers play,</p> +<p>And <i>Albion</i>'s Cliffs <i>resound</i> the <i>rural</i> Lay.</p> +<p>You, that too wise for <i>Pride</i>, too good for <i>Pow'r</i></p> +<p>Enjoy the <i>Glory</i> to be <i>great</i> no more.</p> +</div> +</div> + +<p> +Mr. <i>Pitt</i> has the following Lines in his 2d +<i>Æneid</i>.</p> + +<div class="poem"> +<div class="stanza"> +<p>"So when an <i>aged Ash</i>, whose Honours rise</p> +<p>From some <i>steep</i> Mountain tow'ring to the <i>Skies</i>,</p> +<p>With many <i>an Axe</i> by <i>shouting Swains</i> is ply'd,</p> +<p><i>Fierce</i> they repeat the <i>Strokes from</i> every <i>Side</i>;</p> +<p><i>The tall Tree trembling</i>, as the Blows go round,</p> +<p>Bows the <i>high Head</i>, and nods to every Wound.</p> +</div> +</div> + +<p> +Sir <i>Philip Sidney</i>, who was very unhappy in Versification, +seems to have despised this Beauty in +Verse, and even to have thought it an Excellence +to fix the Pause always in one Place, namely at the +End of the second Foot: So that he must have had +no more Ear for Poetry than Mr. <i>Cowley</i>. Not but +that I am apt to think some Writers in Sir <i>Philip +Sidney</i>'s time carried this matter to a ridiculous Extreme. +Others thought this Beauty a Deformity, +and concluded it so from two or three silly <i>Latin</i><a name="page53" id="page53"></a><span class="left">[page 53]</span> +Lines of <i>Ennius</i> and <i>Tully,</i> such as,</p> + +<div class="poem"> +<div class="stanza"> +<p><i>O Tite, Tute, Tati</i>, &c.</p> +</div> +</div> + +<p class="center"> +And,</p> + +<div class="poem"> +<div class="stanza"> +<p><i>O Fortunatam, natam</i>, &c.</p> +</div> +</div> + +<p> +without ever attending to <i>Virgil</i> in the least.</p> +<p> +<i>Spencer</i> every where abounds in all his Works +with <i>Alliterations</i>; I will produce but one, which is +exceeding beautiful.</p> + +<div class="poem"> +<div class="stanza"> +<p>"The <i>Lilly, Lady</i> of the <i>Flow'ry Field</i>.</p> +</div> +</div> + +<p> +Here is a double initial Alliteration, and a continual +mix'd Alliteration of the liquid <i>L</i>, which +makes the Verse so very musical that there are few +such Lines in our, or any other Language.</p> +<p> +<i>Fairfax</i>, who was one of the first curious Versifyers +amongst us, embellishes his Lines continually +with this Ornament.</p> +<p> +In his Description of a Troop of fighting Monks, +in his first Book of his Translation of <i>Tasso</i>, are +these Lines.</p> + +<div class="poem"> +<div class="stanza"> +<p>"Their jolly Notes, they <i>Chanted</i> loud and <i>Clear</i>:</p> +<p>And <i>horrid Helms high</i> on their <i>Heads</i> they bear.</p> +</div> +</div> + +<p> +Than which Verses nothing can be more truly +poetical.</p> +<p> +But to go farther back than either <i>Fairfax</i> or +<i>Spencer</i>, those celebrated Lines in our antient Translation +of the <i>Psalms</i> owe their greatest Beauty to +their <i>Alliteration</i>.</p> + +<a name="page54" id="page54"></a><span class="left">[page 54]</span> + +<div class="poem"> +<div class="stanza"> +<p>"The Lord descended from above,</p> +<p>And bow'd the <i>Heavens high</i>,</p> +<p>And underneath his Feet he cast</p> +<p>The Darkness of the Sky.</p></div> +<div class="stanza"> +<p>"On <i>Cherubs</i> and on <i>Cherubims</i></p> +<p>Full <i>royally</i> he <i>rode</i>,</p> +<p>And on the <i>Wings</i> of mighty <i>Winds</i></p> +<p>Came flying <i>all abroad</i>.</p> +</div> +</div> + +<p> +A Line of <i>Chaucer</i>'s just now offers itself to my Memory, +which has almost all the Arts of Poetry in it.</p> + +<div class="poem"> +<div class="stanza"> +<p>"A <i>Sheffield</i> Whittle bare <i>he</i> in <i>his Hose</i>.</p> +</div> +</div> + +<p> +There is a fine Alliteration in the Conclusion of +the Line, Bare <i>he</i> in <i>his Hose</i>, and a mix'd one at the +Beginning of it. The <i>h</i> in the first Syllables of the +second and third Words mixes the Sound very +agreeably; and lastly, the Inversion of the Phrase +(where the Nominative is put immediately after the +Verb) is extremely poetical. <i>Bare he</i>. <i>Chaucer</i> +seems (to me) by the help of a delicate Ear, and a +curious Judgment, to have learnt all his Graces +from <i>Virgil</i>. 1. His Rhyme. 2. His Inversion +of the Phrase: And 3. His Alliteratio. The Varying +of the Pause he does not seem to have attended +to. But to return to <i>Milton</i>.</p> +<p> +Having spoken sufficiently of the <i>Initial</i>, I come +now to the <i>mix'd Alliteration</i>. And this latter is +almost as common as the former, and is to be found +in all such Lines as these.</p> + +<div class="poem"> +<div class="stanza"> +<p>"————————And now is come</p> +<p>Into the <i>blissful Field</i>.———————</p> +</div> +</div> + +<p> +Every Ear must perceive how the <i>f</i> and the <i>l</i> are +mingled in the two last Words.</p> + +<a name="page55" id="page55"></a><span class="left">[page 55]</span> + +<p class="center"> +Again,</p> + +<div class="poem"> +<div class="stanza"> +<p>"—————Th<span style="text-decoration: underline;">r</span>o' +G<span style="text-decoration: underline;">r</span>oves of +My<span style="text-decoration: underline;">rr</span>h.———</p> +</div> +</div> + +<p> +Here the rough <i>r</i> predominates as much as the +soft <i>l</i> did in the first Part of the Verse.</p> + +<p class="center"> +Again,</p> + +<div class="poem"> +<div class="stanza"> +<p>"And <i>Flow'r</i>y O<i>dours</i>.————</p> +</div> +</div> + +<p> +Here the <i>Allusio Verborum</i> is introduc'd. +<i>Flow'r</i> at the Beginning of the first Word, and +<i>Dour</i> at the End of the second, make a most agreeable +Harmony. The Line concludes with what may +be call'd the <i>Assultus</i>, or the Attack upon the +Ear.</p> + +<div class="poem"> +<div class="stanza"> +<p>"———<i>Cāssiā, Nārd ānd Bālm.</i>———</p> +</div> +</div> + +<p> +These five <i>A</i>'s in four Words at the End of the +Line must make themselves perceiv'd if Words can +do it. 'Tis of the same kind as <i>Virgil</i>'s,</p> + +<div class="poem"> +<div class="stanza"> +<p>"————<i>Tumidā æquorā plācāt.</i></p> +</div> +</div> + +<p> +But it may be proper to add another Instance or +two of the <i>Allusio Verborum</i>.</p> + +<div class="poem"> +<div class="stanza"> +<p>"So talk'd the <i>spirited sly Snake</i>, and <i>Eve</i></p> +<p>Yet more amaz'd.————————</p> +</div> +</div> + +<p class="center"> +Again,</p> + +<div class="poem"> +<div class="stanza"> +<p>"When from the <i>Boughs</i> a savoury Odour <i>blown</i>.</p> +</div> +</div> + +<a name="page56" id="page56"></a><span class="left">[page 56]</span> + +<p class="center"> +Again,</p> + +<div class="poem"> +<div class="stanza"> +<p>"Immediately the Mountains huge appear</p> +<p>Emergent, and their <i>broad bare Backs</i> upheave</p> +<p>Into the Clouds.