A Just Heroic Poem is so vast an Undertaking, requires so much both of Art
and Genius for its Management, and carries such Difficulty in the Model of
the Whole, and Disposition of the several Parts, that it's no Wonder, if
not above One or Two of the Ancients, and hardly any of the Moderns, have
succeeded in their Attempts of this Nature. Rapin, and other Masters of
Epic, represent it as an Enterprize so hardy, that it can scarce enter
into the Mind of a wise Man, without affrighting him, as being the most
perfect Piece of Work that Art can produce. That Author has many excellent
Reflexions and Rules concerning it in his Discourse sur la Poetique; but
Bossu is the first I've seen who has writ a just and perfect Tract
thereon, wherein he has in a clear and Scholastic Method amass'd together
most that's to be found in Antiquity on that Subject, tho' chiefly keeping
to the Observations of Aristotle, which he drew from Homer, and who seems
the first that reduced Poetry to an Art. That Author defines Epic, "An
Artificial Discourse, in order to form the Manners by Instructions,
disguis'd under the Allegories of some one important Action, recited in
Verse, in a manner probable, diverting and admirable;" which he thus
himself abridges, "'Tis a Fable, agreeably imitated on some important
Action, recited in Verse in a manner that's probable and admirable;" In
which Definition are contain'd, as he afterwards explains it, the general
Nature of Epic, and that double, Fable and Poem: The Matter, some one
important Action probably feign'd and imitated: Its Form, Recitation or
Narration: And lastly, its End, Instruction, which is aimed at in general
by the Moral of the Fable; and besides in the particular Manners of the
Persons who make the most considerable Figure in the Work.
To begin with Fable, which he makes included in the general Nature or
Essence of Epic. This, he says, is the most essential Part of it; "That
some Fables and Allegories scatter'd up and down in a Poem don't suffice
to constitute Epic, if they are only the Ornaments, and not the very
Foundation of it." And again, "That 'tis the very Fund and principal
Action that ought to be Feign'd and Allegorical:" For which reason he
expresly excludes hence all simple Histories, as by Name, Lucan's
Pharsalia, Silius Italicus's Punic War, and all true Actions of particular
Persons, without Fable: And still more home; that 'tis not a Relation of
the Actions of any Hero, to form the Manners by his Example, but on the
contrary, a Discourse invented to form the Manners by the Relation of some
one feign'd Action, design'd to please, under the borrow'd Name of some
illustrious Person, of whom Choice is made after we have fram'd the Plan
of the Action which we design to attribute to him.
Nor indeed is Bossu singular in his Judgment on this Matter, there being
few or none who have ever writ on the same Subject, but are of the same
mind: For thus Boileau in his Art of Poetry,
Dans la vaste recit d'une longue action
Se soutient par la Fable & vit de Fiction.
Which his Translator I think better;
In the Narration of some great Design,
Invention, Art, and Fable, all must join.
Rapin too gives his Vote on the same side, Rien n'est, says he, plus
essentiel au Poem Epique, que la Fiction; and quotes Petronius to that
purpose, Per ambages, Deorumque ministeria praecipitandus est Liber
Spiritus. Nor is't only the Moderns who are of this Opinion; for the
Iliads are call'd in Horace, Fabula qua Paridis, &c. And lastly, even
Aristotle himself tells us, "That Fable is the principal thing in an
Heroic Poem; and, as it were, the very Soul of it." [Greek: Archê kai oion
psychê.] And upon this occasion commends Homer for lying with the best
Grace of any Man in the World: Authorities almost too big to admit any
Examination of their Reason, or Opposition to their Sentiments. However, I
see no cause why Poetry should not be brought to the Test, as well as
Divinity, or any more than the other, be believed on its own bare ipse
dixit.
Let us therefore examine the Plan which they lay for a Work of this
Nature, and then we may be better able to guess at those Grounds and
Reasons on which they proceed.
In forming an Heroic-Poem, the first thing they tell us we ought to do, is
to pitch on some Moral Truth, which we desire to enforce on our Reader, as
the Foundation of the whole work. Thus Virgil, as Bossu observes,
designing to render the Roman People pleased and easie under the new
Government of Augustus, laid down this Maxim, as the Foundation of his
Divine Æneis: "That great and notable Changes of State are not
accomplished but by the Order and Will of God: That those who oppose
themselves against them are impious, and frequently punished as they
deserve; and that Heaven is not wanting to take that Hero always under its
particular Protection, whom it chuses for the Execution of such grand
Designs." This for the Moral Truth; we must then, he says, go on to lay
the general Plan of the Fiction, which, together with that Verity, makes
the Fable and Soul of the Poem: And this he thinks Virgil did in this
manner, "The Gods save a great Prince from the Ruines of his Country, and
chuse him for the Preservation of Religion, and re-establishing a more
glorious Empire than his former. The Hero is made a King, and arriving at
his new Country, finds both God and Men dispos'd to receive him: But a
neighbouring Prince, whose Eyes Ambition and Jealousie have closed against
Justice and the Will of Heaven, opposes his Establishment, being assisted
by another King despoil'd of his Estate for his Cruelty and Wickedness.
Their Opposition, and the War on which this pious Prince is forc'd, render
his Establishment more just by the Right of Conquest, and more glorious by
his Victory and the Death of his Enemies." These are his own Words, as any
may see who are at the pains to consult him; nor can I help it, if either
Virgil or Bossu happen to be Prophets.
When the Poet has proceeded thus far, and as Bossu calls it, dress'd
his Project, he's next to search in History or receiv'd Fable, for some
Hero, whose Name he may borrow for his Work, and to whom he may suit his
Persons. These are Bossu's Notions, and, indeed, very agreeable to
Aristotle, who says, that Persons and Actions in this sort of Poetry must
be feign'd, allegorical, and universal.
This is the Platform they lay; and let's now see if we can discover the
Reasons whereon they found these Rules, being so unanimous for Fable
rather than true History, as the Matter of an Heroic Poem; and, if I
mistake not, these are some of the principal.
1. Because they had observ'd the best Models of Heroic Poems were laid
after this manner; the greatest part of the Action both in Homer and
Virgil being pure Fable. Homer beginning, and all the rest following his
Steps.
2. Because no single Hero, or true History, which the Ancients knew was
sufficient, without Fable, to furnish Matter for an Epic Poem. History,
says Aristotle, treats of particular Things as they really are; Poetry, as
they ought to be; and therefore he prefers Poetry as the more grave and
more instructive; the Poets being forc'd to follow the same Methods with
their Kindred-Art, that of the Painters, and gather a great many Beauties
together, out of 'em all, to steal one Venus.
