DISSERTATIO DE INSIGNIORIBUS ROMANORUM POETIS.

OMNIUM, in re Poeticâ, maxime inclaruerunt Ro⯑mani, & Romanorum VIRGILIUS: Optimae quaeque Regulae, huic Arti inſervientes, non tam Criticorum Praeceptis, quam MARONIS exem⯑plo, ſunt depromendae. Ut ideo de re⯑liquis [4]Heroici Carminis Scriptoribus, recte ſtatuamus Virtutes & Vitia, quae apud ſingulos occurrunt, lectioni confe⯑ramus Virgilianae; qui, ſi ullibi defe⯑cerit Bucolicis, nonnunquam puriorem immiſcuit Styli elegantiam, quam quae Paſtoribus conveniat; & ſaepe grandior ſonat Carminum Majeſtas, quam quae tenui avenae conſona videatur. Apud quemlibet Georgicorum librum, inimita⯑bili quâdam Sermonis Elegantiâ, Res ruſticae explicantur; ſed ultimus, de Apum Naturâ, valdè, praeter caeteros, ani⯑mum delectat; ubi, dum in tenui Ar⯑gumento procedit Poema, ſolennem quandam Sententiarum & Verborum Pompam ſtudiosè affectat Poeta. Apum ideo Opera Cyclopum aſſimulat Labori⯑bus, nec majori Carminum tumultu AENEAE & TURNI recitat Certamina, [6]quam haſce Inſectorum Turmas inter ſeſe depraeliantes. Ubique exiguae Rei⯑publicae Duces, Populi, Studia, Mores, & tenue illud Imperium, quod intra Al⯑vearii Anguſtias exercetur, venuſtâ, ne⯑ſcio quâ, Carminis Magnificentiâ expri⯑muntur: Quin hoc certe in toto Opere praecipue occurrit admirandum, quo⯑modo, dum Plantationis, Paſtionis, & Agriculturae curas exequitur Poeta, omiſſis uſitatioribus loquendi formulis, materiae tam incultae locutionem Poeti⯑cam accommodaret; quomodo ignobi⯑liori depreſſus Argumento nunquam ad Stylum Plebeium Orationem demiſerat: Sed tanta undique apparet Locutionum vis, ut multi (quamvis temerè) Geor⯑gicos etiam Aeneidi praetuliſſe non dubi⯑tarint; ſed in hoc Opere, per Argumen⯑tum, non licuit alias Poeſe [...]s Partes [8]praeftitiſſe, quam Styli & Deſcriptionum Elegantiam. Quod ad utrumque atti⯑net, illud ſibi proprium ſemper vendi⯑cat MARONIS Pagina, ut, quicquid exprimat, mirâ quâdam Dulcedine ani⯑mum ingrediatur, & quod deſcribat, melius quam ſi Oculis ſubjiciatur, tan⯑quam praeſens intueamur.

In Styli puritate proxime accedit LUCRETIUS, cujus Dictio, ſi obſo⯑letae aliquando Verborum Antiquitati, & Numeris pene ſolutis agnoſcas, illo⯑rum Palato, qui Romanè ſapiunt, perſua⯑vis videatur. In Deſcriptionibus tamen CLAUDIANO ſecundus debetur Ho⯑nos, qui amoenas Rerum Imagines ubi⯑que venuſtiſſimâ contexuit Oratione, in hoc ſolummodo vitioſus, quod fuſius, quam par eft, ſemper expatietur, eoſ⯑demque [10]Verſus diverſis exponat Lo⯑quendi Modis. In hac Arte ſeſe maxi⯑mè profeciſſe ſatis noverat CLAUDIA⯑NUS; de quacunque enim re ſatagit, aſſiduè ſemper quaerit quae deſcribenda ſunt, imo plurima ſumpſit Argumenta, quae tota in Deſcriptionibus occupantur, ut videre eſt in Praefationibus, in Idylliis, in Libris de raptu PROSERPINAE, de PHOENICE, HISTRICE, TORPE⯑DINE, & pleriſque Epigramatum.