————</p> +</div> +</div> + +<p class="center"> +Again,</p> + +<div class="poem"> +<div class="stanza"> +<p>"—Scarce from his Mould</p> +<p><i>Behemoth, biggest born</i> of Earth, upheav'd</p> +<p>His Vastness.———————</p> +</div> +</div> + +<div class="poem"> +<div class="stanza"> +<p>Spirited sly Snake.———Boughs blown.———</p> +<p>Broad bare Backs.———<i>Behemoth</i> biggest born.</p> +</div> +</div> + +<p> +All these Passages are in the same Stile of Sound +as <i>Virgil</i>'s—<i>Metuens</i>, <i>Molem</i>, <i>Montis</i>.</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Hoc metuens, molemque & montis insuper altos</i></p> +<p><i>Imposuit.</i>—————————</p> +</div> +</div> + +<p> +Observe how the <i>molemque & montis</i> labour in the +Verse exactly in the same manner as</p> + +<div class="poem"> +<div class="stanza"> +<p>Broad, bare Backs, and <i>Behemoth</i> biggest born.</p> +</div> +</div> + +<p> +But here let me give you a few more Instances of +the <i>Allusio Verborum</i>, or the mixing of Sounds of +Words in rhym'd Verse.</p> + +<div class="poem"> +<div class="stanza"> +<p>"As o'er th'Aerial <i>Alps</i> sublimely spread</p> +<p>Some aged Oak uprears his reverend Head.</p></div> +<div class="stanza"> +<p class="i32"><i>Pit</i>'s Æneid.</p> +</div> +</div> + +<p> +A Gentleman justly esteemed for his great Learning +and excellent Skill in Criticism, but not of so +delicate an Ear as Mr. <i>Pit</i>, would have had him +writ, <i>As on th'Aerial Alps</i>.</p> + +<a name="page57" id="page57"></a><span class="left">[page 57]</span> + +<p> +But then the Verse would have wanted much of +its Harmony, because <i>O'er</i> mingles in Sound with +<i>A'er</i> which <i>On</i> does not; and the same thing would +have happen'd in the next Line, if it had stood +thus—<i>Some aged Oak uplifts his mighty Head</i>.—Because +<i>uplifts</i> and <i>mighty</i> have no Resemblance in +Sound to each other, or to <i>Aged</i> and <i>Head</i>; but as +the Line stands,</p> + +<div class="poem"> +<div class="stanza"> +<p>"Some aged Oak uprears his Reverend Head,</p> +</div> +</div> + +<p> +the Words all melt into one another, and the +Musick dies along the Verse from the Beginning to +the End. This is the greatest Delicacy of Poetry, +neither are the other Graces wanting in this Verse. +The Pause is properly varied, the first Line is entirely +suspended. There is in it a double Alliteration, +<i>Aerial Alps, sublimely spread</i>: And to conclude all, +the Rhyme is as perfect as possible.</p> + +<p class="note1a"> +Octob. 11. 1736.</p> +<p class="author"> +<i>I am</i>, <span class="sc">Sir</span>, <i>&c.</i></p> + + + <br /><br /> + +<h3><i>P.S.</i></h3> +<p> +In looking over this Letter I observe a Passage +in <i>Milton</i>, which merits a very particular Consideration, +and which I ought to have taken notice +of before, when I was speaking of the Collocation +of Words; the Passage I mean is, <i>For since I +first</i>, &c. The entire Passage runs thus,</p> + +<a name="page58" id="page58"></a><span class="left">[page 58]</span> + +<div class="poem"> +<div class="stanza"> +<p><i>Eve, easily</i> may Faith admit that all</p> +<p>The Good which we enjoy, from Heav'n descends;</p> +<p><i>But</i>, that from <i>us</i> ought should ascend to Heav'n</p> +<p>So prevalent as to concern the Mind</p> +<p>Of God high-blest, or to incline his Will,</p> +<p>Hard to belief may seem; <i>yet</i> this will Prayer,</p> +<p>Or one short Sigh of human Breath, up born</p> +<p>Ev'n to the Seat of God. For since I sought</p> +<p>By Pray'r th' offended Deity to appease;</p> +<p><i>Kneel'd</i> and before him humbled all my Heart,</p> +<p>Methought I saw him placable and mild,</p> +<p>Bending his Ear, <i>&c.</i></p> +</div> +</div> + +<p> +How extremely fine is the Poetry of this Passage? +How soft is the beginning, occasion'd by the Assonance +of the two first Words, <i>Eve, Easily</i>, and of +the five next all alliterated with the same Vowel, <i>A</i></p> + +<div class="poem"> +<div class="stanza"> +<p>"——————<i>May Faith admit that all.</i></p> +</div> +</div> + +<p> +How solemn is the Pause at the 1st Syllable of the +3d Line! <i>But</i>————</p> +<p> +And the Cæsure upon the Monosyllable <i>Us</i> that +follows immediately,</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>But</i>—that from <i>us</i>————</p> +</div> +</div> + +<p> +And the same Energy is plainly perceiv'd at the +End of the 6th Line, where the Cæsure is plac'd +upon the Monosyllable <i>yet</i>,</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Yet</i>—this will Prayer, <i>&c.</i></p> +</div> +</div> + +<p> +But when we come to that Line,</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Kneel'd</i>; and before Him humbled all my Heart,</p> +</div> +</div> + +<a name="page59" id="page59"></a><span class="left">[page 59]</span> + +<p> +such is the Force of the Word <i>kneel'd</i> in that +Situation, that we actually see <i>Adam</i> upon his Knees +before the offended Deity; and by the Conclusion +of this Paragraph,———<i>Bending his Ear</i>, Infinite +Goodness is visibly as it were represented to our +Eyes as inclining to hearken to the Prayers of his +penitent Creature.</p> + +<br /><br /> +<div class="figcenter"> +<img src="images/64-1.png" width="150" height="117" alt="glyph" border="0" /> +</div><br /><br /> + +<br /><br /><hr class="short" /><br /><br /><br /> +<a name="page60" id="page60"></a><span class="left">[page 60]</span> + +<div class="figcenter"> +<img src="images/65-1.png" width="491" height="63" alt="glyph" border="0" /> +</div><br /><br /> + +<h1>LETTER VI.</h1> + +<p class="indent1a"> +<i>SIR</i>,</p> +<div class="figleft2a"><br style="line-height: 12%" /> +<span class="left1">XI.</span></div> +<div class="figleft2a">I</div> <br style="line-height: 30%" /> +<p> + AM now to proceed to the <i>Assonantia Syllabarum</i> +or <i>Rhyme</i>. I have shown under +this Head how much <i>Virgil</i> abounds in <i>Rhyme</i>; +from whence I conclude, that it may be reasonably +supposed <i>Rhyme</i> had its Original from a nobler Beginning +than the Barbarity of <i>Druids</i> and <i>Monks</i>. +It is very probable that <i>Chaucer</i>, <i>Dante</i>, and <i>Petrarch</i> +learnt it from <i>Virgil</i>, and that other Nations +follow'd the Example they had set them.</p> +<p> +To say the <i>Bards</i> rhym'd in the Times of grossest +Ignorance, merely by their own Invention, only +proves that Rhyme is naturally harmonious. We +are told by the Learned that the <i>Hebrew</i> Poetry is +in <i>Rhyme</i>, and that where-ever any Footsteps of this +Art are to be trac'd, <i>Rhyme</i> is always found, whether +in <i>Lapland</i> or in <i>China</i>.