3. A third Reason may be, because, supposing they should have found some
one Example from whence to enforce strongly any particular Point of
Morality, yet it would have miss'd those other Characters of Epic, most of
its Agreeableness, and all its Power to raise Admiration. A chast
Historian must not go about to amuse his Reader with Machines; and a Poet
that would imitate him, must have been forc'd to thin his Stage
accordingly, and disband all his glorious Train of Gods and Godesses,
which composes all that's admirable in his Work; according to that of
Boileau; Chaque Virtue devient une divlnitie.
And these, if I mistake not, were the main Reasons on which the
foremention'd Rules were grounded. Let's now enquire into the Strength and
Validity of them: To begin with Homer, he wrote in that manner, because
most of the ancient Eastern Learning, the Original of all others, was
Mythology. But this being now antiquated, I cannot think we are oblig'd
superstitiously to follow his Example, any more than to make Horses speak,
as he does that of Achilles, 2. If a Poet lights on any single Hero, whose
true Actions and History are as important as any that Fable ever did or
can produce, I see no reason why he may not as well make use of him and
his Example to form the Manners and enforce any Moral Truth, as seek for
one in Fable for that purpose: Nay, he can scarce fail of persuading more
strongly, because he has Truth it self; the other but the Image of Truth,
especially if his History be, in the Third place, of it self diverting and
admirable. If it has from its own Fund, and already made to his hand those
Deorum Ministeria, which cost the Poet so much in the forming 'em out of
his own Brain. Nor can we suppose Fiction it self pleases; no, 'tis the
agreeable and the admirable, in the Dress of Truth; and such a Plan as
this would effectually answer both the Ends of Poetry in general,
delectari & monere, nay come up fuller to the End of Epic, which is
agreeable Instruction; and thence it follows strongly, that a Poem written
in such a manner, must, notwithstanding the foregoing Rules, be a true and
proper Heroic Poem, especially if adorn'd with Poetical Colours and
Circumstances through the whole Body thereof.
Now that all this is not gratis dictum, I think I can prove, even from
most of those very Authors I've already produc'd, as of the contrary
Opinion; and that I can make it appear, Bossu goes too far in fixing Fable
as the Essential Fund and Soul of the principal Action in an Epic Poem. To
begin with Rapin, who has this Passage, sur la Poetique, Reflex. 5. La
Poesie Heroique, &c. "Heroique Poesie, according to Aristotle, is a
Picture or Imitation of an Heroic Action; and the Qualities of the Action
are, That it ought to be (among others) true, or at least, such as might
pass for true;" Thus he. And hence it follows, according to him and
Aristotle, that the principal Action in Heroic, not only ought to pass for
Truth, but may be really true: For Horace, he does indeed call the Iliads
a Fable; but then he does not oblige his Poet superstitiously to follow
Homer in every thing, owning that he sometimes doats as well as other Men:
Further, this may, and I think does, refer rather to the Dress and Turn of
the Action, than to the Bottom and Ground of his History, which there's at
least as much, if not more reason to believe true than false: And in the
same Sense may we take Petronius and Boileau; nay, if we don't take 'em
thus, I can't tell whether there were ever such a thing as a true Heroic
Poem in the World; not so much as the Fairy-Queen, Gondibert, or Orlando
Furioso; all which have Fable enough in 'em of any reason; but their
principal Actions might be still true, as we are sure was that of the best
Heroic that ever was written; (I need not say I mean Virgil) since few or
no Authors ever deny'd that there was such a Man as Æneas, or even that he
came into Italy, built Cities there, and erected a Kingdom, which Tully
mentions, as a generally receiv'd Tradition in those Parts, and which it
seems he thought not frivolous, but true and solid; otherwise he'd scarce
have given it a place in his Argument for his Client. Of this Opinion too
seems Horace himself, in his Art of Poetry, namely, That there's no
necessity of the principal Action's being feign'd; for his Direction is,
"Aut famam sequere, aut sibi convenientia finge; Either follow Tradition
or Fame, or else feign what's agreeable thereunto." He makes not feigning
essential to Heroic Action, but gives leave to follow Fame, who is not so
great a Lyar, but that she is sometimes in the right. Nay, what if we
should after all have Bossu himself on our side, which I'm mistaken if he
be not; for these are his Expressions, Lib. 1. Cap. 7. Le Fiction, &c.
"The Fiction may be so disguis'd under the Verity of the History, that
those who are ignorant of the Art of the Poet, may believe it not a
Fiction; and to make the Disguisement well, he ought to search into
History for the Names of some Persons, to whom such an Action has probably
or truly happen'd, &c." Hence 'tis evident, that according to Bossu's own
Notion, the main Action may be true; which appears even from Aristotle
himself, as quoted by him, 97. [Greek: Kan ara] &c. "An Author is not less
a Poet, because the Incidents he recites have truly happen'd; if so be
that which happen'd had the appearance of Truth, and all that Art demands,
and be really such as it ought to have been feign'd." And this Bossu
himself illustrates admirably well by an ingenious Simile; "A Statuary,"
says he, "first forms his Design, Posture, Altitudes which he intends for
his Image; but if he then lights on any precious Material, Agate, or such
like, where the Figure, the Colours, and Veins will not be accommodated to
all he design'd, he regulates his Design and Imagination according to his
Matter; nor ought we to believe, at the same time, that these singular
lucky Hits condemn the Justness of his Art." From all which, I must leave
it to the Reader, whether I han't sufficiently prov'd what I've
undertaken; that Fiction is not necessary to the principal Action of our
Heroic Poem; on which I've been something more large, not so much on my
own account; for 'tis indifferent to me by what Name any Man calls my
Poem, so it answers the great End of Epic, which is Instruction; but
because I've heard some Persons have been so conceited as to criticise on
our immortal Cowley for this very reason, and deny his Davideis the Honour
of being an Heroic Poem, because the Subject thereof is a true History.