OVIDIUS (ut erat Aulici Ingenii Homo) terſo quidem & polito Carmi⯑ne res exhibuit amatorias, in caeteris ta⯑men Operibus iſtiuſmodi occurrit Sermo, quali in Triviis uti ſolent: Ille enim In⯑genio [12]ſuo confiſus de operoſiori Dicti⯑one elaborandâ parum erat ſatis ſolici⯑tus: In Libro tamen Metamorphoſe [...]s varias optime depinxit Animalium Mu⯑tationes, dum prior paulatim exuitur Forma & nova ſuperinducitur.

Utrumque hoc, quod jam tractamus, Poetis Officium non rarò optimè prae⯑ſtitit PAPINIUS; LUCANUS neutrum, cujus Dictio, quanquam multùm ſonat inflata, nullâ tamen Phraſeorum aut Epithetorum Venuſtate animatur, ſed Orationi magis ſolutae convenit, quam Poeticae; imo certe tali plerumque utitur Verborum delectû, qualem vel Liber dedignetur Sermo. Et quanquam in Deſcriptionibus ſaepiſſimè verſatur, & in hujuſmodi diverticula nunquam non [14]excurrit, raro tamen, ut debet, Opus abſolvit. Jam vero, quod ad STATIUM attinet, plurima certe compoſuit ſum⯑mis Poetarum invidenda, ſed, inter magnas Virtutes, maxima occurrunt Vi⯑tia. In Dictione enim Verba nimis ad⯑mittit ſeſquipedalia, nullâque de Argu⯑mento habitâ ratione, vana numeris mi⯑ſcet Tonitrua; Nec minus in Deſcrip⯑tionibus peccat; nimio enim calori in⯑dulgens, dum totis viribus excellere co⯑natur, ultra Finem tendit opus, & in tumorem excreſcit. In utrumque hu⯑juſmodi vitium aliquando incidit CLAU⯑DIANUS. Jam vero, quoniam de VIR⯑GILII Aeneidis Argumento varii mul⯑ta ſcripſerunt & praeclara, pauca ſolum⯑modo de STATII & LUCANI Car⯑minibus ſunt advertenda; utpote, quae Latinorum omnium ſola Epica haberi [16]debent. De LuCANO id ſaepe in Diſputationem venit, an Hiſtoria, quâ conſtat Pharſalicum Poema, idoneum ſit Heroici Carminis Argumentum.

Vora ideo Heroicae Poeſe [...]s Natura inquirenda eſt, quam, apud Librum, de Dignitate & Augmentis Scientiarum, his Verbis, optime exhibuit VERULA⯑MIUS Noſtras.