</p> +<p> +If it should be objected that the <i>Greek</i> Tongue is +an Exception to this general Rule; that Matter +perhaps may be disputed, or a particular Answer +might be given. But that the <i>Latin</i> Language is a +Friend to <i>Rhyme</i> is clear beyond all doubt; and +the same is as true of all the living Tongues that are +distinguished in the learned World.</p> +<p> It is no wonder that <i>Verse</i> without <i>Rhyme</i> has so many Advocates + amongst the Dealers in Poetry, because of its Facility. <i>Rhym'd</i> Verse, + with all its Ornaments, especially the artful Way of varying the<a name="page61" id="page61"></a><span class="left" style="left: 13px; top: 41430px">[page 61]</span> + Pause, is exceeding difficult; and so are all the curious Productions of Art. + Fine Painting, fine Musick or Sculpture, are all very hard to perform; it is + the Difficulty that makes those Performances so deserving of Applause when they + attain the highest Perfection. As to the Matter before us; <i>Rhyme</i> (as + Mr. <i>Dryden</i> justly observes) never was <i>Milton</i>'s Talent: This appears + from his juvenile Poems. And when he sate down to write the <i>Paradise lost</i>, + his Imagination was too vigorous, too lofty to be shackled by <i>Rhyme</i>. + It must be own'd that a thousand Beauties would have been lost, which now shine + with amazing Splendor in that Poem, if <i>Milton</i> had writ in the most exquisite + <i>Rhyme</i>. But then on the other hand, it is as certain that upon the whole + it would have been a more agreeable Poem to the Generality of Readers than it + is at present. Of this Opinion was the learned Foreigner mentioned in a former + Letter, a judicious Critick both in the ancient and modern Languages.</p> + +<blockquote><p> + "Quicquid tamen ejus sit, ostendunt Miltoni scripta virum vel in ipsâ + juventute: quæ enim ille adolescens scripsit carmina Latina, unà cum + Anglicis edita, ætatem illam longè superant, quâ ille vir scripsit + poëmata Anglica, sed sine rythmis, quos, ut pestes carminum + vernaculorum, abesse volebat, q<i>uale illud decem libris constans</i>, <i>The + Paradise Lost</i>, plena ingenii & acuminis sunt, sed insuavia tamen + videntur ob <i>rythmi</i> defectum; quem ego abesse à tali carminum genere + non posse existimo, quicquid etiam illi, & Italis nonnullis, & nuper + Isaaco Vossio in libro <i>de Poematum cantu</i>, videatur."</p> +<p class="author"> +<i>Polyhist.</i></p> +</blockquote> + +<a name="page62" id="page62"></a><span class="left">[page 62]</span> +<p> +However, we must take <i>Paradise Lost</i> as it is, and +rejoice that we have in it, one of the finest Works that +ever the Wit of Man produc'd: But then the Imperfection +of this Work must not be pleaded in favour +of such other Works as have hardly any thing worthy +of Observation in them. Placing <i>Milton</i> with +his blank Verse by himself (as indeed he ought to be +in many other respects, for he certainly has no Companion) +this Dispute about the Excellency of <i>blank</i> +Verse, and even the Preference of it to <i>rhym'd</i> +Verse, may be determined by comparing two Writers +of Note, who have undertaken the same Subject; +that is, <i>Virgil</i>'s Æneid.</p> +<p> +Now I will take all the Passages of that Poem +mentioned in my Letters to you, and compare +them in these two Translations: And if it shall appear +by the Comparison that the <i>rhym'd</i> Verses have +not only more Harmony and Conciseness, but likewise +that they express <i>Virgil</i>'s Sense more fully and +more perspicuously than the <i>blank</i> Verse, will it not +be easy to determine which of these two Sorts ought +to be preferr'd?</p> + +<p class="note1a"> +Octob. 22. 1736.</p> +<p class="author"> +<i>I am</i>, <span class="sc">Sir</span>, <i>&c.</i></p> + + <hr /> + +<h3><i>P.S.</i></h3> +<p> +When I was taking notice of <i>Virgil</i>'s Arts of +Versification, I should not have omitted his +sudden varying the Tense of the Verb from the Preterperfect +to the Present.</p> + +<div class="poem"><div class="stanza"> +<p>"<i>Non tua te nobis, Genitrix pulcherrima talem</i></p> +<p>Promisit, <i>Graiisque ideo bis</i> vindicat <i>armis</i>.</p> +</div> +</div> + +<a name="page63" id="page63"></a><span class="left">[page 63]</span> +<p> +This is very agreeable both as to the Verse and +the Sense; for it makes the thing described more +immediately present than it would be otherwise. I +cannot just now recollect an Example in <i>Milton</i> of +this nature, but I remember one in <i>Fairfax</i>, in a +Couplet already cited.</p> + +<div class="poem"> +<div class="stanza"> +<p>"Their jolly Notes they <i>chanted</i> loud and clear,</p> +<p>And horrid Helms high on their Heads they <i>bear</i>.</p> +</div> +</div> +<p> +This is much more lively and peinturesque than +if he had writ <i>bore</i>, and you will easily perceive it. +It may be said, perhaps, that <i>Fairfax</i> used <i>bear</i> +here for the sake of the Verse; let that be allow'd, +but then it must be likewise granted, that <i>Virgil</i> +uses <i>vindicat</i> instead of <i>vindicavit</i>, for the sake of +his Verse, which he would not have done, if it had +not been more beautiful than the common Prose way +of writing: And as it is an Excellency in <i>Virgil</i>, +so it is in <i>Fairfax</i>.</p> + +<br /><br /> + +<div class="figcenter"> +<img src="images/68-1-100.png" width="100" height="81" alt="glyph" border="0" /> +</div> + +<br /><br /><hr class="short" /><br /><br /><br /> +<a name="page64" id="page64"></a><span class="left">[page 64]</span> + +<div class="figcenter"> +<img src="images/69-1.png" width="495" height="49" alt="glyph" border="0" /> +</div><br /><br /> + +<h1>LETTER VII.</h1> + +<p class="indent1a"> +<i>SIR</i>,</p> +<div class="figleft1"> +I</div> <br style="line-height: 30%" /> +<p> + AM now to collect the Passages of the <i>Æneid</i>, +mentioned in my former Letters, and bring +them together with the <i>rhym'd</i> and <i>blank</i> Verse +Translations.</p> +<p> +The first Passage is this (not to take notice of +the very first Lines, which Mr. <i>Pit</i> has translated in +two different manners)</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Sic cunctus pelagi cecidit fragor, æquora postquam</i></p> +<p><i>Prospiciens genitor, cœloque invectus aperto</i></p> +<p><i>Flectit equos, curruque volans dat lora secundo.</i></p> +</div> +</div> +<p class="indent2"> +Dr. <i>Trapp</i>,</p> + +<div class="poem"> +<div class="stanza"> +<p>"So all the hurry of the Ocean ceas'd,</p> +<p>Soon as its God appear'd above the Waves:</p> +<p>Who, managing his Steeds in Air serene,</p> +<p>Flies swift with slacken'd Reins and loose Career.