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diff --git a/29237.txt b/29237.txt new file mode 100644 index 0000000..813d286 --- /dev/null +++ b/29237.txt @@ -0,0 +1,2009 @@ +The Project Gutenberg eBook, An Essay on Satire, Particularly on the +Dunciad, by Walter Harte + + +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: An Essay on Satire, Particularly on the Dunciad + + +Author: Walter Harte + + + +Release Date: June 25, 2009 [eBook #29237] +Most recently updated: November 29, 2011 + +Language: English + +Character set encoding: ISO-646-US (US-ASCII) + + +***START OF THE PROJECT GUTENBERG EBOOK AN ESSAY ON SATIRE, PARTICULARLY +ON THE DUNCIAD*** + + +E-text prepared by Chris Curnow, Stephanie Eason, Joseph Cooper, and the +Project Gutenberg Online Distributed Proofreading Team +(http://www.pgdp.net) + + + +Transcriber's note: + + Text in italics is enclosed between underscores (_italics_). + + + + + +The Augustan Reprint Society + +WALTER HARTE + +AN ESSAY ON SATIRE, + +Particularly on the DUNCIAD. + +(1730) + +Introduction by + +THOMAS B. GILMORE + + + + + + + +Publication Number 132 +William Andrews Clark Memorial Library +University of California, Los Angeles +1968 + + * * * * * + + + GENERAL EDITORS + + George Robert Guffey, _University of California, Los Angeles_ + Maximillian E. Novak, _University of California, Los Angeles_ + Robert Vosper, _William Andrews Clark Memorial Library_ + + + ADVISORY EDITORS + + Richard C. Boys, _University of Michigan_ + James L. Clifford, _Columbia University_ + Ralph Cohen, _University of Virginia_ + Vinton A. Dearing, _University of California, Los Angeles_ + Arthur Friedman, _University of Chicago_ + Louis A. Landa, _Princeton University_ + Earl Miner, _University of California, Los Angeles_ + Samuel H. Monk, _University of Minnesota_ + Everett T. Moore, _University of California, Los Angeles_ + Lawrence Clark Powell, _William Andrews Clark Memorial Library_ + James Sutherland, _University College, London_ + H. T. Swedenberg, Jr., _University of California, Los Angeles_ + + + CORRESPONDING SECRETARY + + Edna C. Davis, _William Andrews Clark Memorial Library_ + + + * * * * * + + + +INTRODUCTION + + +Since the first publication of Walter Harte's _An Essay on Satire, +Particularly on the Dunciad_,[1] it has reappeared more than once: the +unsold sheets of the first edition were included in _A Collection of +Pieces in Verse and Prose, Which Have Been Publish'd on Occasion of +the Dunciad_ (1732), and the _Essay_ is also found in at least three +late eighteenth- or early nineteenth-century collections of poetry.[2] +For several reasons, however, it makes sense to reprint the _Essay_ +again. The three collections are scarce and have forbiddingly small +type; I know of no other twentieth-century reprinting; and, perhaps +most important, Aubrey Williams claims that "the critical value for +the _Dunciad_ of Harte's poem has not been fully appreciated."[3] Its +value can best be substantiated, or disputed, if it is rescued from +its typographical limbo in the collections and reprinted from its more +attractive first edition. + +Probably the immediate reason for the _Essay_ was Harte's admiration +for Pope, which arose in part from personal gratitude. On 9 February +1727, Harte wrote an unidentified correspondent that "Mr. Pope was +pleased to correct every page" of his forthcoming _Poems on Several +Occasions_ "with his own hand." Furthermore, Harte may have learned +that Pope had petitioned Lady Sarah Cowper, in 1728, to use her +influence to obtain him a fellowship in Exeter College, Oxford.[4] + +But however appealing the _Essay_ may be as an installment on Harte's +debt to Pope, there must obviously be better reasons for reprinting +it. Harte himself doubtless had additional reasons for writing it. To +understand them and the poem, we must also understand, at least in +broad outline, the two traditional ways of evaluating satire which +Harte and others of his age had inherited. One of them was distinctly +at odds with Harte's aims; to the other he gave his support and made +his own contribution. + +One tradition stressed the "lowness" of satire, in itself and compared +with other genres. This tradition, moreover, had at least two sources: +the practice of Elizabethan satirists and the critical custom of +assigning satire to a middle or low position in the hierarchy of +genres. + +From the time of _Piers Plowman_, it was characteristic of English +satirists "to taxe the common abuses and vice of the people in rough +and bitter speaches."[5] This native character was reenforced by the +Elizabethan assumption that there should be similarities between +satire and its supposed etymological forebears--the satyrs, legendary +half men, half goats of ancient Greece. Believing that the Roman +satirists Persius and Juvenal had imitated the uncouth manners and +vituperative diction of the satyrs, Elizabethan satirists likewise +strove to be as rough, harsh, and licentious as possible.[6] Despite +the objections to the satire-satyr etymology stated by Isaac +Casaubon,[7] scurrilous satire, especially as a political weapon, was +a recognizable subspecies in England at least to 1700. The anonymous +author, for instance, of _A Satyr Against Common-Wealths_ (1684) +contended in his preface that it is "_as disagreeable to see a Satyr +Cloath'd in soft and effeminate Language, as to see a Woman scold and +vent her self in_ Billingsgate _Rhetorick in a gentile and +advantageous Garb_." But as Harte certainly realized, _The Dunciad_ +differed greatly from unvarnished abuse, and thus required different +standards of critical judgment. + +Harte also rejected the critical habit of giving satire a relatively +low rank in the scale of literary genres. This habit can be traced to +Horace, who belittled the literary status of his own satires,[8] and +it was prominent in the Renaissance. The place of satire in a +hierarchical list of Julius Caesar Scaliger is perhaps typical: "'And +the most noble, of course, are hymns and paeans. In the second place +are songs and odes and scolia, which are concerned with the praises of +brave men. In the third place the epic, in which there are heroes and +other lesser personages. Tragedy together with comedy follows this +order; nevertheless comedy will hold the fourth place apart by itself. +After these, satires, then exodia, lusus, nuptial songs, elegies, +monodia, songs, epigrams.'"[9] Similar rankings of satire frequently +recurred in the neo-classical period,[10] as did the Renaissance +supposition that each genre has a style and subject matter appropriate +to it. This supposition discouraged any "mixing" of the genres: in +Richard Blackmore's words, "all comick Manners, witty Conceits and +Ridicule" should be barred from heroic poetry.[11] The influence of +the genres theories even after Pope's death may be shown by the fact +that Pope, for the very reason that he had failed to work in the major +genres, was often ranked below such epic or tragic poets as Spenser, +Shakespeare, and Milton.