‘"De Poeſi Narrativâ, ſive eam Heroicam appellare placet (modo hoc intelligas de Materiâ, non de Ver⯑ſu) ea a Fundame nto prorſus nobili excitata videtur, quod ad dignitatem humanae Naturae imprimis ſpectat. Cum enim Mundus ſenſibilis ſit, Ani⯑mâ rationali, dignitate, inferior, vide⯑tur [18]Poeſis haec humanae Naturae lar⯑giri, quae Hiſtoria denegat; atque Animo, umbris rerum, utcunque ſatis⯑facere, cum ſolida haberi non poſſint. Si quis enim Rem acutius introſpiciat, firmum ex Poeſi ſumitur argumen⯑tum, Magnitudinem Rerum magis illuſtrem, Ordinem magis perfectum, & Varietatem magis pulchram, Ani⯑mae humanae complacere, quam, in Naturâ ipſâ, poſt Lapſum, reperire ullo modo poſſit. Quapropter, cum Res geftae, & Eventus, qui verae Hiſtoriae ſubjiciuntur, non ſint ejus Amplitu⯑dinis, in quâ Anima humana ſibi ſa⯑tisfaciat, praeſto eſt Poeſis, quae Facta magis Heroica confingat: Cum Hi⯑ſtoria vera, ſucceſſus rerum, minime pro meritis Virtutum & Scelerum, narret; corrigit eam Poeſis, & exi⯑tus, [20]& fortunas, ſecundum merita, & ex lege Nemeſeos, exhibet: Cum Hiſto⯑ria vera, obviâ rerum ſatietate & ſimi⯑litudine, animae humanae faſtidio ſit; reficit eam Poeſis inexpectata & va⯑ria, & viciſſitudinum plena canens. Adeo ut Poeſis iſta, non ſolum ad de⯑lectationem, ſed etiam ad Animi magnitudinem, & ad Mores conferat. Quare & meritò etiam Divinitatis cu⯑juſpiam particeps videri poſſit; quia animum erigit, & in ſublime rapit: rerum ſimulachra ad animi deſideria accommodando, non animum rebus (quod ratio facit & Hiſtoria) ſubmit⯑tendo."’ Ex quo ſatis patet, veram Hiſtoriam cum Epico Poemate male convenire; & proinde, LUCANUM, quoad Argumentum, maxime deſeciſſe. Quinque, in [...]illius Poemate, maxime emi⯑cant [22]Heroes, CAESAR, POMPEIUS, BRUTUS, CATO, & CICERO. Omnes ſane tam Vitâ inſignes, quam Morte luctuoſi; quorum Virtutes (quan⯑tum licuit per humanam Naturam) Perfectioni iſti Heroicae, quam reliqui Poetae Ducibus ſuis falsò tribuerunt, proxime acceſſerant. LUCANUS CAE⯑SARI undique oblatrat, POMPEII Partes ambitiosè fovet, ſed BRUTI & CATONIS Encomia, ob Stoicum (credo) illud Ingenium, quod cum his habuit commune, maxime celebrat: Et plurima certe, quae LUCANO ob⯑jicias, Philoſophiae hujuſcemodi ſunt re⯑ferenda. Inde immodicus iſte Ingenii tumor, & ambitioſa Sententiarum oſten⯑tatio, quam, cum illâ Hominum turbâ ſemper habet in Deliciis; inde quae magna ſunt, quam quae bona ſunt, ma⯑luit [24]praeferre. Hinc etiam, in eximiâ illâ Poeſe [...]s Virtute, Paſſionibus excitan⯑dis, ipſe (qui omnes Philoſophiae Affe⯑ctus tanquam illicitos exiſtimavit) malè ſucceſſerat, cujus Vitii unicum tantum (ut taceam caetera) Argu⯑mentum proferam. Poſtquam in Pug⯑nâ Pharſalicâ CAESAR de POMPEIO Victoriam reportaverit, LUCANUS maximè debuit, ſi aliquid ab ipsâ Hi⯑ſtoriâ alienum protuliſſet, lugubri quo⯑dam Carmine immeritam doluiſſe POMPEII ſortem, quippe quem, in toto Opere, ſummo habuit honore; vel ſal⯑tem ipſum POMPEIUM (ut ingens patuit Doloris Argumentum) aut de amiſsâ Romae Libertate, aut de A⯑micorum Mortibus, aut de propriis querentem Infortunns, introduxiſſe o⯑portuit. Poeta tamen ab omni hujuſ⯑modi [26]Dolore tam longè a beſt, ut POMPEIUM obnixè hortaretur, poſt⯑quam victus a Bello deceſſerat, ut CAE⯑SARIS Victoris ſui commiſereſcat, quia nempè CAESAR non ſine Scelere Victoriâ potitus eſt;