</p> +</div> +</div> +<p class="indent2"> +Mr. <i>Pit</i>,</p> + +<div class="poem"> +<div class="stanza"> +<p>"Then did the roaring Waves their Rage compose,</p> +<p>When the great Father of the Flood arose,</p> +<p>Rapt by his Steeds he flies in open Day,</p> +<p>Throws up the Reins, and skims the watry Way.</p> +</div> +</div> +<br /> +<div class="poem"> +<div class="stanza"> +<p>"<i>Atque rotis summas levibus pellabitur undas.</i></p> +</div> +</div> + +<a name="page65" id="page65"></a><span class="left">[page 65]</span> +<p class="indent2"> +Dr. <i>Trapp</i>,</p> + +<div class="poem"> +<div class="stanza"> +<p>"And with light Wheels upon the Surface rides,</p> +</div> +</div> +<p class="indent2"> +Mr. <i>Pit</i>,</p> + +<div class="poem"> +<div class="stanza"> +<p>"Then mounted on his radiant Carr he rides,</p> +<p>And wheels along the Level of the Tides.</p> +</div> +</div> +<p class="center"> +Again,</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Æole (namque tibi divûm pater atque hominum rex</i></p> +<p><i> mulcere dedit fluctus, & tollere vento)</i></p> +</div> +</div> +<p class="indent2"> +Dr. <i>Trapp</i>,</p> + +<div class="poem"> +<div class="stanza"> +<p>"———————O Æolus (for thee</p> +<p>The Sire of Gods, and King of Men impow'rs</p> +<p>To smooth the Waves, or raise them with the Wind.)</p> +</div> +</div> +<p class="indent2"> +Mr. <i>Pit</i>,</p> + +<div class="poem"> +<div class="stanza"> +<p>"———————Since mighty <i>Jove</i>,</p> +<p>The King of Men, and Sire of Gods above,</p> +<p>Gives thee, great <i>Æolus</i>, the Power to raise</p> +<p>Storms at thy sovereign Will, and smooth the Seas.</p> +</div> +</div> +<p class="center"> +Again,</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Sit ait, & dicto citius tumida æquora placat</i>,</p> +<p><i>Collectasque fugat nubes, solemque reducit.</i></p> +</div> +</div> + +<a name="page66" id="page66"></a><span class="left">[page 66]</span> +<p class="indent2"> +Dr. <i>Trapp</i>,</p> + +<div class="poem"> +<div class="stanza"> +<p>"So spake the God, and sooner than he spoke</p> +<p>Appeas'd the tossing of the Waves, dispell'd</p> +<p>The Clouds collected, and restor'd the Sun.</p> +</div> +</div> +<p class="indent2"> +Mr. <i>Pit</i>,</p> + +<div class="poem"> +<div class="stanza"> +<p>"He spoke, and speaking chas'd the Clouds away:</p> +<p>Hush'd the loud Billows, and restor'd the Day.</p> +</div> +</div> +<p class="center"> +Again,</p> + +<div class="poem"> +<div class="stanza"> +<p>"———————<i>Fotum Gremio dea tollit in altos</i></p> +<p><i>Idaliæ lucos.</i></p> +</div> +</div> +<p class="indent2"> +Dr. <i>Trapp</i>,</p> + +<div class="poem"> +<div class="stanza"> +<p>"———————And on her Bosom hush'd,</p> +<p>Carries him to <i>Idalia</i>'s lofty Groves.———</p> +</div> +</div> +<p class="indent2"> +Mr. <i>Pit</i>,</p> + +<div class="poem"> +<div class="stanza"> +<p>"Lull'd in her Lap to rest, the Queen of Love</p> +<p>Conveys him to the soft <i>Idalian</i> Grove.</p> +</div> +</div> +<p class="center"> +Again,</p> + +<div class="poem"> +<div class="stanza"> +<p>"————<i>Ubi tot Simois correpta sub undis</i></p> +<p><i>Scuta virûm, galeasque, & fortia corpora volvit,</i></p> +</div> +</div> +<p class="indent2"> +Dr. <i>Trapp</i>,</p> + +<div class="poem"> +<div class="stanza"> +<p>"Where <i>Simois</i> in his rapid Torrent rolls</p> +<p>So many Warriour Bodies, Helms and Shields.</p> +</div> +</div> + +<a name="page67" id="page67"></a><span class="left">[page 67]</span> +<p class="indent2"> +Mr. <i>Pit</i>,</p> + +<div class="poem"> +<div class="stanza"> +<p>"Where <i>Simois</i> Streams incumber'd with the Slain,</p> +<p>Roll'd Shields, and Helms, and Heroes to the Main.</p> +</div> +</div> +<p class="center"> +Again,</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Urbs antiqua fuit, Tyrii tenuere coloni</i></p> +<p><i>Carthago, Italiam contra, Tiberinaque longe</i></p> +<p><i>Ostia, dives opum, studiisque asperrima belli,</i></p> +</div> +</div> +<p class="indent2"> +Dr. <i>Trapp</i>,</p> + +<div class="poem"> +<div class="stanza"> +<p>"Fronting th' <i>Italian</i> Coast, and <i>Tyber</i>'s Mouth,</p> +<p>Tho' far remote, an ancient City stood.</p> +<p><i>Carthage</i> its Name, a Colony of <i>Tyre</i>,</p> +<p>Mighty in Wealth, and rough in study'd War,</p> +</div> +</div> +<p class="indent2"> +Mr. <i>Pit</i>,</p> + +<div class="poem"> +<div class="stanza"> +<p>"Against th' <i>Italian</i> Coast, of ancient Fame,</p> +<p>A City rose, and <i>Carthage</i> was the Name;</p> +<p>A <i>Tyrian</i> Colony: From <i>Tyber</i> far,</p> +<p>Rich, rough, and brave, and exercis'd in War,</p> +</div> +</div> +<p class="center"> +Again,</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Hoc metuens, molemque & montis insuper altos</i></p> +<p><i>Imposuit, regemque dedit, qui fœdere certo</i></p> +<p><i>Et premere, & laxas sciret dare jussus habenas,</i></p> +</div> +</div> +<p class="indent2"> +Dr. <i>Trapp</i>,</p> + +<div class="poem"> +<div class="stanza"> +<p>"But fearing this, the Sovereign of the Gods</p> +<p>Pent them in gloomy Caves, and o'er them threw</p> +<p>Vast Piles of massy Rocks; impos'd a King,</p> +<p>Who should by certain Measures know to curb,</p> +<p>Or, when commanded, to indulge their Rage.</p> +</div> +</div> + +<a name="page68" id="page68"></a><span class="left">[page 68]</span> +<p class="indent2"> +Mr. <i>Pit</i>,</p> + +<div class="poem"> +<div class="stanza"> +<p>"But <i>Jove</i>, the mighty Ruin to prevent,</p> +<p>In gloomy Caves th'Aereal Captives pent:</p> +<p>O'er their wild Rage the pond'rous Rock he spread,</p> +<p>And hurl'd huge Heaps of Mountains on their Head;</p> +<p>And gave a King commissioned to restrain</p> +<p>And curb the Tempest, or to loose the Rein.</p> +</div> +</div> +<p> +<i>Hurl'd</i>, <i>huge</i>, <i>Heaps</i>, <i>Head</i>, all in the same Line, +imitate Virgil's <i>Metuens</i>, <i>Molem</i>, <i>Montis</i>.</p> +<p class="center"> +And again,</p> + +<div class="poem"> +<div class="stanza"> +<p>"————————<i>Facti de nomine</i> Byrsam;</p> +<p><i>Sed vos qui tandem, quibus aut venistis ab oris</i>,</p> +<p><i>Quove tenetis iter?</i>—————————</p> +</div> +</div> +<p class="indent2"> +Dr. <i>Trapp</i>,</p> + +<div class="poem"> +<div class="stanza"> +<p>"———————And the Name of <i>Byrsa</i> gave</p> +<p>In Mem'ry of the Deed. But, in your turn,</p> +<p>At length inform me, who, and whence you are,</p> +<p><i>And whither bound?</i>——————</p> +</div> +</div> +<p class="indent2"> +Mr. <i>Pit</i>,</p> + +<div class="poem"> +<div class="stanza"> +<p>"Hence <i>Byrsa</i> nam'd: But now ye Strangers, say,</p> +<p>Who? Whence you are? And whither lies your way?