[12] + +One senses the foregoing critical assumptions about satire behind much +of the early comment on _The Dunciad_. Most of the critics, to be +sure, were anything but impartial; in many instances they were +smarting from Pope's satire and sought any critical weapons available +for retaliation. But it will not do to dismiss these men or their +responses to _The Dunciad_ as inconsequential; they had the weight of +numbers on their side and, more important, the authority of +long-established attitudes toward satire. + +Although it is frequently impossible to determine exactly which +critics Harte was answering in his _Essay_, brief illustration of two +prominent types of attack can indicate what he had to vindicate _The +Dunciad_ against. One of those types resembled Blackmore's objection +to a mixing of genres. If satire should be barred from heroic poetry, +the reverse, for some critics, was also true, and Pope should not have +used epic allusions and devices in _The Dunciad_. Edward Ward, for +one, thought the poem an incongruous mixture "against all rule."[13] +Pope's violation of "rule" seemed almost a desecration of epic to +Thomas Cooke; of the mock-heroic games in Book II of _The Dunciad_, he +complained that "to imitate _Virgil_ is not to have Games, and those +beastly and unnatural, because _Virgil_ has noble and reasonable +Games, but to preserve a Purity of Manners, Propriety of Conduct +founded on Nature, a Beauty and Exactness of Stile, and continued +Harmony of Verse concording with the Sense."[14] + +The other kind of attack accused Pope of wasting his talents in _The +Dunciad_, but palliated blame by reminding him of his demonstrated +ability in more worthy poetical pursuits. This was one of Ward's +resources; perhaps disingenuously, he professed amazement that a poet +with Pope's "_sublime Genius_," born for "an Epick Muse," "sacred +Hymns," and "heav'nly Anthems," would lower himself to mock at +"_trifling Foibles_" or "the Starvlings of _Apollo's_ Train."[15] More +concerned with Pope's potentialities than with his recent ignominy, +George Lyttelton nevertheless made essentially the same point: Pope +could never become the English Virgil if he "let meaner Satire ... +stain the Glory" of his "nobler Lays."[16] And Aaron Hill wrote an +allegorical poem to show Pope the error of _The Dunciad_ and to +suggest means of escape from entombment "in his _own_ PROFUND."[17] In +such censure we perhaps glimpse an opinion attributable to the still +influential genres theories: a poet of "_sublime Genius_" should work +in a more sublime poetic genre than satire. + +In opposing this low view of satire, Harte drew upon ideas more +congenial to his purposes and far more congenial to _The Dunciad_. +Originating with the Renaissance commentaries on the formal verse +satire of the Romans, their lineage was just as venerable as that of +the low view. These critical concepts were probably just as +influential too, for they continued to be reiterated by commentaries +down to and beyond Pope's time. + +Whatever their quarrels, the Renaissance commentaries were virtually +united in regarding satire as exalted moral instruction and satirists +as ethical philosophers. Casaubon's choice for this sort of praise was +Persius; Heinsius and Stapylton likened their respective choices, +Horace and Juvenal, to Socrates and Plato; and Rigault considered all +three satirists to be philosophers, distinguished only by the +different styles which their different periods required. The satirist +might disguise himself as a jester, but only to make his moral wisdom +more easily digestible; peeling away his mask, "we find in him all the +Gods together," "_Maxims or Sentences, that like the lawes of nature, +are held sacred by all Nations_."[18] + +Dryden's _Discourse Concerning the Original and Progress of Satire_ +drew heavily and eclectically upon these commentaries, investing their +judgments with a new popularity and authority. Although Dryden +condemned Persius for obscurity and other defects, he agreed with +Casaubon that Persius excels as a moral philosopher and that "moral +doctrine" is more important to satire than wit or urbanity. Dryden +knew, moreover, that the satirist's inculcation of "moral doctrine" +meant a dual purpose, a pattern of blame and praise--not only "the +scourging of vice" but also "exhortation to virtue"--long recognized +as a definitive characteristic of formal verse satire.[19] But if +Dryden insisted on the moral dignity of satire, he laid equal stress +on the dignity attainable through verse and numbers. After +complimenting Boileau's _Lutrin_ for its successful imitation of +Virgil, its blend of "the majesty of the heroic" with the "venom" of +satire, Dryden speaks of "the beautiful turns of words and thoughts, +which are as requisite in this [satire], as in heroic poetry itself, +of which the satire is undoubtedly a species"; and earlier in the +_Discourse_ he had called heroic poetry "certainly the greatest work +of human nature."[20] + +It is clear that Harte's _Essay_ belongs in the tradition of criticism +established by the commentaries on classical satire and continued by +Dryden. Like these predecessors, Harte believes that satire is moral +philosophy, teaching "the noblest Ethicks to reform mankind" (p. 6). +Like them again, he believes that to fulfill this purpose satire must +not only lash vice but recommend virtue, at least by implication: + + Blaspheming _Capaneus_ obliquely shows + T'adore those Gods _Aeneas_ fears and knows, (p. 10)[21] + +But perhaps Harte's overriding concern was to do for satire (with _The +Dunciad_ as his focus) what Dryden's _Discourse_ had done: to reassert +its dignity and majesty. + +Although Harte is quite careful to distinguish satire from epic +poetry, the total effect of his _Essay_ is to blur this distinction +and to raise _The Dunciad_ very nearly to the level of genuine epic. +The term "_Epic Satire_" (p. 6) certainly seems to refer to the +wedding of two disparate genres in _The Dunciad_, lifting it above +satire that is merely "rugged" or "mischievously gay" (p. 8). (The +epithet is also, perhaps, a thrust at Edward Ward, who had pinned it +on _The Dunciad_ with a sneer.)[22] Harte's claim that + + _Books and the Man_ demands as much, or more, + Than _He who wander'd to the Latian shore_ (p. 9) + +has a similar effect. The greatest epic poets and satirists have +always transcended rules to follow "Nature's light"; Pope, +over-topping them all, has "still corrected Nature as she stray'd" +(pp. 19, 21). But perhaps Harte's most successful attempt to elevate +_The Dunciad_ comes in section two of his poem. Unlike Dryden, in +whose _Discourse_ the account of the "progress" of satire is confined +almost exclusively to a few Roman writers, Harte begins his account of +its progress with Homer and brings it down to Pope. Deriving the +ancestry of _The Dunciad_ from Homer, the greatest epic poet, +obviously enhances Pope's satire. Perhaps less obviously, by extending +Dryden's account to the present, Harte makes _The Dunciad_ not only a +chronological _terminus ad quem_ but, far more important, the fruit of +centuries of slowly accumulating mastery and wisdom. + +The strategies mentioned thus far constitute one series of answers to +critics who charged Pope with debasing true epic. But Harte also +addressed himself to such critics more directly. Although Aubrey +Williams (p. 54) has clearly demonstrated Harte's awareness that the +world of _The Dunciad_ does in one sense sully epic beauties, at the +same time, I think, Harte knew that the epic poems to which _The +Dunciad_ continually alludes remain fixed, unsullied polestars; +otherwise the reader of the poem would lack a way