[30]Quis tulerit Poetam tam ridiculè phi⯑loſophantem? quaſi vero POMPEIUS Senex, Exul, Miſer, Triumphatus, ob Victorem ſuum quamvis ſceleſtum Commiſerationem quandam conciperet: Illum quidem maximè Stoicè ſapuiſſe oportuerat, qui omnibus hiſce Fortunae Donis ſpoliatus, tantum in nudâ Virtu⯑te poneret Felicitatem. Sed nullus Po⯑etarum, niſi VIRGILIUS, hujuſmo⯑di afficiat Dolore: Alii plerunque, dum moerorem aliquem Lectoribus induce⯑rent, in illo peccant, quod nimiâ Pro⯑lixitate ſeſe in queſtus effundant, nec un⯑quam ſatis Lachrymarum exhauſtum eſſe ſentiant, vel Ingenium, quod max⯑imè poſſint, Verſibus infundendo, faci⯑unt, ut magis Carmina miremur, quam materiam lugeamus. De utro⯑que cavit VIRGILIUS, qui merâ [32]ſemper Simplicitate luctuoſa, ut in ſe ſunt, exhibuit; & levitèr quicquid dolet perſtrinxerat: ‘"Lamentationes enim, inquit CICERO, debent eſſe breves & conciſae, quia Lachryma ſubito exareſcit, & difficile eſt, Au⯑ditorem aut Lectorem, in ſummo illo animi animi affectu, tenere."’ Ut vero ad STATIUM redeamus, illi qui⯑dem Spiritus non rarò feliciter aſſurgit, cui dum temperare nequit, neſcio quas projicit Ampullas, & vana Carminibus addit Numerorum Terricula menta. THEBAIDIS quidem Argumentum Ingenii ſui Truculentiae, ſed non Hero⯑ico Poemati ſatis aptum videatur: ETEOCLES enim, POLYNICES, & TYDEUS, quorum geſta hoc Car⯑mine celebrantur, nihil habent eorum, ſi unicam Fortitudinem demas, quae [34]conveniunt Heroibus: Imo, in toto Poemate, nulla niſi Scelerum, qualia ſunt Parricidii, Perfidiae, Immanitatis, Odiorum, proferuntur Exemplaria; dum in omnibus ferè, quos ſuo Car⯑mine induxit VIRGILIUS, praecla⯑ra [...] quaedam illuceſcunt, & in ipſo AE⯑NEA ſummam Pietatem erga Deos, Natum, Conjugem, Amicos, & Paren⯑tem, Oculis ſemper habemus ſubjectam. Epitheta plerunque STATIANA multum ſonant metaphoricè, dum in⯑animatis illa tribuuntur, quae Anima⯑libus conveniunt. In Verbis tamen, nec rarò ſinè maximâ Elegantiâ, Meta⯑phoras conſectatur CLAUDIANUS; VIRGILIUS in utriſque parciſſimus; STATIUS plurimas rerum ſimilitudi⯑nes compoſuit, multum ſaepè de VIR⯑GILII Ingenio referentes, in quâ arte [36]meliùs ſucceſſerat LUCANUS, ſi aliquid unquam mediocre admiſerat; ſed dum VIRGILIUS ad Apes, ad Formicas, & iſtiuſmodi Naturae ludicra deſcendit, nihil unquam niſi Quercum fulminatam, Terrae Exitium, aut Mundi Confla⯑grationem ebuccinat LUCANUS. Et hiſce tandem, quorum alii non operae Pretium duxerunt meminiſſe, de He⯑roicis Scriptoribus brevitèr perſtrictis. De Satyricis reſtat dicendum; quorum omnium JUVENALIS & HORA⯑TIUS Palmam dubiam quidem fecerunt: Inter Literatos enim multum diſcrepat, utrum mordax illa Ingenii acerbitas, quâ ſuam armavit paginam JUVE⯑NALIS, an potius HORATII feſti⯑vae Irriſiones, magis Satyrae conveni⯑ant: Ut vero de utroque rectiùs, ſta⯑tuatur, pauca prius ſunt advertenda. [38]Ob infamem vitae ſuae laſciviam, etiam nunc temporis, malè audit HORA⯑TIUS; Virtutem tamen ſemper rigide coluit JUVENALIS: Ille in abſolutiſſi⯑mâ AUGUSTI Aulâ verſatus eſt, hic in peſſima DOMITIANI Tempora incidiſſet: Proinde, ut ad ſua & Saeculi utriuſque Ingenia Opera accommoda⯑rent Poetae, HORATIUS totus in ludi⯑cro exercetur Argumento, nec Morum Licentiam, ſed indecoras quaſdam Au⯑licorum Ineptias plerunque inſectatur; non ideò abfuiſſet quin irrideretur, ſi, aliquâ Styli ſeveritate, ad leviuſcula hujuſmodi caſtiganda, ſe accinxiſſet: Graviſſima tamen in Temporibus ſuis reprehendit JUVENALIS, & de Vitiis ubique queritur, quae vel pudeat reci⯑tare, & iſti ſanè Materiae, ſumma [40]Mentis Indignatio, Orationis Ardor, & Ingenii Acrimonia, rectiſſime aptari videantur. Quamvis ubi ad Jocularia Animum demittit, non rarò Satyris Feſtivitatem fundit HORATIANAM. Uterque ideo (modo diverſum conſu⯑las Argumentum) ſuo quidem Genere perfectiſſimus emicuit; in illo Ridicu⯑lum Acri melius, in hoc Acre Ridiculo.

[42]Reliqua certe HORATII Opera, Ad⯑miratione potius ſunt digna quam En⯑comiis, nec majora ſolum Vituperatione, ſed etiam Laude.