———</p> +</div> +</div> +<p> +There is no Occasion to make any more Remarks +upon these Lines.</p> + +<p class="note1a"> +Nov. 20. 1736.</p> +<p class="author"> +<i>I am</i>, <span class="sc">Sir</span>, <i>&c.</i></p> + + + + +<br /><br /><hr class="short" /><br /><br /><br /> +<a name="page69" id="page69"></a><span class="left">[page 69]</span> + +<div class="figcenter"> +<img src="images/74-1.png" width="466" height="67" alt="glyph" border="0" /> +</div><br /><br /> + +<h1>LETTER VIII.</h1> + +<p class="indent1a"> +<i>SIR</i>,</p> +<div class="figleft2"> +I</div> <br style="line-height: 30%" /> +<p> +T has been said by several Persons, especially by +Foreigners, that there is no such thing as Measure +or Feet, or long and short Syllables in <i>English</i> +Words. This Mistake, I believe, is chiefly owing +to <i>Vossius</i>, who has advanc'd it in his Treatise <i>De +Poematum Cantu</i>, &c. As also, that the <i>French</i> +Language is more fit for Heroick Verse than the +<i>English</i>. To examine one or both of these Points +will be the Subject of this Letter.</p> +<p> +That our Language does not abound with +Dactyls and Spondees is very true; but that we have +Words enough which are perfect Iambick and Trochaick +Feet is very certain, and this naturally makes +our Verse Iambick.</p> +<p> +<i>Divine</i>, <i>Attend</i>, <i>Directs</i>, are as perfect Iambicks +as any <i>Latin</i> Words of two Syllables, and so are +most of our Monosyllable Nouns with their Particles.</p> +<p> +<i>The Lord</i>, <i>The Man</i>, <i>The Rock</i>. Every one +must perceive that in all these Words, the last Syllable +strikes the Ear more than the first, or, in +other Words, the last is longer than the first, which +is all that makes an Iambick <i>Latin</i> Foot.</p> +<p> +The following Words, <i>People</i>, <i>Substance</i>, <i>Angels</i>, +<i>Chearful</i>, and the like, are all Trochaick Feet; for +it is easily observ'd, that the first Syllable dwells<a name="page70" id="page70"></a><span class="left">[page 70]</span> +longer on the Ear than the latter.</p> +<p> +I wonder that <i>Vossius</i>, who was a Canon of <i>Windsor</i>, +did not perceive this in the Metre which he +could not but often have heard at Church.</p> + +<div class="poem"> +<div class="stanza"> +<p>"All People that on Earth do dwell</p> +<p>Sing to the Lord with chearful Voice.</p> +</div> +</div> + +<p> +Suppose these two Lines were alter'd thus,</p> + +<div class="poem"> +<div class="stanza"> +<p>"All ye People that on Earth dwell,</p> +<p>Sing to the Lord with Voice chearful.</p> +</div> +</div> + +<p> +Here the natural Sound of the Words <i>People</i> and +<i>Chearful</i> is very much alter'd, by their being +wrong plac'd; or rather, the Verse is quite destroy'd: +But to chuse an Example from <i>Milton</i>.</p> + +<div class="poem"> +<div class="stanza"> +<p>"And if our <i>Substance</i> be <i>indeed Divine</i>.————</p> +</div> +</div> + +<p> +Let this be alter'd,</p> + +<div class="poem"> +<div class="stanza"> +<p>"And indeed Divine if be our Substance.————</p> +</div> +</div> + +<p> +Is not the Verse quite destroy'd by this Alteration? +And does it not appear to be so, because <i>Indeed</i> and +<i>Divine</i>, which are Iambick Feet, are plac'd as if +they were Trochaick, and <i>Substance</i>, which is a Trochaick +Foot, is plac'd as if it were an Iambick? But +I might have omitted the altering of this Line of +<i>Milton</i>'s, if I had thought of one in <i>Cowley's Davideis</i>, +which is as barbarous as it is possible for the +Wit of Man to make a Verse.</p> + +<div class="poem"> +<div class="stanza"> +<p>"To Divine Nobé directs then his Flight.</p></div> +<div class="stanza"> +<p class="i24"><i>Lib. 3. v. 3.</i></p> +</div> +</div> + +<a name="page71" id="page71"></a><span class="left">[page 71]</span> +<p> +<i>Nobé</i>, Mr. <i>Cowley</i> says in his Notes, he puts instead +of <i>Nob</i>, because that Word seem'd to him to +be <i>unheroical</i>. But that is not what I am chiefly to +take notice of. <i>Divine</i> and <i>Directs</i> are both Iambicks, +but Mr. <i>Cowley</i> has made them both Trochaicks, +which makes this Line so terrible to the +Ear.</p> +<p> +It is plain that <i>Vossius</i>, who came into <i>England</i> +when he was pretty much advanc'd in Years, and +in all probability convers'd chiefly in <i>Latin</i> or +<i>French</i>, knew nothing at all of the Pronunciation of +<i>English</i> Words. We have as certainly Feet or +Numbers in our Language, as in the <i>Latin</i>; and +indeed the <i>Latin</i> seems to me to be rather more arbitrary +in this respect than the <i>English</i>. What Reason +can be given why <i>ma</i> in <i>manus</i> is short, and <i>ma</i> +in <i>manes</i> long? Why is <i>a</i> in <i>amens</i> long, and <i>a</i> in +<i>amans</i> short, and the like of other Words too numerous +to relate?</p> +<p> +That all <i>English</i> Verses are <i>Iambick</i>, appears most +plainly by considering Monosyllable Lines. For +Example:</p> + +<div class="poem"> +<div class="stanza"> +<p>"Arms and the Man I sing, who forc'd by Fate.</p> +</div> +</div> + +<p> +Here <i>Arms</i>, <i>the</i>, <i>I</i>, <i>who</i>, <i>by</i>, appear to be +shorter in their Sound than <i>and</i>, <i>man</i>, <i>sing</i>, <i>forc'd</i>, +<i>fate</i>.</p> +<p> +Again,</p> + +<div class="poem"> +<div class="stanza"> +<p>"Breathe soft or loud, and wave your Tops, ye Pines.</p> +</div> +</div> + +<p> +In this Line the same Difference is perceiv'd between +<i>breathe</i>, <i>or</i>, <i>your</i>, <i>ye</i>; and <i>soft</i>, <i>loud</i>, <i>wave</i>, +<i>tops</i>, <i>pines</i>.</p> +<a name="page72" id="page72"></a><span class="left">[page 72]</span> +<p> +Whence it is evident that these Lines are perfectly +Iambick.</p> +<p> +The Particle <i>and</i>, as well as some other Monosyllables, +may be said to be common, like many +Words in <i>Latin</i>; they submit themselves to be alter'd +by the Voice in reading, and may be pronounced +either long or short: But this is not so in +other Words. And here it may be proper to observe, +that <i>Milton</i> has a very artful Way of varying +his Numbers, by putting a Trochaick Foot at +the Beginning of a Verse; and the Reason why he +could do it, is, that the Verse is not enough form'd +in that place for the Ear to perceive the Want of the +proper Measure. The Examples of this kind are +very numerous: I will mention but two.</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Angels</i>, for ye behold him, and with Song.</p> +</div> +</div> + +<p> +And again,</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Fountains</i>, and ye that warble as ye flow.