of measuring the +meanness of its characters and principles. The "charms of _Parody_" in +_The Dunciad_ provide a contrast between its dark, fallen world and +the undimmed luster of epic realms (p. 10). By using the ambiguous +word _parody_, which in the eighteenth century could mean either +ridicule or straight imitation,[23] Harte skillfully suggests the +complex purpose of Pope's epic backdrop. The dunces, not Pope, +ridicule the epic world by their words and deeds; but in turn, this +world ridicules them simply by being "imitated" and incorporated in +_The Dunciad_. And its incorporation is by no means equivalent to the +pollution of epic. That, Harte hints, is the achievement of scribblers +like Blackmore (p. 12). It is they who inadvertently write mock-epics, +parodies which degrade their great models; Pope, nominally writing +mock-epic, actually approaches epic achievement. + +Harte's reply to those who believed Pope had wasted his talent in +attacking "the Refuse of the Town" centers in the stanza beginning on +p. 24 but can be found elsewhere as well. Literary "Refuse," he +realized, could not safely be ignored, for he at least came close to +understanding that it was "the metaphor by which bigger +deteriorations," social and moral, "are revealed" (Williams, p. 14). + + ... Rules, and Truth, and Order, Dunces strike; + Of Arts, and Virtues, enemies alike. (p. 24) + +Ultimately, then, Harte seemed aware that the dunces pose a colossal +threat, a threat which warrants Pope's numerous echoes of _Paradise +Lost_. Harte's _Essay_, in fact, contains several echoes of the same +poem. Though, like most of Pope's, these Miltonic echoes are given a +comic turn which indicates a wide gap between the real satanic host +and its London auxiliary, there is little doubt that Harte grasped the +underlying seriousness of his mentor's analogies and his own. + + * * * * * + +A few words remain to be said about Boileau's _Discourse of Satires +Arraigning Persons by Name_, which so far as I know appeared with all +early printings of Harte's _Essay_. + +The _Discourse_ was first published in 1668, with the separately +printed edition of Boileau's ninth satire; in the same year it was +included in a collected edition of the satires. It was occasioned, +evidently, by a critic's complaint that the modern satirist, departing +from ancient practice, "offers insults to individuals."[24] + +The only English translation of the _Discourse_ that I have discovered +before 1730 appears in volume two (1711) of a three-volume translation +of Boileau's works. This, however, is not the same translation as the +one accompanying Harte's _Essay_; it is noticeably less fluent and +lacks (as does the French) the subtitle "arraigning persons by name." + +The 1730 translation is faithful to the original, and the subtitle +calls attention to the aptness of the _Discourse_ as a defense of +Pope's satiric practice.[25] It is so apt, indeed, that one could +almost suspect Pope himself of making the translation and submitting +it to Harte or his publisher. Pope had already invoked Boileau's name +and precedent in the letter from "William Cleland"; nothing could be +more logical than for Pope to turn the esteemed Boileau's +self-justification to his own ends. + +Cornell College + + + +NOTES TO THE INTRODUCTION + +[1] Robert W. Rogers, _The Major Satires of Alexander Pope_, Illinois +Studies in Language and Literature, XL (Urbana, 1955), p. 140, dates +the Essay January 7-14, 1731, N. S., on the evidence of _The +Grub-Street Journal_; No. 484 of _The London Evening-Post_ (Saturday, +January 9, to Tuesday, January 12, 1731) advertises its publication +for the following day. + +[2] Rogers, p. 141. Thomas Park, _Supplement to the British Poets_ +(London, 1809), VIII, 21-36; Alexander Chalmers, _The Works of the +English Poets_ (London, 1810), XVI, 348-352; Robert Anderson, _A +Complete Edition of the Poets of Great Britain_ (London, 1794), IX, +825-982 [_sic_]. + +[3] _Pope's "Dunciad": A Study of Its Meaning_ (Baton Rouge, 1955), p. +54n. + +[4] _The Correspondence of Alexander Pope_, ed. George Sherburn +(Oxford, 1956), II, 430 n., 497. + +[5] George Puttenham, _The Arte of English Poesie_ (1589), in +_Elizabethan Critical Essays_, ed. G. Gregory Smith (Oxford, 1904), +II, 27. + +[6] Alvin Kernan, _The Cankered Muse: Satire of the English +Renaissance_, Yale Studies in English, CXLII (New Haven, 1959), pp. +55, 58, 62; Oscar James Campbell, _Comicall Satyre and Shakespeare's +"Troilus and Cressida"_ (San Marino, 1959), pp. 24-25, 27, 29-30. + +[7] _De Satyrica Graecorum Poesi, & Romanorum Satira Libri Duo_ +(Paris, 1605). + +[8] J. F. D'Alton, _Roman Literary Theory and Criticism: A Study in +Tendencies_ (London, New York, and Toronto, 1931), pp. 356, 414 and +n.; George Converse Fiske, _Lucilius and Horace: A Study in the +Classical Theory of Imitation_, University of Wisconsin Studies in +Language and Literature, No. 7 (Madison, 1920), p. 443. + +[9] Bernard Weinberg, _A History of Literary Criticism in the Italian +Renaissance_ (Chicago, 1961), II, 745. For similar appraisals of +satire, see also I, 148-149; II, 759, 807; and Puttenham, pp. 26-28. + +[10] E.g., John Dennis, "The Grounds of Criticism in Poetry" (1704), +in _The Critical Works_, ed. Edward Niles Hooker (Baltimore, +1939-1943), I, 338; Joseph Trapp, _Lectures on Poetry Read in the +Schools of Natural Philsophy at Oxford_ (London, 1742), p. 153. + +[11] _Essays upon Several Subjects_ (London, 1716-1717), I, 76. + +[12] Paul F. Leedy, "Genres Criticism and the Significance of Warton's +Essay on Pope," _JEGP_, XLV (1946), 141. + +[13] _Durgen. Or, A Plain Satyr upon a Pompous Satyrist_ (London, +1729), p. 48. + +[14] "The Battel of the Poets," in _Tales, Epistles, Odes, Fables, +etc._ (London, 1729), p. 138n. Though the poem was first published in +1725, it was revised to attack _The Dunciad_; Cooke claims ("The +Preface," p. 107) that not more than eighty lines in the two versions +are the same. + +[15] _Durgen_, pp. [i], 19, 40-41. + +[16] _An Epistle to Mr. Pope, from a Young Gentleman at Rome_ (London, +1730), pp. 6-7. + +[17] _The Progress of Wit_ (London, 1730), p. 31. Two months after +Harte's Essay appeared Hill's _Advice to the Poets_, which complements +the earlier allegory by urging Pope to shun "_vulgar Genii_" and +emulate "Thy own _Ulysses_" (pp. 18-19). + +[18] Daniel Heinsius, "De Satyra Horatiana Liber," in _Q. Horati +Flacci Opera_ (1612), pp. 137-138; Sir Robert Stapylton, "The Life and +Character of Juvenal," in _Mores Hominum. The Manners of Men, +Described in Sixteen Satyrs, by Juvenal_ (London, 1660), p. [v]; +Nicolas Rigault, "De Satira Juvenalis Dissertatio" (1615), in _Decii +Junii Juvenalis Satirarum Libri Quinque_ (Paris, 1754), p. xxv; and +Andre Dacier, _An Essay upon Satyr_ (London, 1695), p. 273. + +[19] _Essays of John Dryden_, ed. W. P. Ker (Oxford, 1900), II, 75, +104-105; Howard D. Weinbrot, "The Pattern of Formal Verse Satire in +the Restoration and the Eighteenth Century," _PMLA_, LXXX (1965), +394-401; Causaubon, _De Satyrica Graecorum Poesi, & Romanorum Satira +Libri Duo_, pp. 291-292; Heinsius, pp. 137-138. + +[20] _Essays_, II, 43, 107-108. + +[21] See Weinbrot, p. 399. + +[22] _Durgen_, p. 3. + +[23] Howard D. Weinbrot, "Parody as Imitation in the 18th Century," +_AN&Q_, II (1964), 131-134. + +[24] Boileau, _Oeuvres