And here I should drop the Discourse of Fable, were there not another sort
of Persons still to deal with, perhaps more importunate than the former:
The first will not like a Piece unless 'tis all Fable, or at least the
Foundation of it: These latter run into the contrary extreme, and seam
unwilling or afraid to admit anything of Fable in a Christian Poem; and as
Balzac in his Critics on Heinsius his Baptista, are frighted, as at some
Magical Charm, if they find but one Word there which was made use of by
the old Heathens; which, says he, (unluckily as things have since
happened) is as preposterous as to see Turks wear Hats, and Frenchmen
Turbants; the Flower-de-lis in the Musselmens Colours, or the Half-Moon on
the Standard of France. He's, however, it must be granted, justly angry
with Tasso, as Mr. Dryden since, for setting his Angels and Devils to
stave and tail at one another; Alecto and Pluto on one side, and Gabriel
and Raphael o' t'other; as well as with Sannazarius, for mingling Proteus
and David, and calling the Muses and Nymphs to the Labour of the Blessed
Virgin, Tho' the truth is, the Italian Poets seem more excusable, at least
to a Papist, in this Case, than any other Nation, who parted with as
little of their Idolatry as they could possibly, after they had kept it as
long as they were able, making the Change very easie, and turning their
Pantheon into an All Saints; much like the good Fathers in the Spanish
Conquests in America, who suffer the Natives to keep their Old Idols, so
they'll but pay for 'em, and get 'em christen'd; by this means making many
a good Saint out of a very indifferent Devil. So far, I say, Balzac is
undoubtedly in the right, that Christianity and Heathenism ought not to be
confounded, nor the Pagan Gods mention'd, but as such, in Christian Poems.
Of which Boileau also says, "They should not be Fill'd with the Fictions
of Idolatry;" tho' he tells us just before,
In vain have our mistaken Authors try'd
Those ancient Ornaments to lay aside.
As tho' he were afraid lest all Poets shou'd be forc'd to turn Christians,
and yet in the next Lines he thinks it full as bad,
To fright the Reader in each Line with Hell,
And talk of Satan, Ashtaroth and Bel.
As tho' he'd have no Christian to be a Poet. And much at the same rate is
Monsieur Balzac very angry with Buchanan, for the same reason; nor will he
by any means let us substitute Belzebub, Asmodeus, and Leviathan, in the
room of Alecto, Tisiphone, and Megaera, which is, in his Opinion, perfect
Pedantry and Affectation; and is extreamly afraid, lest any of those
Barbarous Hebrew Words should disfigure the purity of the Latin Tongue;
when surely he cou'd not but know, that this pure Latin Tongue it self,
for which he's so much concerned, is nothing but the gradual Corruption or
Barbarizing of the Greek; as that of the Phonician and Hebrew before; and
the Italian, and his own French too, from the Latin afterwards, by the
adulterous mixture of 'tis hard to say how many Languages: So that between
'em, they'd make it impossible for a Christian Poet to write a good Heroic
Poem, or even a Tragedy, on any, but profane Subjects; by taking away all
the Machines, and therein whatever is admirable. No, says Balzac, instead
of those hard Words and proper Names, Appellatives may be chosen, Words
common to all People: As for example, Ill luck instead of the Fates, and
the Foul Fiend for Lucifer; and whether this wou'd not sound extreamly
Heroical, I leave any Man to judge: It being besides certain, that 'tis
singulars and particulars which give an Air of Probability, and the main
Life and Beauty to a Poem, especially of this Nature; without which it
must of necessity sink and languish. However so much of Truth, I must
confess, there is in what he says, that I verily believe Magor-missabib,
or Mahershal-alhashbaz, wou'd scarce yoke decently in one of our
Pentameters, but be near as unquiet and troublesome there, as a Mount
Orgueil it self. Nor can partiality so far blind my Judgment as not to be
my self almost frighted at second hearing of such a thundering Verse, as
Belsamen Ashtaroth Baaltii Ba'al: Which seems as flat Conjuration, as
Zinguebar, Oran, &c. tho' 'tis now too late to amend it. But then there
are other Words or a more soft and treatable Cadence, even in the same
Hebrew Language, especially when mollified by a Latin or Greek form, or
Termination; and such as these one may make use of and let others alone:
though neither is our bolder rougher Tongue so much affrighted at them, as
the French and Latin.
But Boileau pushes the Objection further, and wou'd make it bear against
the Things as well as Words, persuading himself,
Our God and Prophets that he sent,
Can't act like those the Poets did invent.
Tho' he too, is short in History, how excellent soever in Poetry. For
first, the Heathen Poets did not invent the Names of their Gods and
Heroes, but had 'em from Eastern Tradition, and the Phenician and Jewish
Language, tho' deflected and disguis'd after the Greek and other Forms, as
Josephus tells us, which the learned Bochart has proved invincibly; and I
have made some Essay towards it, in my Sixth Book. Nay further, it seems
plain to me, that most, even of their best Fancies and Images, as well as
Names, were borrow'd from the Antient Hebrew Poetry and Divinity, as, were
there room for't, I cou'd, I think, render more than probable, in all the
most celebrated Strokes of Homer, moat of the Heathen Poetical Fables, and
even in Hesiod's blind Theogonia. Their Gods or Devils, which you please,
were not near as Antient as the Hebrews. The Word Satan is as ancient as
Job; nor can they shew us a Pluto within a long while of him. Ashtaroth,
and Astarte, are old enough to be Grandmothers to their Isis, or Venus,
and Bel, of the same standing with Idolatry. Lawful it must certainly be,
to use these very Heathen Gods in Christian, since they were us'd in
sacred Hebrew Poetry, in due place, and in a due manner; Bel boweth down,
Nebo stoopeth, says Isaiah. And what a noble Description has the same
Prophet of the Fall of Lucifer? Nor can I see why it may not be as
convenient and agreeable, as 'tis lawful to transplant 'em from Hebrew
Poetry to our own, if we use 'em as they did. And then for Angels,
Prophets, and Oracles, it wou'd be strange, if they shou'd not strike the
Mind as agreeably when real and true, as the Daemons, or Oracles, or
Prophets of the Heathens, form'd, as has been said, partly from mistaken
Fragments, or Traditions of sacred Story, partly indeed from the Juggles
of the Heathen Priests, and crafty Ambitious Daemons. On the whole, we
have all the Advantages they had, and yet more than they, for Heroic
Poetry in these matters. As for that Question of Boileau's, "What Pleasure
can it be to hear the howlings of repining Lucifer?" I think 'tis easier
to answer than to find out what shew of Reason he had for asking it, or
why Lucifer mayn't howl as pleasantly as either Cerberus, or Enceladus.
And let any one read but his Speech, in Milton's Paradise, almost equall'd
in Mr. Dryden's State of Innocence, and I'm mistaken if he's not of the
same Mind; or if he be not, and it gives him no pleasure, I dare affirm
'tis for want of a true taste of what's really admirable.
But Boileau comes to a stronger Objection, both against the Names and use
of these Daemons, by way of Machine, I mean, in Christian Poetry;
The Mysteries we Christians must believe
Disdain such shifting Pageants to receive.