</p> +</div> +</div> + +<p class="note1a"> +Nov. 27. 1736.</p> +<p class="author"> +<i>I am</i>, <span class="sc">Sir</span>, <i>&c.</i></p> + +<br /><br /><hr class="short" /><br /><br /><br /> +<a name="page73" id="page73"></a><span class="left">[page 73]</span> + +<div class="figcenter"> +<img src="images/78-1.png" width="480" height="75" alt="glyph" border="0" /> +</div><br /><br /> + +<h1>LETTER IX.</h1> + +<p class="indent1a"> +<i>SIR</i>,</p> +<div class="figleft2"> +T</div> <br style="line-height: 30%" /> +<p> +O reply to the Opinion that <i>Vossius</i> has given +in favour of <i>French</i> Verse compared with +<i>English</i>, I would observe in the first Place that what +the <i>French</i> call Heroick Verse, is the very worst +Sort of Verse that can be contriv'd. If the Excellence +of Verse consists chiefly in varying the Pause, +as I have shewn it does in the <i>Latin</i>, and could do +the same in the <i>Greek</i> and other Languages; what +must be thought of that Sort of Versification in +which the Pause is most strictly preserv'd in the +same Place in every Line, be it for 10 or 20 thousand +together, especially in Verses of 12 Syllables? +Perhaps an <i>Englishman</i> may not be a very proper +Person to make this Objection to <i>French</i> Verse: I +will therefore produce the Opinion of several of +their own Writers.</p> +<p> +<i>Ronsard</i>, in the Preface to his <i>Franciade</i>, owns +that their <i>Alexandrine</i> Lines have too much prattle +(<i>ils ont trop de caquet</i>) and that it is a Fault in their +Poetry that one Line does not run into another, and +therefore he wrote his <i>Franciade</i> in Verses of ten +Syllables, and broke the Measure. The Author of +the History of <i>French</i> Poetry confesses, that the +constant Pause in their Lines makes the Poetry tedious; +and the judicious and learned Translator of<a name="page74" id="page74"></a><span class="left">[page 74]</span> +<i>Quintilian</i> says directly, that it is owing to the continual +Sameness of Numbers that their Verse cannot +please long. In reality, it is a kind of Stanza, and +ought to be so writ.</p> + +<div class="poem"> +<div class="stanza"> +<p><i>Jeune & vaillant Heros</i></p> + <p class="i2"><i>Dont la haute sagesse</i></p> +<p><i>N'est point le fruit tardif</i></p> + <p class="i2"><i>D'une lente vieillesse.</i></p> +</div> +</div> +<p> +Not to insist upon the <i>Prattle</i> (as <i>Ronsard</i> calls +it) of these two celebrated Lines; for what does +<i>Vaillant</i> add to <i>Heros</i>, or <i>haute</i> to <i>sagesse</i>, and what +is the Difference between <i>tardif</i> and <i>lente</i>? I say to +let this pass, the eternal Repetition of the same +Pause is the Reverse of Harmony: Three Feet and +three Feet for thousands of Lines together, make +exactly the same Musick as the ting, tong, tang of +the same Number of Bells in a Country-Church. We +had this wretched sort of Metre amongst us formerly, +and <i>Chaucer</i> is justly stil'd the Father of <i>English</i> +Verse, because he was the first that ever wrote in +rhym'd Couplets of ten Syllables each Line. He +found, by his Judgment, and the Delicacy of his +Ear, that Lines of eight Syllables, such as <i>Gower</i> +his Cotemporary wrote in, were too short, and the +twelve Syllable-Lines too long. He pitch'd upon +the other Sort just mentioned, and that is now found, +by the Experience of so many Ages, to be the most +majestick and most harmonious kind of Verse. Just +the same Obligation the <i>Romans</i> had to <i>Ennius</i>: +He first introduc'd the Hexameter Line, and therefore +is properly called the Father of their Poetry; +and it is judiciously said, that if they had never had +<i>Ennius</i>, perhaps they had never had <i>Virgil</i>. If the +<i>French</i> had taken <i>Ronsard</i>'s Advice instead of following +<i>Malherbe</i>, perhaps they might, and indeed +they certainly would have arriv'd at a better Art of<a name="page75" id="page75"></a><span class="left">[page 75]</span> +Versification than we see now amongst them: But +they have miss'd their Way; tho' had it happen'd +otherwise, they could never have equall'd the +<i>English</i> in Poetry, because their Language is not capable +of it, for two Reasons which I shall mention, +and many others that I could add to them.</p> +<p> +<i>1st</i>, Their Words do not sound so fully as ours, +of which these Nouns are Examples, <i>God</i>, <i>Dieu</i>. +<i>Man</i>, <i>L'Homme</i>. In both the <i>English</i> Words every +Letter is perceiv'd by the Ear. In the <i>French</i> the +first Word is of a very confused Sound, and the +latter dies away in the <i>e</i> mute. So <i>Angels</i>, <i>Ange</i>. +<i>Head</i>, <i>Tete</i>. And innumerable others. And in +Verbs, <i>to love</i>, <i>to hate</i>, <i>Aimer</i>, <i>Hayir</i>. In the +<i>English</i> the Sound is clear and strong. In <i>French</i> +the last Letter is dropp'd, and the Words don't +dwell upon the Ear like the <i>English</i>.</p> +<p> +<i>2d</i>, They have too many Particles: To shew +how much more their Verse is incumber'd by them +than the <i>English</i>, I will give you an Example from a +Passage in <i>Milton</i>.</p> + +<div class="poem"> +<div class="stanza"> +<p>"So spoke, so wish'd much humbled <i>Eve</i>, but </p> +<p>Subscrib'd not; Nature first gave Signs, imprest</p> +<p>On Bird, Beast, Air; Air suddenly eclips'd</p> +<p>After short blush of Morn.——————</p> +</div> +</div> +<p> +Now to put this Passage into <i>French</i> all the following +Particles must be added.</p> +<p> +<i>Le</i>, <i>La</i>, <i>Des</i>, <i>Les</i>, <i>Les</i>, <i>Le</i>, <i>Le</i>, <i>Un</i>, <i>Du</i>. Of +which there is not one in the <i>English</i>: And what +an Effect this would have in Heroick Verse, you +will easily judge.</p> + +<a name="page76" id="page76"></a><span class="left">[page 76]</span> +<p> +Upon the whole, <i>Vossius</i> was very little acquainted +with <i>English</i> Heroic Poetry. <i>Hudibras</i> was the +favourite Bard in his time, and therefore he does us +the Honour to say, the <i>English</i> is extremely fit for +that sort of Poetry which the <i>Italians</i> call <i>Sdruccioli</i>, +that is, Doggrel Verse.</p> +<p> +Thus much for <i>Vossius</i>, and his <i>French</i> and <i>English</i> +Poetry. I will now shew you a very different +Opinion of another learned Foreigner, referr'd to +more than once already, and I will give it you in +his own Words.</p> + +<blockquote><p> +"<i>Sane in Epico Carminum genere</i>; Joh. Miltoni +<i>insigne poema</i>, The Paradise Lost, <i>Gallos omnes +in epicis inseliciores longo post se intervallo reliquit</i>.