Completes_, ed. Francoise Escal (Editions +Gallimard, 1966), p. 924. + +[25] Numerous protests against Pope's use of names made such a defense +desirable. See, for example, Ward (p. 9) and "A Letter to a Noble +Lord: Occasion'd by the Late Publication of the Dunciad Variorum," in +_Pope Alexander's Supremacy and Infallibility Examin'd_ (London, +1729), p. 12. Boileau's _Discourse_ is a particularly apposite reply +to the latter, which had contrasted Pope's satiric practice with that +of Horace, Juvenal, and Boileau. + + + + +BIBLIOGRAPHICAL NOTE + +The text of this edition is reproduced from a copy in the University +of Illinois Library. + + + + + AN + ESSAY, + ON + SATIRE, + + Particularly on the DUNCIAD. + + (Price One Shilling.) + + + + +Speedily will be Published, + +The Works of VIRGIL Translated into Blank Verse by _J. Trapp_, D. D. +in Three Volumes in 12 with Cuts. + + + + + AN + ESSAY + ON + SATIRE, + + Particularly on the + DUNCIAD. + + BY + Mr. _WALTER HARTE_ + + of St. _Mary-Hall_, Oxon. + + To which is added, A + DISCOURSE _on_ SATIRES, + _Arraigning Persons by Name_. + + By Monsieur BOILEAU. + + _LONDON:_ + + Printed for LAWTON GILLIVER at _Homer's_ Head + against St. _Dunstan's_ Church, in _Fleetstreet_, + MDCCXXX. + + + + +THE CONTENTS. + + +I. _The Origine and Use of_ Satire. _The Excellency of_ Epic Satire +_above others, as adding Example to Precept, and animating by_ Fable +_and sensible Images. Epic Satire compar'd with Epic Poem, and wherein +they differ: Of their_ Extent, Action, Unities, Episodes, _and the +Nature of their_ Morals. _Of_ Parody: _Of the_ Style, Figures, _and_ +Wit _proper to this Sort of Poem, and the superior Talents requisite +to Excel in it._ + +II. _The_ Characters _of the several Authors of Satire. 1. The +Ancients;_ Homer, Simonides, Archilochus, Aristophanes, Menippus, +Ennius, Lucilius, Varro, Horace, Persius, Petronius, Juvenal, Lucian, +_the Emperor_ Julian. _2. The Moderns;_ Tassone, Coccaius, Rabelais, +Regnier, Boileau, Dryden, Garth, Pope. + +III. _From the Practice of all the best Writers and Men in every Age +and Nation, the_ Moral Justice _of_ Satire _in General, and of this +Sort in Particular, is Vindicated. The_ Necessity _of it shewn in_ +this Age _more especially, and why bad Writers are at present the_ +most proper Objects of Satire. _The_ True Causes _of bad Writers._ +Characters _of several Sorts of them now abounding; Envious Critics, +Furious Pedants, Secret Libellers, Obscene Poetesses, Advocates for +Corruption, Scoffers at Religion, Writers for Deism, Deistical and_ +Arrian-_Clergymen._ + +_Application of the Whole Discourse to the_ DUNCIAD _concluding with +an Address to the Author of it._ + + + + + AN + ESSAY + ON + SATIRE. + + + T' Exalt the Soul, or make the Heart sincere, + To arm our Lives with honesty severe, + To shake the wretch beyond the reach of Law, + Deter the young, and touch the bold with awe, + To raise the fal'n, to hear the sufferer's cries, + And sanctify the virtues of the wise, + Old Satire rose from Probity of mind, + The noblest Ethicks to reform mankind. + + As _Cynthia's_ Orb excels the gems of night: + So _Epic Satire_ shines distinctly bright. + Here Genius lives, and strength in every part, + And lights and shades, and fancy fix'd by art. + A second beauty in its nature lies, + It gives not _Things_, but _Beings_ to our eyes, + _Life_, _Substance_, _Spirit_ animate the whole; + _Fiction_ and _Fable_ are the Sense and Soul. + The _common Dulness_ of mankind, array'd + In pomp, here lives and breathes, a _wond'rous Maid_: + The Poet decks her with each unknown Grace, + Clears her dull brain, and brightens her dark face: + See! Father _Chaos_ o'er his First-born nods, + And Mother _Night_, in Majesty of Gods! + See _Querno's Throne_, by hands Pontific rise, + And a _Fool's Pandaemonium_ strike our Eyes! + Ev'n what on C----l the Publick bounteous pours, + Is sublimated here to _Golden show'rs_. + + A _Dunciad_ or a _Lutrin_ is compleat, + And _one_ in action; ludicrously great. + Each wheel rolls round in due degrees of force; + E'en _Episodes_ are _needful_, or _of course_: + _Of course_, when things are virtually begun + E'er the first ends, the Father and the Son: + Or else so _needful_, and exactly grac'd, + That nothing is _ill-suited_, or _ill-plac'd_. + + True Epic's a vast World, and this a small; + One has its _proper_ beauties, and one _all_. + Like _Cynthia_, one in _thirty days_ appears, + Like _Saturn_ one, rolls round in _thirty years_. + _There_ opens a wide Tract, a length of Floods, + A height of Mountains, and a waste of Woods: + _Here_ but one Spot; nor Leaf, nor Green depart + From Rules, e'en Nature seems the Child of Art. + As _Unities_ in Epick works appear, + So must they shine in full distinction here. + Ev'n the warm _Iliad_ moves with slower pow'rs: + That forty days demands, This forty hours. + + Each other Satire humbler arts has known, + Content with meaner Beauties, tho' its own: + Enough for that, if rugged in its course + The Verse but rolls with Vehemence and Force; + Or nicely pointed in th' _Horatian_ way + Wounds keen, like _Syrens_ mischievously gay. + Here, All has _Wit_, yet must that Wit be _strong_, + Beyond the Turns of _Epigram_, or _Song_. + The _Thought_ must rise exactly from the vice, + _Sudden_, yet _finish'd_, _clear_, and yet _concise_. + _One Harmony_ must _first_ with _last_ unite; + As all true Paintings have their _Place_ and _Light_. + _Transitions_ must be _quick_, and yet _design'd_, + Not made to fill, but just retain the mind: + And _Similies_, like meteors of the night, + Just give one flash of momentary Light. + + As thinking makes the Soul, low things exprest + In high-rais'd terms, define a _Dunciad_ best. + _Books and the Man_ demands as much, or more, + Than _He_ who _wander'd to the Latian Shore_: + For here (eternal Grief to _Duns_'s soul, + And _B_----'s thin Ghost!) the _Part_ contains the _Whole_: + Since in Mock-Epic none succeeds, but he + Who tastes the Whole of Epic Poesy. + + The _Moral_ must be clear and understood; + But finer still, if negatively good: + Blaspheming _Capaneus_ obliquely shows + T' adore those Gods _Aeneas_ fears and knows. + A _Fool's_ the _Heroe_; but the _Poet's_ end + Is, to be _candid_, _modest_, and a _Friend_. + + Let _Classic Learning_ sanctify each Part, + Not only show your Reading, but your Art. + + The charms of _Parody_, like those of Wit, + If well _contrasted_, never fail to hit; + One half in light, and one in darkness drest, + (For contraries oppos'd still shine the best.) + When a cold Page half breaks the Writer's heart, + By this it warms, and brightens into Art. + When Rhet'ric glitters with too pompous pride, + By this, like _Circe_, 'tis un-deify'd. + So _Berecynthia_, while her off-spring vye + In homage to the Mother of the sky, + (Deck'd in rich robes, of trees, and plants, and flow'rs, + And crown'd illustrious with an hundred tow'rs) + O'er all _Parnassus_ casts her eyes at once, + And sees an hundred Sons--_and each a Dunce_. + + The _Language_ next: from hence new pleasure springs; + For _Styles_ are dignify'd, as well as _Things_. + Tho' Sense subsists, distinct from phrase or sound, + Yet _Gravity_ conveys a surer wound. + The chymic secret which your pains wou'd find, + Breaks out, unsought for, in _Cervantes'_ mind; + And _Quixot_'s wildness, like that King's of old, + Turns all