Thus has his Translator turn'd him; and taking it in that Sence, the
meaning must be, that it disgraces Christianity, to mix its Mysteries with
Stories of Daemons, Angels, &c. But sure it can never be any disgrace, to
represent it really as it is, with the frequent Intervention of those
invisible and powerful Agents, both good and evil, in the Affairs of
Mankind, which our Saviour has both asserted and demonstrated in his
Gospel, both by Theory and Practice: Whence we learn, that there are
really vast numbers of these Spirits, some tempting, or tormenting, others
guarding and protecting Mortals: Nay, a subordination too among them, and
that they are always vigilant, some for our Destruction, others for our
Preservation, and that, as it seems, of every individual Man; and if this
be true in general, I'm sure 'tis probable In particular: Nor can it be
any disgrace to Christianity, to apply general Probabilities to particular
Cases, or to mention these Daemons in Poetry any more than in Divinity.
But indeed the Translator has here mended Boileau's Thought, or at least
made it more plausible and defensible, tho he has miss'd his Sence; for
these are his Lines:
De la foi d'une Christien les Mysteres terribles
D' Ornemens egayés ne sont point susceptibles.
The plain English of which, I think is, "That the terrible Mysteries of
the Christian Faith, are not at all susceptible of these gayer Ornaments."
I'll not be too Critical here, tho' methinks its but an odd sort of Gayety
that's to be found in Tales of Hell; agreeable, I own, the most dreadful
thing nay be, if well manag'd in Poetry, but he can hardly ever make 'em
gay without a yery strong Catachresis. But tho' we let that pass, so must
not what follows, wherein he further explains his Notion. L'Evangile,
&c.
The Gospel offers nothing to our Thoughts
But Penitence and Punishment for Faults.
To which it may be first said, that supposing this true, and the Gospel
did present nothing else, yet why mayn't Angels be us'd in it, to warn
Sinners to that Repentance which we know they so much rejoyce in; or
Devils, to punish and torment the Guilty and Impious; as in the Case of
Sceva's Son, and others. But yet further, as to the assertion it self,
I know not what their Gospel offers, nor I believe are they better
acquainted with what ours does; but we are sure 'tis far enough from being
such a dismal melancholy thing as they represent it, since Immortality and
Life are brought to light therein. We know that it gives us the noblest
Examples, the most divine Law, the strongest, yet justest Passions, the
most glorious Combats, and Friendships, and Sufferings, such as neither
History or Fable cou'd ever yet equal. It shews us a God really
Descending, disrob'd indeed of all his more dazling and insupportable
Glories, as our Divine Herbert; but yet clothed with what has more of true
Divinity, with Humility, and Charity, and Patience, and Meekness, and
Innocence. Here's War, here's Love indeed; such as never was besides, or
will be more. He lov'd our Dust and Clay, and even for us, single
encounter'd all the Powers of Darkness, and yet more, his Almighty
Father's anger. But I'll go no farther, lest the Reader should think I
forget where I am. I must return to Boileau, whose strongest Objection is
yet behind; Et de vos Fictions, &c.
And mingling Falshood with those Mysteries
Wou'd make our sacred Truths appear like Lies.
But I hope the Critic knew, that there is a fair difference between a mere
Fiction, or Falshood, and an Instructive Parable or Fable, on one side, or
a few more lively Poetical Colours on the other. To mingle Falshoods, or
dull Legendary Fictions, without either Life or Soul in 'em, with our
Saviour's Blessed Gospel, may make 'em, in some Sence, superiour to it:
This wou'd indeed incline an Italian to be of the same Faith with his
Countryman, that 'twas all Fabula Christi, in the worst Sence of the Word:
But certainly expressing the Truth in Parables, and mingling these with
the Mysteries of the Gospel, can't be thought to give it an Air of
Fiction: nor dare any affirm it does so, without Blasphemy, since our
Saviour has so often done it. Nor only these but deeper Allegories are
thought to be made use of in the Christian Religion; for Example, the
Throne and Temple of God in the Revelations, and the Description of the
New Jerusalem, with all its Gates and Foundations of Sapphires and
Emeralds, and that lovely Scheme of Trees and Rivers, worthy a Paradise:
All this, I say, will scarcely be granted literal, and consequently must
be all an Allegory; alluding partly to the Old Jewish Church and Temple,
partly to Ezekiel's Visionary Representation and Prophetical Paradise. Nor
can it, I think, be justly reckoned more criminal, where we have any great
instructive Example, which has been real matter of Fact, to expatiate
thereon; adding suitable and proper Circumstances and Colours to the
whole, especially when the History it self is but succinctly Related, and
the Heads of things only left us. And this some great Man have thought was
the Method of the Holy Pen-man himself, whoever he were, in that lovely
antient Poem of Job; which, that 't was at the bottom a real History, few
but Atheists deny; and yet 'tis thought some Circumstances might be
amplified in the account we have left us, particularly the long Speeches
between that Great Man and his Friends; tho' the main hinges of the
Relation, his Person, Character, and Losses, the malice of the Devil, the
behaviour of his Wife and Friends, nay even the Substance of their
Discourses, as well as of that between God and him, and the wonderful Turn
of his Affairs soon after: All this might, and did, truly happen. Or, if
any amplification should be here deny'd, does not the Divine however every
day, Paraphrase and Expatiate upon the Words of his Text, inverting their
Method as he sees occasion, and yet is still thought unblameable. All the
difference is, that he delivers what's probable, as only probable; whereas
the Nature of Poetry requires, that such probable Amplifications as these,
be wrought into the main Action, in such a manner, as if they had really
happen'd; and without this, a Man might Ryme long enough, but ne'er cou'd
make a Poem, any more than this would have been one, had I begun with,
Abraham begat Isaac, and so tagg'd on to the end of all the fourteen
Generations, much as Nonnus has done with St. John, and yet often miss'd
his Sence too, as Heinsius judges.
But enough of Fable, and of those who would either reduce all Heroic
Poetry unto it, or absolutely banish it thence.
Next the Fable of Epics, the Poem is to be considered; which, after Bossu,
is the other part of its general Nature, and shews the manner of handling
it, comprehending Thoughts, Expressions and Verses; of which there need
not much be said, since they are obvious to every Reader. The Thoughts
must be clear and just, and noble, and the Diction or Expression suited to
them. The chief Difficulty, as Rapin observes, is to keep up the Sublime,
which Virgil has done admirably, even in the meanest Subjects; and which
Aristotle thinks may be best done by the judicious use of Metaphors. There
ought to meet, according to him, Proportion in the Design, Justness in the
Thoughts, and Exactness in the Expression, to constitute an accomplish'd
Heroic Poem; and the great Art of Thought and Expression lies in this,
that they be natural and proper without Meanness, and sublime without a
vitious Swelling and Affectation.