</p> +<p class="author"> +Morhosius Polyhistor. +</p></blockquote><br /> +<p> +This judicious Critick gave the same Opinion of +Mr. <i>Cowley</i> above 50 Years ago, which Mr. <i>Pope</i> +has given of him lately in one of his <i>Horatian</i> Epistles.</p> + +<blockquote><p> +"Abr. Cowley <i>seu Coulejus poemata scripsit</i>, &c. +<i>Quæ ad genium Virgiliani Carminis non accedunt: +argutiis enim nimium indulget, ut Epigrammaticum +potius quod interdum scribat, quam planum carmen: +Ac præterea non ubique purus est: quanquam +Angli illum omnes veterum Poetarum numeros +implevisse sibi persuadeant.</i> +</p></blockquote> +<p> +Foreigners, I am apt to think, frequently judge +with more Exactness of our Countrymen's Performances +than the generality of the Natives. I think +the Judgment of another learned Foreigner very +sensible, when he says upon reading <i>Virgilium Dryděni</i>, +"That if the Original had been no better +than the Copy, <i>Augustus</i> would have done well +to have committed it to the Flames." But the +Author's own Words are worth perusing.</p> + +<a name="page77" id="page77"></a><span class="left">[page 77]</span> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Sæpe, Maro, dixi, quantum mutatus ab illo es!</i></p> + <p class="i2"><i>Romani quondam qui stupor orbis eras</i>.</p> +<p><i>Si te sic tantum voluisset vivere Cæsar</i>,</p> + <p class="i2"><i>Quam satius, flammis te periisse foret</i>.</p></div> +<div class="stanza"> +<p class="i32"><i>Vid.</i> Fabric. Bib. Lat.</p> +</div> +</div> + +<p class="note1a"> +December 4. 1736,</p> +<p class="author"> +<i>I am</i>, <span class="sc">Sir</span>, <i>&c.</i></p> + +<br /><br /> + +<div class="figcenter"> +<img src="images/82-100.png" width="100" height="90" alt="glyph" border="0" /> +</div> + +<br /><br /><hr class="short" /><br /><br /><br /> +<a name="page78" id="page78"></a><span class="left">[page 78]</span> + +<div class="figcenter"> +<img src="images/83-1.png" width="433" height="70" alt="glyph" border="0" /> +</div><br /><br /> + +<h1>LETTER X.</h1> + +<p class="indent1a"> +<i>SIR</i>,</p> +<div class="figleft2"> +B</div> <br style="line-height: 30%" /> +<p> +Y what I have shewn in the preceding Letters, +it sufficiently appears that <i>Virgil</i> and <i>Milton</i> +had good reason to begin with <i>Hinc canere incipiam</i>. +<i>Nunc te Bacche canam.</i> <i>Arma Virumque cano.</i> <i>Sing +Heavenly Muse.</i> Their Verse is all <i>Musick</i>, and +that is the reason why their Poems please, though +ever so often read: And all Poetry that is not attended +with Harmony, is properly speaking no Poetry +at all.</p> +<p> +Let the Sense be ever so fine, if the <i>Verse</i> is not +<i>melodious</i>, the Reader will undoubtedly find himself +soon overtaken with Drowsiness. But what I +chiefly hope I have made out, is, that <i>Rhyme</i> does +not owe its Original to <i>Druids</i>, or to <i>dreaming +Monks</i>, since it is certain there is more <i>Rhyme</i> in +<i>Virgil</i>, than there can be in any <i>English</i> Translation +of his Works. <i>English</i> Verse never admits but +of two Syllables that Rhyme in two Lines. But in +<i>Virgil</i>, it is not easy to tell how many Rhymes +there are in a single Line; as for Example,</p> + +<a name="page79" id="page79"></a><span class="left">[page 79]</span> + +<div class="poem"> +<div class="stanza"> +<p>"<i>O nimium Cœlo, & pelago confise sereno,</i></p></div> +<div class="stanza"> +<p>"<i>Et sola in siccâ secum spatiatur arenâ.</i></p> +</div> +</div> + +<p> +And the like. But what would you say, if I was +to observe to you all that <i>Erythræus</i> has writ of the +Rhyme <i>Cum intervallo, & sine intervallo</i> in <i>Virgil</i>? +Of the Rhyme <i>sine intervallo</i> there are four Examples +in the two first Lines of the <i>Æneid</i>, namely, +in the first, <i>no</i>—<i>tro</i>, and <i>qui</i>—<i>pri</i>. In the second, +<i>to</i>—<i>pro</i>, and <i>que</i>—<i>ve</i>.</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Arma virumque canō, trōjæ quī prīmus ab oris</i></p> +<p><i>Italiam, fatō prōfugus, Lavinaquē vēnit.</i>—</p> +</div> +</div> + + +<p> +But for this particular, and the other just mentioned, +I refer you to <i>Erythræus</i> himself, if you +would be fully instructed on this Subject. The +Conclusion of this whole Matter is this: Rhyme +is certainly one of the chief Ornaments of <i>Latin</i> +Verse, even of <i>Virgil</i>'s Verse: Most of his wonderful, +harmonious Paragraphs are concluded with +a full, strong, plain Rhyme: And if this is the +Case; if <i>Virgil</i>'s Verse would lose one of its chief +Ornaments by being stript of Rhyme, What would +<i>English</i> Verse do without it? Those learned Persons +who in their Writings have treated Rhyme +only as a needless <i>Gingle</i>, had not fully considered +all that could be said on this Subject: <i>Rhyme</i>, as I +have observed once before, has many Enemies because +of its Difficulty, when accompanied with all the +other necessary Arts of Versification. It is a particular +Talent which very few are blessed with, and ought +to be esteemed accordingly: But if we give way to +the Disuse of it, and even suffer Blank Verse to be +brought in Competition with it, Poetry will in a +short time be lost in <i>England</i>, as it has been long<a name="page80" id="page80"></a><span class="left">[page 80]</span> +since in <i>Italy</i>, and, if I mistake not, from this very +Cause. They have Blank-vers'd <i>Homer</i>, <i>Virgil</i>, +and <i>Milton</i>, and I believe all the <i>Classick Poets</i>: +And if we follow their Example in giving Applause +to this kind of Verse, we must expect the same +Consequences. We should be the more to blame +in this respect, because we have lately had so many +excellent Writers of proper Verse amongst us, as +<i>Addison</i>, <i>Rowe</i>, <i>Prior</i>, and many others; and have +now Mr. <i>Pope</i>, Mr. <i>Pit</i>, and some whom I do not +just now recollect.</p> +<p> +<i>Milton</i>, as I observ'd already, is never to be mention'd +as an Example in favour of Blank-Verse: To +supply the Want of <i>Rhyme</i> in him, there are so many +Arts of Verse, such Variety of Melody, that it +would require no small Volume to point them out.</p> +<p> +I have nothing more to add, but that it is a very +surprizing thing, that <i>Milton</i> ever undertook to +write in such a <i>Stile</i> as he has made use of, and yet +more surprizing that he should be read by all sorts of +People, considering that the <i>Stile</i> is more properly +<i>Latin</i> or <i>Greek</i> than <i>English</i>.