Jam vero, quod ad Dramaticos atti⯑net, PLAUTI & TERENTII Argu⯑menta, Sales, Elegantiae ubique adeò vulgantur, ut nihil de novo poſſit adjici.

[44]De SENECA vero tam diverſe ſen⯑tiunt, ut alii inter ſummos Tragicorum, alii infra Infimum annumerent: Illi quidem Ingenium valde magnum, Ora⯑tio elegans & conciſa, abundat Senten⯑tiis plerunque acutis, Stoicam ſemper Philoſophiam, quam amplexus eſt, re⯑dolentibus. Unde omnibus fere, qui Artem Dramaticam parum ſapiunt, ſemper eſt in Deliciis; ſi tamen ad hanc reſpicias, Tragoediae ubique plurimum laborant, & iſtud vitii (ut reliqua prae⯑termittam) SENECAE peculiare vide⯑atur, ut quoſcunque inducat Interlocu⯑tores, nullâ, ad Perſonas quas ſuſtinet, habitâ ratione, eundem ſemper unicui⯑que tribuat loquendi modum: Omnes ſeveriora ſpirant Philoſophiae Dogmata, & quae Stoae magis conveniant, quam [46]Theatro. Eâdem ſemper Styli Magni⯑ficentiâ ſuperbiunt Rex, & Nuncius: Imo ipſam Nutricem (plurima enim tam acute profert) Stoicorum Praeceptis non mediocritèr imbutam ſentias.

Inter Epigrammatiſtas potiſſimùm emicuerunt MARTIALIS & CLAUDI⯑ANUS; Ille ſemper, in extremo Poemate, Ingenii ſubjecit acumen, & ſaepe ſimilia inſequitur Verborum Tintinnabula; Hic, per totum Epigramma, ſuum di⯑ſpergit Salem; & venuſtiſſimâ ubique utitur Latinitatis Elegantiâ.

[48]Caeterum tamen Poetarum Vulgus, de iſtiuſmodi mediocribus ſunt, quos nec Dii nec Homines conceſſerunt; & quam⯑vis una aut altera apud affectatas CA⯑TULLI Cantatiunculas, TIBULLI aut PROPERTII inhoneſtam pagi⯑nam, & Carmina incurioſa, illuceſcat Virtus, non tamen eſt Operae Pretium Gemmas inter Stercora eruere.

A DISSERTATION Upon the moſt Celebrated Roman POETS.

OF all the Nations in the World, the Romans have moſt excelled in the Art of Poetry, and even, a⯑mong the Romans, VIR⯑GIL has been the moſt deſervedly cele⯑brated; from whom the juſteſt Rules of this Art are rather to be taken, than from the dry Precepts of the Criticks. To the End, therefore, that we may the more truly aſcertain the Beauties, and Faults, which occur among the reſt of the Writers of Heroic Poetry, let us [5]compare them with the Style of VIR⯑GIL; who, if he be in any Thing de⯑ficient, it is, when he has ſometimes in his Eclogues mingled ſuch a Purity of Style, as is not entirely agreeable with the Dialect of Shepherds; and frequently the Dignity of his Verſe ſeems no way conſonant to the Rural Pipe. In every Book of his Georgicks, he treats of Coun⯑try Affairs with an inimitable Elegancy of Style; but, above all, we are moſt de⯑lighted with his laſt Book, Of the Nature of BEES; where, in a Poem on ſo incon⯑ſiderable a Subject, our Author purpoſe⯑ly affects a peculiarly ſolemn and pomp⯑ous Style. In this Piece he compares the Labours of the BEES to thoſe of the Cyclops; and in the ſame lofty Numbers recounts the Skirmiſhes of theſe little Inſects among themſelves, as he does the [7]Rencounters of AENEAS and TURNUS. All along, the Generals of this ſmall Republick, the Populace, the Factions, the Cuſtoms and Forms of Government exerciſed within the narrow Limits of the Bee-hive, are deſcribed with an in⯑expreſſible Beauty and Magnificence. Throughout the whole Work, what moſtly raiſes our Admiration, is, that in the Perſuit of his Diſcourſe on Plant⯑ing, Grazing, and Agriculture, (wa⯑ving the common Forms of Speech) he ſuits his Poetick Diction to ſo unpolite a Theme; how, ſeemingly depreſſed with the Meanneſs of his Subject, he never ſinks into a Plebeian Style; but the Force and Energy of his Expreſſion are ſo conſpicuous, that many, too raſhly indeed, have not ſcrupled to pre⯑fer the Georgicks to the Aeneid: But in [9]a Work of this Nature, no other Parts of Poetry could be diſplayed, except an Elegance of Style and Deſcription: In both theſe Ways VIRGIL has this, pe⯑culiar to himſelf, that he captivates the Soul with his wonderful Sweetneſs, and his Deſcriptions are as Lively, as if we had the Object placed before our Eyes.