The Matter is next in an Heroic Poem, which must be one important Action;
it must be important, Res gestæ Regumque Ducumque, with Horace. "It only
speaks of Kings and Princes," says Rapin, by which he must mean that it
chiefly and principally turns upon them: for both Virgil and Homer have
occasion for Traitors, and Cryers, and Beggars, nay even Swineherds (in
the Odysses), and yet still more, of whole Armies, which can't be all
compos'd of Kings and Princes. However, the more there is of these lower
Walks in the Plan of a Design, the less Heroic it must appear, even in the
Hands of the greatest Genius in Nature. Such a Genius, I think, was
Homer's, and yet the Truth of this Assertion will be plain to any who
compares his Odysses with his Iliads; where he'll find, if 'tis not for
want of Judgment, in the latter a very different Air from the former, in
many places much more dead and languishing, and this which I have given,
seems one probable Reason on't; not excluding that of Longinus, that Homer
was then grown old, and besides too much of the Work was spent in
Narration; to which may be added, that he here design'd a wise and prudent
rather than a brave and fighting Hero, having wrought off most of the Edg
and Fury of his Youthful Spirit and Fury in Achilles, as in Ulysses he
express'd more of Age and Judgment.
This Action must be one and uniform: the Painture of one Heroic Action,
says Rapin from Aristotle. It must be, as Bossu from Horace, simplex
duntaxat & unum, that is, the principal Action on which the whole Work
moves ought to be one, otherwise the whole will be confus'd; tho' there
may be many Episodic Actions without making what Aristotle calls an
Episodic Poem, which is, where the Actions are not necessarily or not
probably link'd to each other, and of such an irregular multiplication of
Actions and Incidents. Bossu instances very pleasantly in Statius's
Achilleid; but he tells us there's also a regular and just Multiplication,
without which 'twere impossible to find matter for so large a Poem, when
as before it's so ordered that the Unity of the whole is not broken, and
consequently divers Incidents it has bound together are not to be
accounted different Actions and Fables, but only different Parts not
finish'd, or entire of one Action or Fable entire or finished: and,
agreeable to this Doctrine, Rapin blames Lucan's Episodes as too
far-fetch'd, over-scholastic, and consisting purely of speculative
Disputes on natural Causes whenever they came in his way, not being link'd
with the main Action, nor flowing naturally from it, nor tending to its
Perfection.
And in this Action, the Poet ought, as Rapin tells us, to invert the
natural Order of things, not to begin with his Hero in the Cradle, and
write his Annals instead of an Epic Poem, as Statius in his Achilleid, the
Reason of which seems plain, because this would look more like History
than Poetry. It's more agreeable, more natural, in some Sence, to be here
unnatural; to bring in, by way of Recitation or Narration, what was first
in order of time, at some distance from that time when it really happened,
which makes the whole look unlike a dull formal Story, and gives more
scope for handsome Turns and the Art of the writer. Another Reason why a
whole Life is not ordinarily a proper Subject for Epics, is, because many
trivial Accidents must be therein recited; but if a Life can be found in
which is nothing but what's diverting and wonderful, tending besides to
the perfecting the main Action, and the Order of time revers'd in the
whole, the Case would be so much altered, that I think their Rules would
not hold.
For the Form of Epic, which comes next in view, 'tis agreed on all Hands
to be Recitation or Narration. Bossu says, The Persons are not at all to
be introduced before the Eyes of the Spectators, acting by themselves
without the Poet; not that he'd hereby exclude the Poet from introducing
the persons telling their own Story, or some one of them that of the
principal Hero: for great part of Epic is thus far Dramatic. And thus
Virgil manages his second and third Books by way of Recitation, and that
by his Hero himself, making him give Dido a long account of the Wars of
Troy, and his own Actions, tho' thereby he falls into the Impropriety of
commending himself, with a--sum pius Æneas. Vida takes the same way of
Recitation, wherein he employs two or three of his six Books; and Milton
follows them both, tho' less naturally than either; for he introduces our
Saviour, in his Paradise regain'd, repeating a great part of his own Life
in Soliloquy, which way of Discourse includes, in a Wise Man especially,
so much of Calmness and deep Reflection, that it seems improper for the
great and noble Turn required in such a Work, unless in describing a
Passion, where it may be more lively. All that they mean by not
introducing the Parties, is not doing it as in a Tragedy: they are not to
be brought in abruptly to tell their own Tale from the beginning, without
the appearing Help of the Poet, as Actors in a true and proper Drama. And
this Narration, says Rapin, should be simple and natural; but the greatest
difficulty is, not to let its Simplicity appear, lest it thence grow
disagreeable, and the chiefest Art in this, consists in its Transitions,
and all the delicate surprising Turns, which lead the Reader from one
thing to another without his thinking whither he's going, or perceiving
any Breach or so much as a passage between 'em; after all, the more Action
there is in Epic, still the more Life there will be. A Poet may, I find,
easily fall into Poorness of Thought by aiming too much at the Probability
and neglecting the Admirable; whereby he loses that agreeableness which is
a mixture of both. He ought then to take more care than some have done,
not to keep himself too long behind the Scenes, and trust the Narration
with another, which, without a great deal of Art and Pains, will take off
much of the Life of the Work, as Longinus has already formerly observed.
And here come in the Qualities of Narration, mentioned in our Definition,
that it ought to be done in a manner probable, agreeable, and admirable;
'tis rendered probable by its Simplicity and Singularity, and admirable by
the Grandeur of the Subject, the Figures and Machines, or [Greek: theoi
apo mêchanês], much more lawful here than in the Drama's; and lastly
agreeable, as has been said, by a mixture of both.
The last thing in our Definition, is, the End of Epic, indeed the first
and principal which ought to be intended, and that's Instruction, not
only, as Rapin thinks, of great Men, but of all, as in Virgil's Scheme,
which we have already described; and, this either by the principal Moral
aim'd at in the whole, or the Manners of particular Persons. Of Fable and
Moral, I've already discours'd, and whether be the more lively and
probable way to instruct, by that or History. But here it may be worth the
while to enquire, whether the principal Hero in Epic ought to be virtuous?