</p> +<p> +I believe both these Things arise from the same +Cause, which to me seems to be the <i>English Bible</i>; +at least, as to the latter, it cannot be from any +thing else. That <i>Milton</i> acquir'd his <i>Stile</i> from the +<i>Common Bible</i>, is not at all improbable, though he +understood the Original. It is certain he was entirely +conversant with the <i>Bible</i>, and, in all Probability +frequently made use of the <i>English</i> Translation. +Now this Translation is, by Great Providence, +(give me leave to call it so) adapted to +the <i>Latin and Greek Collocation</i>, or Arrangement of +Words; that is, the Words are placed in the <i>English</i> +as they stand in those Languages, which, perhaps, +you may not have so much attended to but +that you may be glad to see some Examples of what<a name="page81" id="page81"></a><span class="left">[page 81]</span> +I am speaking of.</p> + +<blockquote><p> +Psalm v. 3. <i>My Voice shalt thou hear in the Morning, +O Lord; in the Morning will I direct +Prayer unto thee, and will look up.</i></p> +<p> +Matthew xiii. 1. <i>The same Day went Jesus out of +the House, and sat by the Sea-side.</i></p> +<p> +Matthew xxvii. 32. <i>And as they came out, they +found a Man of</i> Cyrene, Simon <i>by Name</i>: Him +<i>they compelled to bear his Cross</i>.</p> +<p> +John ii. 11. <i>This Beginning of Miracles did</i> Jesus +<i>in</i> Cana <i>of</i> Galilee.</p> +<p> +John xii. 16. <i>These things understood not his Disciples +at the first.</i></p> +<p> +John viii. 44. <i>Ye are of your Father the Devil, +and the Lusts of your Father will ye do.</i> +</p></blockquote> + +<div class="poem"> +<div class="stanza"> +<p>"<i>Verbo sensum cludere, multo, si compositio patiatur, optimum est.</i></p> +<p><i>In Verbis enim Sermonis vis inest.</i>"</p></div> +<div class="stanza"> +<p class="i32">Quintil.</p> +</div> +</div> + +<p> +By these Passages, and innumerable others that +might be produc'd, it appears that the <i>English Bible</i> +is translated in such a manner as I have mentioned +above: And as we see many Places in the <i>Paradise +Lost</i>, which are exactly taken from this Translation, +Why may we not conclude <i>Milton</i> acquir'd much of +his Stile from this Book? I can give an Instance of +another very learned Person, who certainly learnt his +way of Writing from it. I mean the late Dr. <i>Clarke</i>. +Nothing can be more clear than his <i>Stile</i>, and yet +nothing can be more like the <i>Greek</i> or <i>Latin</i>, agreeably +to the <i>English Bible</i>. I beg leave to produce +one Instance from his <i>Exposition of the Church Catechism</i>.</p> + +<a name="page82" id="page82"></a><span class="left">[page 82]</span> + +<blockquote><p> +"<i>Next after the Creed are in natural Order plac'd +the Ten Commandments.</i> +</p></blockquote> + +<p> +Is there any thing in <i>Demosthenes</i> or <i>Tully</i> more +inverted than this Passage? And yet the meanest +Persons understand it, and are not at all shock'd at +it; and this cannot possibly, with respect to them, +proceed from any thing else, but their having been +from their Childhood accustomed to this Language +in the <i>Bible</i>, and their still continuing frequently to +hear it in the publick Offices of the Church, and +elsewhere: From whence I am apt to think Mr. +<i>Pope</i>'s Opinion is not to be subscrib'd to, when he +says,</p> + +<div class="poem"> +<div class="stanza"> +<p>"<i>And what now</i> Chaucer <i>is, shall</i> Dryden <i>be</i>."</p> +</div> +</div> +<p> +It did not occur to that ingenious Writer, that +the State of the <i>English</i> Language is very different at +this time from what it was in <i>Chaucer</i>'s Days: It +was then in its Infancy: And even <i>the publick Worship +of God was in a foreign Tongue</i>, a thing as fatal +to the <i>Language</i> of any Country, as to <i>Religion</i> itself. +But now we have all that Service in the vernacular +Tongue; and besides that, the <i>Bible</i> in <i>English</i>, +which may be properly called the <i>Standard</i> of +our Language: For this Book contains a Variety of +every kind of <i>Stile</i>, the <i>Poetick</i>, the <i>Historick</i>, the +<i>Narrative</i>, and all framed after the manner of the +most learned Tongues. So that whilst this <i>Book</i> +continues to be as publickly used among us as it is +at present, the <i>English</i> Language cannot receive any +great Alteration; but all sorts of learned Men may +write, either in Verse or Prose, in the most learned +manner in their native Tongue, and at the same time +be perfectly understood by the common People. Indeed, +if ever we should be so unhappy as to be depriv'd<a name="page83" id="page83"></a><span class="left">[page 83]</span> +of the <i>publick Use</i> of that <i>Book</i>, all that came +with it, must go with it; and then Farewel the +<i>English Language</i>, Farewel <i>Milton</i>, Farewel <i>Learning</i>, +and Farewel all that distinguishes Man from +Beasts.</p> + +<p class="note1a"> +Decemb. 9. 1736.</p> + +<p class="author"> +<i>I am</i>, <span class="sc">Sir</span>, <i>&c.</i></p> + + + +<h3><i>FINIS.</i></h3> + +<div class="figcenter"> +<img src="images/88-1-100.png" width="100" height="76" alt="glyph" border="0" /> +</div><br /><br /> + + + +<br /><br /><hr class="short" /><br /><br /><br /> + +<table align="center" summary="Transcriber's Notes"> +<tr> + <td class="note"> + +<p class="center" style="font-size:1.1em;">Transcriber's Note<br /> + +</p> + <p>LETTER I.:<br /> + Page 3: Superfluous opening quotes removed from "Subject-matter</p> + <p>LETTER V.:<br /> + Page 42: Section numbered "3." in original; changed to "III" for consistency.</p> + <p> LETTER X.:<br /> + Page 79: corrected typo: 'primns' changed to 'primus'</p> +</td> +</tr> +</table> + + + +<br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /> + +<img src="images/07-greek1.png" width="179" height="25" alt="ton d' apameibomenos" border="0" /> +<a name="greek1" id="greek1"></a><a href="#rgreek1">return</a> + +<br /><br /> + +<img src="images/52-greek2.png" width="389" height="54" alt="Sun de duô marpsas, hôs te phulakas poti gaiê / Kopt'" border="0" /> +<a name="greek2" id="greek2"></a><a href="#rgreek2">return</a> + +<br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /> + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of Letters Concerning Poetical +Translations, by William Benson + +*** END OF THIS PROJECT GUTENBERG EBOOK LETTERS CONCERNING POETICAL *** + +***** This file should be named 17548-h.htm or 17548-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/1/7/5/4/17548/ + +Produced by Jonathan Ingram, Carol David, Lesley Halamek +and the Online Distributed Proofreading Team at +http://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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