he touches, into _Pomp_ and _Gold_. + Yet in this Pomp discretion must be had; + Tho' _grave_, not _stiff_; tho' _whimsical_, not _mad_: + In Works like these if _Fustian_ might appear, + Mock-Epics, _Blackmore_, would not cost thee dear. + + We grant, that _Butler_ ravishes the Heart, + As _Shakespear_ soar'd beyond the reach of Art; + (For Nature form'd those Poets without Rules, + To fill the world with _imitating Fools_.) + What _Burlesque_ could, was by that Genius done; + Yet faults it has, impossible to shun: + Th' unchanging strain for want of grandeur cloys, + And gives too oft the horse-laugh mirth of Boys: + The short-legg'd verse, and double-gingling Sound, + So quick surprize us, that our heads run round: + Yet in this Work peculiar Life presides, + And _Wit_, for all the world to glean besides. + + Here pause, my Muse, too daring and too young! + Nor rashly aim at Precepts yet unsung. + Can Man the Master of the _Dunciad_ teach? + And these new Bays what other hopes to reach? + 'Twere better judg'd, to study and explain + Each ancient Grace he copies not in vain; + To trace thee, Satire, to thy utmost Spring, + Thy Form, thy Changes, and thy Authors sing. + + All Nations with this Liberty dispense, + And bid us shock the Man that shocks Good Sense. + Great _Homer_ first the Mimic Sketch design'd + What grasp'd not _Homer's_ comprehensive mind? + By him who _Virtue_ prais'd, was _Folly_ curst, + And who _Achilles_ sung, drew _Dunce the First_.[26] + + Next him _Simonides_, with lighter Air, + In Beasts, and Apes, and Vermin, paints the _Fair_: + The good _Scriblerus_ in like forms displays + The reptile Rhimesters of these later days. + + More fierce, _Archilochus_! thy vengeful flame; + Fools read and _dy'd_: for Blockheads then had _Shame_. + + The Comic-Satirist[27] attack'd his Age, + And found low Arts, and Pride, among the Sage: + See learned _Athens_ stand attentive by, + And _Stoicks_ learn their Foibles from the Eye. + + _Latium's fifth Homer_[28] held the _Greeks_ in view; + Solid, tho' rough, yet incorrect as new. + _Lucilius_, warm'd with more than mortal flame + Rose next[29], and held a torch to ev'ry shame. + See stern _Menippus_, cynical, unclean; + And _Grecian Cento_'s, mannerly obscene. + Add the last efforts of _Pacuvius'_ rage, + And the chaste decency of _Varro_'s page.[30] + + See _Horace_ next, in each reflection nice, + Learn'd, but not vain, the Foe of Fools nor Vice. + Each page instructs, each Sentiment prevails, + All shines alike, he rallies, but ne'er rails: + With courtly ease conceals a Master's art, + And least-expected steals upon the heart. + Yet _Cassius_[31] felt the fury of his rage, + (_Cassius_, the _We----d_ of a former age) + And sad _Alpinus_, ignorantly read, + Who murder'd _Memnon_, tho' for ages dead. + + Then _Persius_ came: whose line tho' roughly wrought, + His Sense o'erpaid the stricture of his thought. + Here in clear light the _Stoic_-doctrine shines, + Truth all subdues, or Patience all resigns. + A Mind supreme![32] impartial, yet severe: + Pure in each Act, in each Recess sincere! + Yet _rich ill_ Poets urg'd the _Stoic_'s Frown, + And bade him strike at _Dulness_ and a _Crown_[33]. + + The Vice and Luxury _Petronius_ drew, + In _Nero_ meet: th' imperial point of view: + The Roman _Wilmot_, that could Vice chastize, + Pleas'd the mad King he serv'd, to satirize. + + The next[34] in Satire felt a nobler rage, + What honest Heart could bear _Domitian_'s age? + See his strong Sense, and Numbers masculine! + His Soul is kindled, and he kindles mine: + Scornful of Vice, and fearless of Offence, + He flows a Torrent of impetuous Sense. + + Lo! Savage Tyrants Who blasphem'd their God + Turn Suppliants now, and gaze at _Julian_'s Rod.[35] + + _Lucian_, severe, but in a gay disguise, + Attacks old Faith, or sports in learned Lyes;[36] + Sets Heroes and Philosophers at odds; + And scourges Mortals, and dethrones the Gods. + + Then all was Night--But _Satire_ rose once more + Where _Medici_ and _Leo_ Arts restore. + _Tassone_ shone fantastic, but sublime: + And He, who form'd the _Macaronique_-Rhime: + + Then _Westward_ too by slow degrees confest, + Where boundless _Rabelais_ made the World his Jest; + _Marot_ had Nature, _Regnier_ Force and Flame, + But swallow'd all in _Boileau_'s matchless Fame! + Extensive Soul! who rang'd all learning o'er, + Present and past--and yet found room for more. + Full of new Sense, exact in every Page, + Unbounded, and yet sober in thy Rage. + Strange Fate! _Thy solid_ Sterling _of two lines,_ + _Drawn to our_ Tinsel, _thro' whole Pages shines!_[37] + + In _Albion_ then, with equal lustre bright, + Great _Dryden_ rose, and steer'd by Nature's light. + Two glimmering Orbs he just observ'd from far, + The Ocean wide, and dubious either Star, + _Donne_ teem'd with Wit, but all was maim'd and bruis'd, + The periods endless, and the sense confus'd: + _Oldham_ rush'd on, impetuous, and sublime, + But lame in Language, Harmony, and Rhyme; + These (with new graces) vig'rous nature join'd + In one, and center'd 'em in _Dryden_'s mind. + How full thy verse? Thy meaning how severe? + How dark thy theme? yet made exactly clear. + Not mortal is thy accent, nor thy rage, + Yet mercy softens, or contracts each Page. + Dread Bard! instruct us to revere thy rules, + And hate like thee, all Rebels, and all Fools. + + His Spirit ceas'd not (in strict truth) to be; + For dying _Dryden_ breath'd, O _Garth!_ on thee, + Bade thee to keep alive his genuine Rage, + Half-sunk in want, oppression and old age; + Then, when thy pious hands repos'd his head,[38] + When vain young Lords and ev'n the Flamen fled. + For well thou knew'st his merit and his art, + His upright mind, clear head, and friendly heart. + Ev'n _Pope_ himself (who sees no Virtue bleed + But bears th' affliction) envies thee the deed. + + O _Pope_! Instructor of my studious days, + Who fix'd my steps in virtue's early ways: + On whom our labours, and our hopes depend, + Thou more than Patron, and ev'n more than Friend! + Above all Flattery, all Thirst of Gain, + And Mortal but in Sickness, and in Pain! + Thou taught'st old Satire nobler fruits to bear, + And check'd her Licence with a moral Care: + Thou gav'st the Thought new beauties not its own, + And touch'd the Verse with Graces yet unknown. + Each lawless branch thy level eye survey'd. + And still corrected Nature as she stray'd: + Warm'd _Boileau_'s Sense with _Britain_'s genuine Fire, + And added Softness to _Tassone_'s Lyre. + + Yet mark the hideous nonsense of the age, + And thou thy self the subject of its rage. + So in old times, round godlike _Scaeva_ ran + _Rome_'s dastard Sons, a _Million_, and a _Man_. + + Th' exalted merits of the Wise and Good + Are seen, far off, and rarely understood. + The world's a father to a Dunce unknown, + And much he thrives, for Dulness! he's thy own. + No hackney brethren e'er condemn him _twice_; + He fears no enemies, but dust and mice. + + If _Pope_ but writes, the Devil _Legion_ raves, + And meagre Critics mutter in their caves: + (Such Critics of necessity consume + All Wit, as Hangmen ravish'd Maids at _Rome_.) + Names he a Scribler? all the world's in arms, + _Augusta_, _Granta_, _Rhedecyna_ swarms: + The guilty reader fancies what he fears, + And every _Midas_ trembles for his ears. + + See all such malice, obloquy, and spite + Expire e're morn, the mushroom