Bossu thinks not, the manners being formed as well by seeing Errors as
Beauties in the chief Actors; but yet methinks it seems too much to form a
Hero that's a perfect Almanzor, with not one spark of Vertue, and only
remarkable for his extraordinary Strength and little Brains; such was
certainly Homer's Achilles, of whom I think the Father was in the right
when he observes, the Poet makes him not do one brave or virtuous Action,
all the while he lies before the Town: whereas Virgil's Hero, is, to tell
truth, an indifferent good Heathen, and, bating one or two slips, comes up
pretty well to his own good word. The same however may be said for Homer,
which our present Dramatists plead for their Excuse; that he copied his
Hero from those who were esteemed such in the barbarous Age in which he
liv'd,
Impiger, iracundus, inexorabllis, acer,
Jura neget sibi nata, &c.
Made up of Lewdness, Love, and Fighting: who, had he liv'd in our Days,
would have made an excellent Town Bully, I wish there were not too much
reason to say a modish Gentleman. But tho' old Homer took this way,
Virgil, who writes with much more Judgment and Exactness, and follows him
in many things, here thought fit to leave him; making his Hero, as I've
said, not only brave and prudent, but for the most part virtuous. Which
would much better form the manners of his Reader, than if they were set to
spell out Instruction from contraries, as Homer has done. Whence it
follows, the more virtuous a Hero is, the better; since he more
effectually answers the true end of Epics. After all, Rapin says, the
chief Excellency of an Heroic Poem consists in the just proportion of the
Parts; that perfect Union, just Agreement, and admirable Relation, which
the Parts of this great Work bear one towards another; and blames Tasso
for mingling all the Sweetness and Delicacy of Eclogues and Lyricks, with
the Force of an Heroic Poem. But I should think him mistaken here, and
that this is not the meaning of Aristotles [Greek: analogon]. For if we
allow not such a pleasing Variety, how shall we excuse even Virgil
himself, who has his Dido, as well a Tasso his Armida and Erminia? nay,
how shall we manage Love? which is usually one great Episode of Heroic, if
not with something of Delicacy. I grant Love ought to have a different Air
in different sorts of Poems; but still if it be natural it must have
something of Softness; and for his Enchanted Forrest, which this severe
Critic also blames, I believe there's few who read that part of his Work,
who would willingly have it omitted, for the sake of a fancied Regularity,
any more than they would part with Mr. Dryden's Improvement on't in his
King Arthur. However, if it be a fault, 'tis strange so many who have been
Masters of the greatest Genius should unanimously fall into it; as Ovid in
his Palace of Circe, Ariosto in that of Alcina, and Spencer in his
Acasia's Bower of Bliss, and several others, who have taken the same
Method. I should therefore rather think that this beautiful and marvellous
Analogy which Aristotle requires as the best thing in Epic, relates rather
to the Harmony and Agreement of the Parts with the Whole; so that there
appears no Fracture or Contradiction, the different Parts, tho' much
unlike, yet all together making one beautiful Figure and uniform Variety.
And thus much of the Definition of Epic, containing the main Rules
thereof, by which the Reader may be able to form a Judgment of this, or
any other Heroic Poem: Especially if to these Rules be added some Examples
to render them more plain. In order to which, I desire to express my
Thoughts freely of other Poems, as I must expect every one will do of
mine, always observing that piece of Justice, never to find fault, without
taking notice of some Beauty to ballance it, and giving, where I can find
it, the better Judgment of other Persons as well as my own. Concluding all
with a brief Account of my own Work.
To begin then with Grandsire Homer, this may be added to the particular
Remarks that have been already made. I think none will deny but the
Disposition of his Iliads, is so truly admirable, so regular, and exact,
that one would be apt to think he wrote his Poem by Aristotle's Rules, and
not Aristotle his Rules by his Poem. I confess, I once thought that he had
been oblig'd to his Commentators for most of the Beauties they celebrated
in him; but I am now, on a nearer view, so well satisfied to the contrary,
that I can ne'er think his Poem writ by piece-meal, without any Connexion
or Dependance: wherein Dionysius the Halicarnassian very justly praises
the Order and Management of the Design, as well as the Grandeur and
Magnificence of the Expression, and the sweet and passionate Movements.
Nor is it without Reason that Horace, Longinus, and all Antiquity have
given him, as the Model of just and noble Sentiments and Expressions.
I must confess there's something in his Numbers that strikes me more than
even Virgil's, his Thoughts and Expressions appear stronger than his, tho'
it cannot be denied but that Virgil's Design is much more regular. Rapin
says a great deal of that Prince of the Latin Poets, tho' indeed he can
never say enough, "He had an admirable Taste, says he, of what's natural,
an excellent Judgment for the Order, and an incomparable Delicacy for the
Number and Harmony of his Versification." And adds, "That the Design of
the Poem is, if we consider it in all its Circumstances, the most
judicious and best-laid that ever was or ever will be." There is indeed a
prodigious Variety in Virgil, and yet the same Soul visible in every Line.
His own great Spirit informs his Poetical World, and like that he speaks
of,
---- totos infusa per Artus
Mens agitat Molem, & magno se corpora miscet.
