THE PONTINE MARSH, first drained by the Consul Cornelius Cethegus; then,
by Augustus; and many, many years after by Theodorick.
102.--OR IF THE RIVER, &c.] _Sen cursum, &c._ The course of the _Tyber,_
changed by Augustus, to prevent inundations.
110.--FOR DEEDS OF KINGS, &c.] Res gestae regumque, &c.
The ingenious author of the English Commentary, to whom I have so
often referred, and to whom I must continue to refer, has discovered
particular taste, judgement, and address, in his explication of this
part of the Epistle. runs thus.
"From reflections on poetry, at large, he proceeds now to particulars:
the most obvious of which being the different forms and measures of
poetick composition, he considers, in this view, [from v. 75 to 86] the
four great species of poetry, to which all others may be reduced, the
Epick, Elegiack, Dramatick, and Lyrick. But the distinction of the
measure, to be observed in the several species is so obvious, that there
can scarcely be any mistake about them. The difficulty is to know [from
v. 86 to 89] how far each may partake of the spirit of the other,
without destroying that natural and necessary difference, which ought
to subsist betwixt them all. To explain this, which is a point of great
nicety, he considers [from v. 89 to 99] the case of Dramatick Poetry;
the two species of which are as distinct from each other, as any two
can be, and yet there are times, when the features of the one will be
allowed to resemble those of the other.--But the Poet had a further view
in choosing this instance. For he gets by this means into the main of
his subject, which was Dramatick Poetry, and, by the most delicate
transition imaginable, proceeds [from 89 to 323] to deliver a series
of rules, interspersed with historical accounts, _and enlivened by
digressions_, for the regulation of the Roman stage."
It is needless to insist, that my hypothesis will not allow me to concur
entirely in the latter part of this extract; at least in that latitude,
to which; the system of the writer carries it: yet I perfectly agree
with Mr. Duncombe, that the learned Critick, in his observations on this
Epistle, "has shewn, in general, the connection and dependence of one
part with another, in a clearer light than any other Commentator." His
shrewd and delicate commentary is, indeed, a most elegant contrast to
the barbarous analysis of Scaliger, drawn up without the least idea of
poetical transition, and with the uncouth air of a mere dry logician, or
dull grammarian. I think, however, the _Order_ and _Method_, observed
in this Epistle, is stricter than has yet been observed, and that the
series of rules is delivered with great regularity; NOT _enlivened
by digressions_, but passing from one topick to another, by the most
natural and easy transitions. The Author's discrimination of the
different stiles of the several species of poetry, leads him, as has
been already shewn, to consider the diction of the Drama, and its
accommodation to the _circumstances_ and _character_ of the Speaker. A
recapitulation of these _circumstances_ carries him to treat of the due
management of _characters already known_, as well as of sustaining those
that are entirely _original_; to the first of which the Poet gives
the preference, recommending _known_ characters, as well as _known_
subjects: And on the mention of this joint preference, the Author leaves
further consideration of _the_ diction, and slides into discourse upon
the fable, which he continues down to the 152d verse.
Atque ita mentitur, sic veris falsa remiscet,
Primo ne medium, medio ne discrepet imum.
Having dispatched the fable, the Poet proceeds, and with some Solemnity
of Order, to the consideration of the characters; not in regard to
suitable _diction_, for of that he has already spoken, but in respect to
_the manners_; and, in this branch of his subject, he has as judiciously
borrowed from _the Rhetoricks_ of Aristotle, as in the rest of his
Epistle from the _Poeticks_. He then directs, in its due place, the
proper conduct of particular incidents _of the fable_; after which he
treats of _the_ chorus; from whence he naturally falls into the history
of theatrical musick; which is, as naturally, succeeded by an account of
the Origin of _the Drama_, itself, which the Poet commences, like master
Aristotle, even from the Dithyrambick Song, and carries it down to the
establishment of the New Greek Comedy; from whence he passes easily
and gracefully, to _the_ Roman stage, acknowledging the merits of the
Writers, but pointing out their defects, and assigning the causes.
He then subjoins a few general observations, and concludes his long
discourse on _the_ drama, having extended it to 275 lines. This
discourse, together with the result of all his reflections on Poets and
Poetry, he then applies in the most earnest and _personal_ manner to the
elder Piso; and with a long and most pathetick _peroration_, if I may
adopt an oratorical term, concludes the Epistle.
116.--THE ELEGY'S SMALL SONG.] EXIGUOS _Elegos_.
Commentators differ concerning the import of this expression--exiguos
_Elegos_, the _Elegy's_ small _song_. De Nores, Schrevelius, and
Desprez, think it refers to the humility of the elegiack stile and
subjects, compared with epick or lyrick sublimity. Monsieur Dacier
rather thinks that Horace refers here, as in the words _Versibus
impariter junctis,_ "Couplets unequal," to the use of pentameter, or
short verse, consisting of five feet, and joined to the hexameter, or
long verse, of six. This inequality of the couplet Monsieur Dacier
justly prefers to the two long Alexandrines of his own country, which
sets almost all the French poetry, Epick, Dramatick, Elegiack, or
Satyrick, to the tune of Derry Down. In our language, the measures are
more various, and more happily conceived. Our Elegy adopts not only
_unequal couplets_, but _alternate rhymes_, which give a plaintive tone
to the heroick measure, and are most happily used in Gray's beautiful
_Elegy in a Country Church yard.