of a night! + Transient as vapours glimm'ring thro' the glades, + Half-form'd and idle, as the dreams of maids, + Vain as the sick man's vow, or young man's sigh, + Third-nights of Bards, or _H_----'s sophistry. + + These ever hate the Poet's sacred line: + These hate whate'er is glorious, or divine. + From one Eternal Fountain _Beauty_ springs, + The Energy of _Wit_, and _Truth of Things_, + That Source is GOD: From _him_ they downwards tend, + Flow round--yet in their native center end. + Hence Rules, and Truth, and Order, Dunces strike; + Of Arts, and Virtues, enemies alike. + + Some urge, that Poets of supreme renown + Judge ill to scourge the Refuse of the Town. + How'ere their Casuists hope to turn the scale, + These men must smart, or scandal will prevail. + By these, the weaker Sex still suffer most: + And such are prais'd who rose at Honour's cost: + The Learn'd they wound, the Virtuous, and the Fair, + No fault they cancel, no reproach they spare: + The random Shaft, impetuous in the dark, + Sings on unseen, and quivers in the mark. + 'Tis Justice, and not Anger, makes us write, + Such sons of darkness must be drag'd to light: + Long-suff'ring nature must not always hold; + In virtue's cause 'tis gen'rous to be bold. + To scourge the bad, th' unwary to reclaim, + And make light flash upon the face of shame. + + Others have urg'd (but weigh it, and you'll find + 'Tis light as feathers blown before the wind) + That Poverty, the Curse of Providence, + Attones for a dull Writer's want of Sense: + Alas! his Dulness 'twas that made him poor; + Not _vice versa_: We infer no more. + Of Vice and Folly Poverty's the curse, + Heav'n may be rigid, but the Man was worse, + By good made bad, by favours more disgrac'd, + So dire th' effects of ignorance misplac'd! + Of idle Youth, unwatch'd by Parents eyes! + Of Zeal for pence, and Dedication Lies! + Of conscience model'd by a Great man's looks! + And arguings in religion--from No books! + + No light the darkness of that mind invades, + Where _Chaos_ rules, enshrin'd in genuine Shades; + Where, in the Dungeon of the Soul inclos'd, + True Dulness nods, reclining and repos'd. + Sense, Grace, or Harmony, ne'er enter there, + Nor human Faith, nor Piety sincere; + A mid-night of the Spirits, Soul, and Head, + (Suspended all) as Thought it self lay dead. + Yet oft a mimic gleam of transient light + Breaks thro' this gloom, and then they think they write; + From Streets to Streets th' unnumber'd Pamphlets fly, + Then tremble _Warner_, _Brown_, and _Billingsly_.[39] + + O thou most gentle Deity appear, + Thou who still hear'st, and yet art prone to hear: + Whose eye ne'er closes, and whose brains ne'er rest, + (Thy own dear Dulness bawling at thy breast) + Attend, O _Patience_, on thy arm reclin'd, + And see Wit's endless enemies behind! + + And ye, _Our Muses_, with a _hundred tongues_, + And Thou, O _Henley!_ blest with _brazen lungs_; + Fanatic _Withers!_ fam'd for rhimes and sighs, + And _Jacob Behmen!_ most obscurely wise; + From darkness palpable, on dusky wings + Ascend! and shroud him who your Off-spring sings. + + The first with _Egypt_'s darkness in his head + Thinks Wit the devil, and curses books unread. + For twice ten winters has he blunder'd on, + Thro' heavy comments, yet ne'er lost nor won: + Much may be done in twenty winters more, + And let him then learn _English_ at threescore. + No sacred _Maro_ glitters on his shelf, + He wants the mighty _Stagyrite_ himself. + See vast _Coimbria_'s comments[40] pil'd on high, + In heaps _Soncinas_,[41] _Sotus_, _Sanchez_ lie: + For idle hours, _Sa_'s[42] idler casuistry. + + Yet worse is he, who in one language read, + Has one eternal jingling in his head, + At night, at morn, in bed, and on the stairs ... + Talks flights to grooms, and makes lewd songs at pray'rs + His Pride, a Pun: a Guinea his Reward, + His Critick _G-ld-n_, _Jemmy M-re_ his Bard. + + What artful Hand the Wretch's Form can hit, + Begot by _Satan_ on a _M----ly_'s Wit: + In Parties furious at the great Man's nod, + And hating none for nothing, but his God: + Foe to the Learn'd, the Virtuous, and the Sage, + A Pimp in Youth, an Atheist in old Age: + Now plung'd in Bawdry and substantial Lyes, + Now dab'ling in ungodly Theories; + But so, as Swallows skim the pleasing flood, + Grows giddy, but ne'er drinks to do him good: + Alike resolv'd to flatter, or to cheat, + Nay worship Onions, if they cry, _come eat_: + A foe to Faith, in Revelation blind, + And impious much, as Dunces are by kind. + + Next see the Master-piece of Flatt'ry rise, + Th' anointed Son of Dulness and of Lies: + Whose softest Whisper fills a Patron's Ear, + Who smiles unpleas'd, and mourns without a tear.[43] + Persuasive, tho' a woful Blockhead he: + Truth dies before his shadowy Sophistry. + For well he knows[44] the Vices of the Town, + The Schemes of State, and Int'rest of the Gown; + Immoral Afternoons, indecent Nights, + Enflaming Wines, and second Appetites. + + But most the Theatres with dulness groan, + Embrio's half-form'd, a Progeny unknown: + Fine things for nothing, transports out of season, + Effects un-caus'd, and murders without reason. + Here Worlds run round, and Years are taught to stay, + Each Scene an Elegy, each Act a Play.[45] + Can the same Pow'r such various Passions move? + Rejoice, or weep, 'tis ev'ry thing for _Love_. + The self-same Cause produces Heav'n and Hell: + Things contrary as Buckets in a Well; + One up, one down, one empty, and one full: + Half high, half low, half witty, and half dull. + So on the borders of an ancient Wood, + Or where some Poplar trembles o'er the Flood, + _Arachne_ travels on her filmy thread, + Now high, now low, or on her feet or head. + + Yet these love Verse, as Croaking comforts Frogs,[46] + And Mire and Ordure are the Heav'n of Hogs. + As well might Nothing bind Immensity, + Or passive Matter Immaterials see, + As these shou'd write by reason, rhime, and rule, + Or we turn Wit, whom nature doom'd a Fool. + If _Dryden_ err'd, 'twas human frailty once, + But blund'ring is the Essence of a Dunce. + + Some write for Glory, but the Phantom fades; + Some write as Party, or as Spleen invades; + A third, because his Father was well read, + And Murd'rer-like, calls Blushes from the dead. + Yet all for Morals and for Arts contend---- + They want'em both, who never prais'd a Friend. + More ill, than dull; For pure stupidity + Was ne'er a crime in honest _Banks_, or me. + + See next a Croud in damasks, silks, and crapes, + Equivocal in dress, half-belles, half-trapes: + A length of night-gown rich _Phantasia_ trails, + _Olinda_ wears one shift, and pares no nails: + Some in _C----l_'s Cabinet each act display, + When nature in a transport dies away: + Some more refin'd transcribe their Opera-loves + On Iv'ry Tablets, or in clean white Gloves: + Some of Platonic, some of carnal Taste, + Hoop'd, or un-hoop'd, ungarter'd, or unlac'd. + Thus thick in Air the wing'd Creation play, + When vernal _Phoebus_ rouls the Light away, + A motley race, half Insects and half Fowls, + Loose-tail'd and dirty, May-flies, Bats, and Owls. + + Gods, that this native nonsense was our worst! + With Crimes more deep, O _Albion!