He's soft with the height of Majesty, his Marcellus, his Dido, and, I
think, above all, his Elegy on Pallas is very noble and tender. The joints
so strong and exactly wrought, the Parts so proportionable, the Thoughts
and Expression so great, the Complements so fine and just, that I could
ne'er endure to read Statius, or any of the rest of the Antient Latins
after him; with whom therefore I shan't concern my self nor trouble my
Reader. Ariosto was the first of the Moderns who attempted any thing like
an Heroic Poem, and has many great and beautiful Thoughts; but at the same
time, 'tis true, as Balzac observes, that you can hardly tell whether he's
a Christian or an Heathen, making God swear by Styx, and using all the
Pagan Ornaments; his Fancy very often runs away with his Judgment, his
Action is neither one nor simple, nor can you imagine what he drives at;
he has an hundred Hero's but you can't tell which he designs should be
chief: Orlando indeed seems a wild Imitation of Homer's Achilles, but his
Character is not bright enough to make him the Principal; and besides he
orders it so, that he does more great Actions when he's mad then when
sober. Agreeable to this are Rapin's thoughts of him, which, in few words,
are "That he's elevated and admirable in his Expressions, his Descriptions
fine, but that he wants Judgment; and speaks well, but thinks ill, and
that tho' the Parts are handsome enough, yet the whole Work can by no
means pass for an Epic Poem, he having never seen the Rules of Aristotle;"
which he thinks Tasso had, and therefore wrote much better, whom he
commends as more correct in his Design, more regular in the ordering his
Fable, and more accomplish'd in all parts of his Poem than any other of
the Italians, whom yet he justly blames, because he has two Hero's
Godfredo and Rinaldo, of whom Godfredo seems the principal, and yet
Rinaldo performs the greatest part of the notable Actions. He seems to
imitate Agamemnon and Achilles, but then he raises his Agamemnon too high,
or keeps him too low, for he hardly lets him do one great Action through
the whole Work. He further criticises upon him as mingling too much
Gallantry with his Poem, which, he thinks, is unbecoming the Gravity of
his Subject. But whether this Censure be just, I know not, for Love and
Gallantry runs through all Virgil's Æneids, in the Instances of Helen,
Dido, and Lavinia, and indeed it gives so great a Life to Epic, that it
hardly can be agreeable without it, and I question whether ever it has
been so. Nor is he more just, I think, against Tasso's Episodes, which he
blames as not proper to circumstantiate his principal Action, not entring
into the Causes and Effects thereof, but seeking too much to please, tho'
I think this Charge is unjust, for 'tis in his Episodes, if any where,
that Tasso is admirable. I might here give several Instances, but shall,
at present, only refer my Reader to that of Tancred and Erminia, and I'm
mistaken if he does not dissent from Rapin in this particular. Sannazarius
and Vida were the next who did any thing remarkable in Epic; they both
writ in Latin on the same Subject, both Christian Heroics; Rapin says they
both had a good Genius for Latin, the Purity of their Style being
admirable, but that their ordering of the Fable has nothing in't of
Delicacy, nor is the manner of their Writing proportionable to the dignity
of the Subject. For Sannazarius he's indeed so faulty, that one can hardly
with Patience read him, the whole Structure of his imperfect Piece, de
partu, being built on Heathen Fable; yet he has great and vigorous
Thoughts and very Poetical Expressions, tho' therein Vida far excels him,
whose Thoughts are so noble, and the Air of his Stile so great, that the
Elogy Balzac gives his Countryman Tasso, wou'd as well or rather better
have fitted him; "That Virgil is the Cause, Vida is not the first; and
Vida, that Virgil is not alone." It is true, as Rapin observes, that his
Fable is very simple, and perhaps so much the better, considering the
Subject; tho' he forgets not Poetical Ornaments, where there's occasion,
if he does not lean a little to Sannazarius's Error; for he talks of the
Gorgons and Sphinxes, the Centaurs and Hydra's and Chimera's, though much
more sparingly and modestly than the other. He has the happiest beginning
that perhaps is to be found in any Poem, and by mingling his Proposition
and Invocation, has the advantage of placing one of the noblest Thoughts
in the World in the first Line, without danger of falling into the
absurdity of Horace's Author with his Fortunam Priami: For thus he sings,
Qui mare, qui terras, qul coelum numine comples
Spiritus alme, &c.
After the Invocation, in the very beginning of the Poem, he's preparing
the Incidents for his Hero's Death; he brings him to Jerusalem at the
Passover with Hosanna's; then raises his Machines, and falls to the
Description of Hell. He through the whole, uses his Figures very
gracefully; few have been more happy in Comparisons, more moving in
Passion, succinct, yet full in Narration: Yet is he not without Faults; or
in the second Book he brings him to his last Supper in the Garden, from
thence before Caiaphas and Pilate; which too much precipitates the main
Action: Besides, it seems harsh and improbable to bring in S. John, and
Joseph, our Saviour's reputed Father, as he does in the Third and Fourth
Book, giving Pilate an account of his Life; not to insist on the general
Opinion, that Joseph was not then alive. But notwithstanding these few
failures, it can't be deny'd, that his Description of our Saviour's
Passion in the Fourth Book, is incomparably fine; the disturbance among
the Angels on that occasion; his Character of Michael, and the Virgins
Lamentation under the Cross, and at the Sepulchre, are inimitable. And
thus much for Vida, on whom I've been more large because I've often made
use of his Thoughts in this following Work; his Poem being the most
complete on that Subject I've ever seen or expect to see. And here han't
the English more reason to complain of Rapin, that he takes no notice of
their Heroic Poems, than Lupez Viga of Tasso, for not mentioning the
Spaniards at the Siege of Jerusalem: but since he has been so partial, as
not to take any notice of our Writers, who sure as much deserve it as
their Dubartas and Ronsard; we may have liberty to speak of our own, and
to do 'em Justice: To begin with Spencer, who I think comes the nearest
Ariosto of any other; he's almost as Irregular, but much more Natural and
Lovely: But he's not only Irregular but Imperfect too, I mean, as to what
he intended; and therefore we can't well imagine what it wou'd have been,
had he liv'd to complete it. If Fable be the Essence of Epic, his Fairy
Queen had certainly enough of that to give it that Name. He seems, by the
account he gives of it to Sir Walter Rawleigh, to have design'd one
Principal Hero King Arthur, and one main important Action bringing him to
his Throne; but neither of these appear sufficiently distinct, or well
defin'd, being both lost in the vast Seas of Matter which compose those
Books which are finish'd. This however must be granted, the Design was
Noble, and required such a comprehensive Genius as his, but to draw the
first Sketch of it: And as the Design, so the Thoughts are also very
great, the Expressions flowing natural and easie, with such a prodigious
Poetical Copia as never any other must expect to enjoy. Gondibert methinks
wants Life; the Style is rather stiff than Heroic, and has more of Statius
than Virgil; one may see every where a great deal of Art, and Pains, and
Regularity, even to a fault; nor is a Genius wanting, but it's so
unnatural, that an ingenious Person may find much more pleasure in reading
a worse Poet. Besides, his Stanza's often cramp the Sence, and injure many
a noble Thought and Passion. But Mr. Cowley's Davideis is the Medium
between both; it has Gondibert's Majesty without his stiffness, and
something of Spencer's Sweetness and Variety, without his Irregularity:
Indeed all his Works are so admirable, that another Cowley might well be
employ'd in giving them their just Elogy. His Hero is according to the
ancient Model, truly Poetical, a mixture of some Faults and greater
Virtues. He had the advantage of both Love and Honour for his Episodes,
nay, and Friendship too, and that the noblest in History. He had all the
sacred History before him, and liberty to chuse where he pleased, either
by Narration or Prophecy; nor has he, as far as he has gone, neglected any
advantage the Subject gave him. Its a great Loss to the World that he left
the Work unfinish'd, since now he's dead, its always like to continue so.