In the Purity of his Style next fol⯑lows LUCRETIUS, whoſe Diction, allowing for his Obſoleteneſs, and Numbers almoſt Proſaick, may chal⯑lenge a Share of Praiſe, in thoſe who have any Taſte of the Roman Elo⯑quence: For Deſcriptions however, the ſecond Poſt of Honour is due to CLAU⯑DIAN, who has throughout, in a moſt beautiful Style, interwoven his agree⯑able Images; faulty in this alone, that [11]he expatiates upon his Subjects beyond all Decency, and frequently gives us the ſame Thoughts, diverſified only in Expreſſion. CLAUDIAN well knew what a Maſter he was in this Art, for on whatſoever Topick he is engaged, he diligently ſearches out Matter for De⯑ſcription, nay moſt of the Subjects he has wrote upon, are wholly ſuch, as may be ſeen in his Prefaces, his E⯑clogues, his Books of the Rape of PRO⯑SERPINE, his Phoenix, his Porcupine, his Cramp-fiſh, and moſt of his EPI⯑GRAMS.

OVID (like a true Courtier as he was) deſcribes the Affairs of Love in neat and polite Verſe. In the reſt of his Works we meet with the more vulgar Way of Expreſſion; for truſt⯑ing [13]to a good Genius, he was little ſo⯑li [...]itous about forming a more elaborate Stile: but yet, in his Metamorphoſes, he has Painted, in the greateſt Perfection, the various Changes of all Creatures, and the Transformations proceed in a moſt eaſy and gradual manner.

STATIUS has frequently diſcharged both theſe Requiſites of a Poet, we juſt now obſerved; LUCAN neither, whoſe Diction, altho' very bombaſt, is not enlivened either by beautiful Phraſes or Epithets, but comes nearer Proſe than Poetry; nay, there is in him common⯑ly ſuch a mean Choice of Words, as is ſometimes even beneath Profe itſelf: And although he abounds in Deſcripti⯑ons, and is always making Excurſions of that Kind, yet he ſeldom finiſhes his [15]Work as he ought, or brings his Thoughts to any Juſtneſs of Concluſion.

But now, as to STATIUS, he has given us Compoſitions worthy of the Envy of the beſt Poets. But with all his Beauties, he has greater Faults; for, in his Expreſſion, he makes too much uſe of Gigantick Words; and, not con⯑ſidering his Subject, mingles uſeleſs Thunder in his Numbers; Nor is he leſs faulty in his Deſcriptions; for, en⯑couraging too great a Heat, while he attempts to excel, he ſhoots beyond his Mark, and ſwells unnaturally. Of both which Extreams CLAUDIAN is too often guilty.