_ art thou curst. + No Judgment open Prophanation fears, + For who dreads God, that can preserve his Ears? + Oh save me Providence, from Vice refin'd, + That worst of ills, a _Speculative Mind_![47] + Not that I blame divine Philosophy, + (Yet much we risque, for Pride and Learning lye.) + Heav'n's paths are found by Nature more than Art, + The Schoolman's Head misleads the Layman's Heart. + + What unrepented Deeds has _Albion_ done? + Yet spare us Heav'n! return, and spare thy own. + Religion vanishes to _Types_, and _Shade_, + By Wits, by fools, by her own Sons betray'd! + Sure 'twas enough to give the Dev'l his due, + Must such Men mingle with the _Priesthood_ too? + So stood _Onias_ at th' Almighty's Throne, + Profanely cinctur'd in a Harlot's Zone. + + Some _Rome_, and some the _Reformation_ blame; + 'Tis hard to say from whence such License came; + From fierce Enthusiasts, or Socinians sad? + _C----ns_ the soft, or _Bourignon_ the mad? + From wayward Nature, or lewd Poet's Rhimes? + From praying, canting, or king-killing times? + From all the dregs which _Gallia_ cou'd pour forth, + (Those Sons of Schism) landed in the _North_?-- + From whence it came, they and the D----l best know, + Yet thus much, _Pope_, each Atheist is thy Foe. + + O Decency, forgive these friendly Rhimes, + For raking in the dunghill of their crimes. + To name each Monster wou'd make Printing dear, + Or tire _Ned Ward_, who writes six Books a-year. + Such vicious Nonsense, Impudence, and Spite, + Wou'd make a Hermit, or a Father write. + Tho' _Julian_ rul'd the World, and held no more + Than deist _Gildon_ taught, or _Toland_ swore, + Good _Greg'ry_[48] prov'd him execrably bad, + And scourg'd his Soul, with drunken Reason mad. + Much longer, _Pope_ restrain'd his awful hand, + Wept o'er poor _Niniveh_, and her dull band, + 'Till Fools like Weeds rose up, and choak'd the Land. + Long, long he slumber'd e'er th' avenging hour; + For dubious Mercy half o'er-rul'd his pow'r: + 'Till the wing'd bolt, red-hissing from above + Pierc'd Millions thro'----For such the Wrath of _Jove_. + _Hell_, _Chaos_, _Darkness_, tremble at the sound, + And prostrate Fools bestrow the vast Profound: + No _Charon_ wafts 'em from the farther Shore, + Silent they sleep, alas! to rise no more. + + Oh POPE, and Sacred _Criticism!_ forgive + A Youth, who dares approach your Shrine, and live! + Far has he wander'd in an unknown Night, + No Guide to lead him, but his own dim Light. + For him more fit, in vulgar Paths to tread, + To shew th' Unlearned what they never read, + Youth to improve, or rising Genius tend, + To Science much, to Virtue more, a Friend. + + + +Footnotes: + +[26] Margites. + +[27] Aristophanes. + +[28] Ennius. + +[29] ----clarumq; facem praeferre pudori, _Juv. S._ 1. + +[30] _See_ Varro_'s Character in_ Cicero_'s Academics._ + +[31] _Epode_ 6. + +[32] _Alludes to this Couplet in his second Satire_, + + Compositum jus fasq; animi, sanctiq; recessus, + Mentis, & incoctum generoso pectus honesto. + +[33] _See his first Satire of_ Nero_'s Verses,_ &c. + +[34] Juvenal. + +[35] _The_ Caesars _of the Emperor_ Julian. + +[36] Lucian_'s True History._ + +[37] Roscommon, _Revers'd._ + +[38] _Dr_. Garth _took care of Mr._ Dryden_'s Funeral, which +some Noblemen, who undertook it, had neglected._ + +[39] Three Booksellers. + +[40] Coimbria_'s comments._ Colleg. Conimbricense, _a Society in_ Spain, +_which publish'd tedious explanations of_ Aristotle. + +[41] Soncinas, _a Schoolman._ + +[42] Sa (Eman. de) _See_ Paschal_'s Mystery of Jesuitism._ + +[43] + Pompeius, tenui jugulos aperire susurro. Juv. S. 4. + Flet, si lacrymas aspexit amici, Nec dolet. S. 3. + +[44] + ------Noverat ille + Luxuriam Imperii veteris, noctesq; Neronis + Jam medias, aliamq; famem. Juv. S. 4. + +[45] Et chaque Acte en fa piece & una piece entiere. _Boil._ + +[46]_'When a poor Genius has labour'd much, he judges well not to expect +the Encomiums of the Publick: for these are not his due. Yet for fear +his drudgery shou'd have no recompense, God (of his goodness) has +given him a personal Satisfaction. To envy him in this wou'd be +injustice beyond barbarity itself: Thus the same Deity (who is equally +just in all points) has given Frogs the comfort of Croaking, &c.'_ + + Le Pere Gerasse Sommes Theol. L. 2. + +[47] Plato _calls this an Ignorance of a dark and dangerous Nature, +under appearance of the greatest Wisdom._ + +[48] Gregory Nazianz: _a Father at the beginning of the Fourth Century. +He writ two most bitter Satires (or Invectives) against the Emperor_ +Julian. + + + + + A + DISCOURSE + OF + SATIRES + + _Arraigning Persons by Name_. + By Monsieur BOILEAU. + + +When first I publish'd my Satires, I was thoroughly prepar'd for that +Noise and Tumult which the Impression of my Book has rais'd upon +_Parnassus_. I knew that the Tribe of Poets, and above all, Bad Poets, +are a People ready to take fire; and that Minds so covetous of Praise +wou'd not easily digest any Raillery, how gentle soever. I may farther +say to my advantage, that I have look'd with the Eyes of a Stoick +upon the Defamatory Libels that have been publish'd against me. +Whatever Calumnies they have been willing to asperse me with, whatever +false Reports they have spread of my Person, I can easily forgive +those little Revenges; and ascribe 'em to the Spleen of a provok'd +Author, who finds himself attack'd in the most sensible part of a +Poet, I mean, in his Writings. + +But I own I was a little surpriz'd at the whimsical Chagrin of certain +_Readers_, who instead of diverting themselves with this Quarrel of +_Parnassus_, of which they might have been indifferent Spectators, +chose to make themselves Parties, and rather to take pet with Fools, +than laugh with Men of Sense. 'Twas to comfort these People, that I +compos'd my ninth Satire; where I think I have shewn clearly enough, +that without any prejudice either to one's Conscience or the +Government, one may think bad Verses bad Verses, and have full right +to be tir'd with reading a silly Book. But since these Gentlemen have +spoken of the liberty I have taken of _Naming_ them, as an Attempt +unheard-of, and without Example, and since Examples can't well be put +into Rhyme; 'tis proper to say one word to inform 'em of a thing of +which they alone wou'd gladly be ignorant, and to make them know, that +in comparison of all my brother Satirists, I have been a Poet of great +Moderation. + +To begin with _Lucilius_ the Inventer of Satire; what liberty, or +rather what license did he not indulge in his Works? They were not +only Poets and Authors whom he attack'd, they were People of the first +Quality in _Rome_, and Consular Persons. However _Scipio_ and +_Laelius_ did not judge that Poet (so determin'd a Laugher as he was) +unworthy of their Friendship; and probably upon occasion no more +refus'd him, than they did _Terence_, their advice on his Writings: +They never thought of espousing the part of _Lupus_ and _Metellus_, +whom he ridicul'd in his Satires, nor imagin'd they gave up any part +of their own Character in leaving to his Mercy all the Coxcombs of the +Nation. + + ----_num_ Laelius, _aut qui_ + _Duxit ab oppressa meritum Carthagine nomen,_ + _Ingenio offensi, aut laeso doluere_ Metello + _Famosisve_ Lupo _co-operto versibus?