As for Milton's Paradise Lost its an Original, and indeed he seems rather
above the common Rules of Epic than ignorant of them. Its I'm sure a very
lovely Poem, by what ever Name it's call'd, and in it he has many Thoughts
and Images, greater than perhaps any either in Virgil or Homer. The
Foundation is true History, but the turn is Fable: The Action is very
Important, but not uniform; for one can't tell which is the Principal in
the Poem, the Wars of the Angels or the Fall of Man, nor which is the
Chief Person Michael or Adam. Its true, the former comes in as an Episode
to the latter, but it takes up too great a part thereof, because its
link'd to it. His Discourse of Light is incomparable; and I think 'twas
worth the while to be blind to be its Author. His Description of Adam and
Eve, their Persons and Love, is almost too lively to bear reading: Not but
that he has his inequalities and repetitions, the latter pretty often, as
have, more or less, all other Poets but Virgil. For his antique Words I'm
not like to blame him whoever does: And for his blank Verse, I'm of a
different mind from most others, and think they rather excuse his
uncorrectness than the contraries; for I find its easier to run into it,
in that sort of Verse, than in Rhyming Works where the Thought is oftner
turned; whereas here the Fancy flows on, without check or controul. As for
his Paradise Regain'd, I nothing wonder that it has not near the Life of
his former Poem, any more than the Odysses fell short of the Iliads.
Milton, when he writ this, was grown Older, probably poorer: He had not
that scope for Fable, was confin'd to a lower Walk, and draws out that in
four Books which might have been well compriz'd in one: Notwithstanding
all this, there are many strokes which appear truly his; as the Mustring
of the Parthian Troops, the Description of Rome by the Devil to our
Saviour, and several other places.
And now I've done with all the rest, I may take liberty to say something
of my own.
For the Subject I dare stand by it, that 'tis fit for a better Heroic
Poem than any ever was, or will be made; and that if a good Poem cou'd not
be made on't, it must be either from the weakness of the Art itself, or
for want of a good Artist. I don't say the Subject with all its
Circumstances is the best for Epic, but considered in it self, or with a
prudent choice out of the vast Field of Matter which it affords.
The Action is Important, if ever any was, being no less than the
Redemption of the World, which was not accomplish'd till after our
Saviours Death and Resurrection. The Ascension I confess should be left
out, according to the common Rules of Heroick Poetry, but I had not the
same reason of omitting it, as others have for not coming to the End of
their History, a little short of which they generally stop, because after
the main Business is over, nothing great remains, or however not greater
than has already past. And if any thing mean followed, the Reader wou'd
leave off dissatisfied. But I've as great and remarkable an Action, as any
in the whole story, yet upon my Hands, and which if I had omitted, I had
lost many very moving Incidents that follow'd the Resurrection; and
besides, Vida before me, has carry'd it yet further, to the actual Descent
of the Holy Ghost on the Disciples, and the spreading the Christian Name
all the World over; which I have done only in Prophecy.
The Action is I think uniform, because all the Episodes are part of the
main Action, the Redemption of the World; to which his Incarnation, and
Divine Conception were absolutely necessary, and so were his Holy Life,
Doctrine, Miracles, and especially his Sufferings and Agonies. My
principal Hero was perfect, yet imitable, and that both in active and
contemplative Life. He leaves his own Kingdom to save and conquer another,
endures the greatest hardships, is reduc'd to the lowest ebb, nay is at
last forc'd to suffer Death it self. Yet after all, he emerges from his
Misfortunes, conquers all his Enemies, fixes Laws, establishes Religion,
Peace, and his own Empire, and is advanced higher than any Conquerer ever
was before him.
The other Persons are Heroical enough, Angels, Kings, High Priests,
Governours, Councellors, nay even the Apostles themselves were more than
Kings, for they were thought and call'd Gods by the People. The Moral I
find not make it, in a true Example, which others are forced to Form in
Fable; "That we ought to do Good, to suffer evil, submit to the Divine
Will; to venture or lose a Life for a Friend; to forgive our Enemies."
Yet further I desire to recommend the whole of the Christian Religion; all
the Articles of Faith; all that System of Divinity and Morality contain'd
in the Gospel of the Blessed Jesus, to the Study and Practice of Persons
of Ingenuity and Reason; to make his Divine Person, which is already
infinitely Amiable, if possible, actually more Ador'd and Lov'd; and to
Vindicate his Mission, his Satisfaction, and his Divinity, against all
Jews, Turks, Infidels, and Heretics; which sure are the most proper Ends
that can be propos'd in a Work of this Nature: Which may be agreeably and
admirably done, if 'tis not the Poets fault; for here's all the marvellous
that cou'd be wished for, already done to my Hand, and all sacredly True,
Angels and Demons, and Miracles, with Voices from Heaven.
Now the Subject being so fit for a good Heroic Poem, I shall have the less
excuse, if this be a bad one. And here I must ingenuously confess, I had
seen none of these Rules given by the Masters of Epic, when I laid the
Scheme of this Poem, tho I wish I had, for I might probably then have done
it better, or not at all. I knew not the hazard of the undertaking, but
greedily embrac'd it, when first propos'd by some Friends, who were
ignorant of what they put me upon. Being full of the Design wherein, the
earnest desire I had to see it accomplish'd, and either a lucky Chance, or
the Happiness of my Subject, may perhaps in some Instances, have supply'd
the want both of Rules and Genius. All I will say of my own performance
is, that I now know the Faults on't, tho I am not oblig'd to point 'em out
to my Reader, who will but too soon find 'em. That I wou'd have mended
much that's now amiss, had I lived in an Age where a man might afford to
be Nine or Ten Years about a Poem. And in the Mean time this satisfies me,
whatever is the success, that I've done all that cou'd be done by one in
my Circumstances towards the rendering it more compleat and free from
Faults, and only wish that my own Reputation may suffer, by the weakness
of the Work, and not the Dignity of the Subject.
I cou'd plead for my self what Longinus says on Works of this Nature,
wou'd it not look like Arrogance, "That even the greatest Genius may
sometimes sink into meanness, when the force of their Spirits is once
exhausted: That its very difficult for height of Thought to sustain it
self long in an equal Tenour; and that some Faults ought to be excused
when there are more Beauties." But if none of these will pass, I hope it
will not much mortifie me, since I think the World and I have no great
matter to do with one another. I'm sensible my Poem wou'd have had fewer
Enemies, had I left out some Passages in't. But as mean as the worst of
this are, I wou'd not buy their good Word at such a rate. I had almost
forgot to mention the Gravers Work, which is not without Faults,
particularly he has err'd in the Posture of the Disciples at the last
Supper, whom he has made Sitting, when they were really Declining, or
Discumbent. But its now more than time to conclude my long Preface, which
I shall do in few Words. Since the chief Design in this Work, is to
advance the Honour of my Hero, and next to that, the entertainment of
Pious and ingenious Minds; for the truth of which, I hope I may appeal to
the great [Greek: kritikos tês kardias]; I shall not be much concern'd for
the success it may meet with in the World.