And now, ſince there have been ma⯑ny Pieces written, and thoſe of Note, [17]on the Subject of VIRGIL's Aeneis, (and leſs notice is taken of the Poetry of STATIUS and LUCAN) to whoſe Productions only the Latins allow the Title of Epick Poetry. As to LUCAN, it has been often diſputed, whether Hi⯑ſtory, of which the Pharſalia conſiſts, be a proper Subject for an Heroick Po⯑em. For the Deciſion of this Point, we muſt enquire into the true Nature of Heroick Poetry, which our Country⯑man, the Lord BACON, has admira⯑bly deſcribed in his Treatiſe of The Ad⯑vancement of Learning. ‘"—[As for Narrative Poeſie, or, if you pleaſe, Heroical, (ſo you underſtand it of the Matter, not of the Verſe) it ſeems to be raiſed altogether from a noble Foundation, which makes much for the Dignity of Man's Na⯑ture. [19]For, ſeeing this ſenſible World is, in Dignity, inferior to the Soul of Man, Poeſie ſeems to endow human Nature with that which Hiſtory de⯑nies; and to give Satisfaction to the Mind, with, at leaſt, the Shadow of Things, where the Subſtance cannot be had. For, if the Matter be thorough⯑ly conſidered, a ſtrong Argument may be drawn from Poeſie, that a more ſtately greatneſs of Things, a more perfect Order, and a more beautiful Variety delights the Soul of Man, than any Way can be found in Nature ſince the Fall. Wherefore, ſeeing the Acts and Events, which are the Subject of true Hiſtory, are not of that Amplitude, as to content the Mind of Man, Poeſie is ready at Hand to feign Acts more Heroical: [21]Becauſe True Hiſtory reports the Suc⯑ceſſes of Buſineſs not proportionable to the Merit of Virtues and Vices, Poeſie corrects it, and preſents Events and Fortunes according to Deſert, and according to the Law of Provi⯑dence: Becauſe True Hiſtory, thro' the frequent Satiety and Simili⯑tude of Things, works a Diſtaſte and Miſpriſion in the Mind of Man; Po⯑eſie cheereth and refreſheth the Soul, chaunting Things rare, and various, and full of Viciſſitudes. So as Poeſie ſerveth and conferreth to Delectation, Magnanimity, and Morality; and therefore it may ſeem deſervedly to have ſome Participation of Divine⯑neſs, becauſe it accommodates its Images and Deſcriptions to the ut⯑moſt Deſire and Wiſh of the Soul, [23]not ſubjecting the Mind to Things or Facts, as Reaſon and Hiſtory do."]’ From whence it is ſufficiently manifeſt, that Hiſtory and Epick Poetry are by no means proper Companions; and there⯑fore, that LUCAN has very much failed in his principal Subject: The five Heroes, who make the greateſt Figure in his Poem, are CAESAR, POMPEY, BRUTUS, CATO, and CICERO; each of them indeed as diſtinguiſhable in their Lives, as to be lamented in their Deaths; Men, whoſe Virtues, allowing for the Frailties of Human Nature, came neareſt to that Pitch of Heroick Perfection, which other Poets have falſely attributed to their Heroes. LUCAN every where ſnarls at CAE⯑SAR, and paſſionately eſpouſes POM⯑PEY's Intereſt; but moſt of all, cele⯑brates [25]the Characters of BRUTUS and CATO, for that Spirit of Stoiciſm, which he had equally imbibed with them: And, indeed, moſt of the Faults objected to LUCAN, are rather to be imputed to this Kind of Philoſophy. From whence ſprung that boundleſs Vein of Wit, and that peculiar Affecta⯑tion of a lofty Style; which, like that Sect of Men, he always delighted in, and therefore gives the Preference ra⯑ther to Great, than Good Actions. And upon this Account, in raiſing the Paſſi⯑ons, (that moſt excellent Part of Poe⯑try) he ſucceeded but ill; becauſe, up⯑on the Principles of his Philoſophy, the Paſſions themſelves were accounted as abſolutely unlawful. To confirm this, (paſſing by many others) I will pro⯑duce but one Inſtance: After CAESAR [27]had obtained the Victory over POM⯑FEY, in the Battle of Pharſalia, LU⯑CAN certainly, (if he had enlarged on any Circumſtance foreign to Hiſtory it ſelf) ſhould, upon ſo remarkable an Occaſion, have lamented the undeſerved Fate of POMPEY, in the moſt mournful Strain; eſpecially ſince he pays ſo high a Deference to him throughout his whole Work; or, at leaſt, (as there was an open Field for Grief) he ſhould have introduced POMPEY, either complaining of Rome's loſt Liberty, the Death of his Friends, or his own Mis⯑fortunes. But LUCAN is ſo far from raiſing the Paſſions to this juſt Heighth, that he warmly adviſes POMPEY (when vanquiſhed, he retires from the Field of Action) to commiſerate the Condition of his Conqueror CAESAR, [29]becauſe he had not won the Day, but by unjuſtifiable Methods.