_ + + +In a word, _Lucilius_ spar'd neither the Small nor the Great, and +often from the Nobles and the Patricians he stoop'd to the Lees of the +People. + + _Primores populi arripuit populumq; tributim._ + + +It may be said that _Lucilius_ liv'd in a Republick where those sort +of liberties might be permitted. Look then upon _Horace_, who liv'd +under an Emperor in the beginnings of a Monarchy (the most dangerous +time in the world to laugh) who is there whom he has not satiriz'd by +name? _Fabius_ the great Talker, _Tigellius_ the Fantastick, +_Nasidienus_ the Impertinent, _Nomentanus_ the Debauchee, and whoever +came at his Quill's end. They may answer that these are fictitious +Names: an excellent Answer indeed! As if those whom he attack'd were +no better known; as if we were ignorant that _Fabius_ was a _Roman_ +Knight who compos'd a Treatise of Law, that _Tigellius_ was a Musician +favour'd by _Augustus_, that _Nasidienus Rufus_ was a famous Coxcomb +in _Rome_, that _Cassius Nomentanus_ was one of the most noted Rakes +in _Italy_. Certainly those who talk in this manner, are not +conversant with ancient Writers, nor extreamly instructed in the +affairs of the Court of _Agustus_. _Horace_ is not contented with +calling people by their _Names_; he seems so afraid they should be +mistaken, that he gives us even their Sir-names; nay tells us the +Trade they follow'd, or the Employments they exercis'd. Observe for +Example how he speaks of _Aufidius Luscus_ Praetor of _Fundi_. + + Fundos Aufidio Lusco _Praetore libenter_ + _Linquimus, insani ridentes praemia scribae_ + _Praetextam & latum clavum,_ &c. + + +_We were glad to leave_ (says he) _the Town of_ Fundi _of which one_ +Aufidius Luscus _was Praeator, but it was not without laughing heartily +at the folly of this man, who having been a Clerk, took upon him the +Airs of a Senator and a Person of Quality._ Could a Man be describ'd +more precisely? and would not the Circumstances only be sufficient to +make him known? Will they say that _Aufidius_ was then dead? _Horace_ +speaks of a Voyage made some time since. And how will my Censors +account for this other passage? + + _Turgidus_ Alpinus _jugulat dum_ Memnona, _dumque_ + _Diffingit_ Rheni _luteum caput: haec ego ludo_. + + +_While that Bombast Poet_ Alpinus, _murders_ Memnon _in his Poem, and +bemires himself in his description of the_ Rhine, _I divert my self in +these Satires._ 'Tis plain from hence, that _Alpinus_ liv'd in the +time when _Horace_ writ these Satires: and suppose _Alpinus_ was an +imaginary Name, cou'd the Author of the Poem of _Memnon_ be taken for +another? _Horace_, they may say, liv'd under the reign of the most +Polite of all the Emperors; but do we live under a Reign less polite? +and would they have a Prince who has so many Qualities in common with +_Augustus_, either less disgusted than he at bad Books, or more +rigorous towards those who blame them? + +Let us next examine _Persius_, who writ in the time of _Nero_: He not +only Raillies the Works of the Poets of his days, but attacks the +Verses of the Emperor himself: For all the World knows, and all the +Court of _Nero_ well knew, that those four lines, + + _Torva Mimalloneis_, &c. + +which _Persius_ so bitterly ridicules in his first Satire, were +_Nero_'s own Verses; and yet we have no account that _Nero_ (so much a +Tyrant as he was) caus'd _Persius_ to be punish'd; Enemy as he was to +Reason, and fond as every one knows of his own Works, he was gallant +enough to take this Raillery on his Verses, and did not think that the +Emperor on this occasion should assert the Character of the Poet. + +_Juvenal_, who flourish'd under _Trajan_, shews a little more respect +towards the great Men of his age; and was contented to sprinkle the +gall of his Satire on those of the precedent reign. But as for the +_Writers_, he never look'd for them further than his own time. At the +very beginning of his Work you find him in a very bad humor against +all his _cotemporary Scriblers_: ask _Juvenal_ what oblig'd him to +take up his Pen? he was weary of hearing the _Theseide_ of _Codrus_, +the _Orestes_ of this man, and the _Telephus_ of that, and all the +Poets (as he elsewhere says) who recited their Verses in the Month of +_August_, + + _----&_ Augusto _recitantes Mense Poetas._ + + +So true it is that the right of blaming bad Authors, is an ancient +Right, pass'd into a Custom, among all the Satirists, and allow'd in +all ages. + + * * * * * + +To come from the Ancients to the Moderns. _Regnier_ who is almost the +only Satirical Poet we have, has in truth been a little more discreet +than the rest; nevertheless he speaks very freely of _Gallet_ the +famous Gamester, who paid his Creditors with _Sept_ and _Quatorze_, +and of the _Sieur de Provins_ who chang'd his long Cloak into a +Doublet, and of _Cousin_ who run from his house for fear of repairing +it, and of _Pierre de Puis_, and many others. + +What will my Critics say to this? When they are ever so little +touch'd, they wou'd drive from the Republick of Letters all the +Satirical Poets, as so many disturbers of the Peace of the Nation. But +what will they say of _Virgil_; the wise, the discreet _Virgil_? who +in an Eclog where he has nothing to do with Satire, has made in one +Line two Poets for ever ridiculous. + + _Qui_ Bavium _non odit, amet tua carmina_ Moevi. + + +Let them not say that _Bavius_ and _Moevius_ in this place are +_suppos'd names_, since it would be too plainly to give the Lye to the +learned _Servius_, who positively declares the contrary. In a word, +what would my Censors do with _Catullus_, _Martial_, and all the Poets +of Antiquity, who have made no more scruple in this matter than +_Virgil_? What would they think of _Voiture_ who had the conscience to +laugh at the expence of the renowned _Neuf Germain_, tho' equally to +be admir'd for the Antiquity of his Beard, and the Novelty of his +Poetry? Will they banish from _Parnassus_, him, and all the ancient +Poets, to establish the reputation of Fools and Coxcombs? If so, I +shall be very easy in my banishment, and have the pleasure of very +good company. Without Raillery, wou'd these Gentlemen really be more +wise than _Scipio_ and _Lelius_, more delicate than _Augustus_, or more +cruel than _Nero_? But they who are so angry at the Critics, how comes +it that they are so merciful to bad Authors? I see what it is that +troubles them; they have no mind to be undeceiv'd. It vexes them to +have seriously admir'd those Works, which my Satires have expos'd to +universal Contempt; and to see themselves condemn'd, to forget in +their old Age, those Verses which they got by heart in their Youth, as +Master-pieces of Wit. Truly I am sorry for 'em, but where's the help? +Can they expect, that to comply with their particular Taste, we +should renounce common Sense? applaud indifferently all the +Impertinencies which a Coxcomb shall think fit to throw upon paper? +and instead of condemning bad Poets (as they did in certain Countries) +to lick out their Writings with their own Tongue, shall Books become +for the future inviolable Sanctuaries, where all Blockheads shall be +made free Denizens, not to be touch'd without Profanation? I could say +much more on this subject; but as I have already treated it in my +ninth Satire, I shall thither refer the Reader. + +_FINIS._ + + + + +_BOOKS printed for_ LAWTON GILLIVER _at_ HOMER'S HEAD, +_against St._ DUNSTAN'S _Church,_ Fleetstreet. + + +Two Epistles to Mr. _POPE_, concerning the Authors of the Age. By the +Author of the Universal Passion. + +_Imperium Pelagi_: A Naval Lyrick; Written in Imitation of _Pindar_'s +Spirit. 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