135.--THY FEAST, THYESTES!] Caena Thyestae.
The story of Thyestes being of the most tragick nature, a banquet on his
own children! is commonly interpreted by the Criticks, as mentioned by
Horace, in allusion to Tragedy in general. The Author of the English
Commentary, however, is of a different opinion, supposing, from a
passage of Cicero, that the Poet means to glance at the _Thyestes of
Ennius,_ and to pay an oblique compliment to Varius, who had written a
tragedy on the same subject.
The same learned Critick also takes it for granted, that the Tragedy of
Telephus, and probably of _Peleus_, after-mentioned, point at tragedies
of Euripedes, on these subjects, translated into Latin, and accomodated
to the Roman Stage, without success, by _Ennius, Accius, or Naevius_.
One of this Critick's notes on this part of the Epistle, treating on the
use of _pure poetry_ in the Drama, abounds with curious disquisition and
refined criticism.
150.--_They must have_ passion _too_.] dulcia _sunto_. The Poet,
with great address, includes the sentiments under the consideration of
diction.
--_Effert animi motus_ interprete lingua.
_Forces expression from the_ faithful tongue.
Buckingham has treated the subject of Dialogue very happily in his Essay
on Poetry, glancing, but not servilely, at this part of Horace.
_Figures of Speech_, which Poets think so fine,
Art's needless varnish to make Nature shine,
Are all but _Paint_ upon a beauteous face,
And in _Descriptions_ only claim a place.
But to make _Rage declaim_, and _Grief discourse_,
From lovers in despair _fine_ things to _force_,
Must needs succeed; for who can chuse but pity
A _dying_ hero miserably _witty_?
201.----BE NOT YOUR OPENING FIERCE!] _Nec sic incipies_, Most of the
Criticks observe, that all these documents, deduced from _the Epick_,
are intended, like the reduction of the Iliad into acts, as directions
and admonition to the _Dramatick_ writer. _Nam si in_ EPOPaeIA, _que
gravitate omnia poematum generae praecellit, ait principium lene esse
debere; quanto magis in_ tragoedia _et_ comoedia, _idem videri debet_?
says de Nores. _Praeceptum de intio grandiori evitaado, quod tam_ epicus
_quam_ tragicus _cavere debet_; says the Dauphin Editor. _Il faut se
souvenir qu' Horace appliqae à la Tragedie les regies du Poeme Epique.
Car si ces debuts eclatans sont ridicules dans la Poeme Epique, ils
le sont encore plus dans la Tragedie_: says Dacier. The Author of the
English Commentary makes the like observation, and uses it to enforce
his system of the Epistle's being intended as a Criticism on the Roman
drama. [ xviii] 202---Like _the rude_ ballad-monger's _chant of old_]
_ut scriptor_ cyclicus olim.] _Scriptor_ cyclicus signisies an itinerant
Rhymer travelling, like Shakespeare's Mad Tom, to wakes, and fairs, and
market-towns. 'Tis not precisely known who was the Cyclick Poet here
meant. Some have ascribed the character to Maevius, and Roscommon has
adopted that idea.
Whoever vainly on his _strength_ depends,
Begins like Virgil, but like Maevius ends:
That Wretch, in spite of his forgotten rhimes,
Condemn'd to live to all succeeding times,
With _pompous nonsense_, and a _bellowing sound_,
Sung _lofty Ilium_, _tumbling_ to the _ground_,
And, if my Muse can thro' past ages fee,
That _noisy, nauseous_, gaping fool was _he_;
Exploded, when, with universal scorn,
The _Mountains labour'd_, and a _Mouse_ was born.
_Essay on Translated Verse_.
The pompous exordium of Statius is well known, and the fragments of
Ennius present us a most tremendous commencement of his Annals.
horrida romoleum certamina pango duellum!
this is indeed to split our ears asunder
With guns, drums, trumpets, blunderbuss, and thunder!
211.--Say, Muse, the Man, &c.] Homer's opening of the Odyssey. his rule
is perhaps no where so chastely observed as in _the Paradise Lost_.
Homer's [Greek: Maenin aeide thea]! or, his [Greek: Andra moi
ennepe,Mgsa]! or, Virgil's _Arma, Urumque cano_! are all boisterous and
vehement, in comparison with the calmness and modesty of Milton's meek
approach,
Of Man's first disobedience, &c.
2l5.--_Antiphates, the Cyclops, &c_].- _Antiphatem, Scyllamque, & cum
Cyclope Charybdim_. Stories, that occur in the Odyssey. 218-19--Diomed's
return--the Double Egg.]
The return of Diomede is not mentioned by Homer, but is said to be the
subject of a tedious Poem by Antimachus; and to Stasimus is ascribed a
Poem, called the Little Iliad, beginning with the nativity of Helen.