[31]Who can bear to hear the Poet Phi⯑loſophizing in this ridiculous Manner? As if POMPEY, a Man in Years, an Exile, Miſerable, and Vanquiſhed, ſhould have any Concern upon him for the Crimes of his Conqueror: He ought to have been very much ſtoicized indeed, who, deſpoiled of all the Goods of Fortune, could place the Sum of his Felicity in meer naked Virtue. But none of the Poets have touched this Paſſion of Grief like VIRGIL. The Generality of other Writers, when they attempt to move their Readers, offend in this Point, that they are too prolix in ſpinning out their Complaints, and think their Flood of Tears inex⯑hauſtible; or elſe, while they labour to expreſs the Greatneſs of their Geni⯑us, in the Profuſeneſs of their Verſe, ra⯑ther [33]raiſe our Admiration at the Flow⯑ing of their Numbers, than excite our Pity in the Cataſtrophe of their Story. VIRGIL has carefully avoided both theſe Extreams, and dreſſes his Images of Sorrow in their Native Simplicity; and where-ever he touches upon the Pathetick, he does it with a maſterly quickneſs: For, according to CI⯑CERO, Our expreſſions of Grief ought to be ſhort and conciſe, becauſe our Tears quickly dry up, and it is unnatural to detain either an Auditor or Reader in too long a Suſpenſion of Grief.

But to return to STATIUS, his Spirit is indeed lofty and aſpiring, to which while he gives too great a Looſe, he runs into Bombaſt, and to his Poetry often adds uſeleſs ſounding Words. The Subject of his Thebais [35]ſeems indeed ſuited to the Barbarity of his Genius, but is beneath the Dignity of an Heroick Poem. For neither E⯑TEOCLES, POLYNICES, nor TYDEUS, whoſe Actions are record⯑ed in this Poem, have any thing in them, except their Fortitude, agreeable to Heroes: Nay, throughout the whole Piece, there are no Examples produc'd, unleſs of Perſons infamous for the moſt flagitious Enormities, ſuch as Parricide, Treachery, Cruelty, and Revenge; while, on the contrary, every Thing Praiſe-worthy ſhines bright in VIR⯑GIL's Heroes; and in the Perſon of AENEAS we have plac'd before our Eyes an Inſtance of conſummate Piety towards the GOD's, his Son, his Wife, his Friends, and his Father. The Epi⯑thets of STATIUS are generally [37]forced and very metaphorical, while ſuch Properties are aſcribed to Inani⯑mates, as really only belong to Animals. In the Choice of his Words, and fre⯑quently in his Metaphors, he is fol⯑lowed by CLAUDIAN with the utmoſt Elegance. VIRGIL is ſparing in both theſe Particulars; STATIUS abounds much with Similitudes, in which he ſeems to imitate VIRGIL; but in this Inſtance LUCAN had had better Suc⯑ceſs, if he had hit upon the proper Me⯑dium: But while VIRGIL ſtoops down to the humble Subjects of Bees, Ants, and other ſuch like delightful Themes of Nature; on the other Hand, LUCAN bellows out nothing but Stories of Oaks ſplit by Lightening, Earthquakes, and the World's Confla⯑gration. Let this, in ſhort, ſuffice, [39]obſervable, concerning the Writers of Heroic Poetry, in itſelf New, and never before taken Notice of.

Something now remains to be ſaid of the Satyriſts, among whom whe⯑ther JUVENAL or HORACE have moſt Right to the Bays, it is dfficult to determine; for it has been long a Diſpute among the Learned, whether that Keenneſs and Bitterneſs of Expreſ⯑ſion with which JUVENAL has armed his Satires, or HORACE's more jocoſe Lampoons are moſt agreeable to the End of SATIRE. Now that we may give a clearer Deciſion on this Head, a few Things muſt be premiſed. HO⯑RACE bears, to this Day, an ill Cha⯑racter for the Looſeneſs of his Con⯑duct in Life. JUVENAL was a rigid [41]Practiſer of Virtue. The one was con⯑verſant in the moſt perfectly polite Court of AUGUSTUS; the other lived in the Dregs of DOMITIAN's Time; and therefore both theſe Poets accom⯑modated their Writings to the Manners of the different Ages they lived in: For HORACE is intirely upon the ludicrous, and perſues not ſo much the Licentiouſ⯑neſs of the Times, as the ridiculous Fopperies of ſome particular Cour⯑tiers; for had he attempted to correct theſe Trifles with Severity, he had not miſſed of being laughed at: But JU⯑VENAL laſhes the groſſeſt Crimes prevalent in his Time, and complains of Enormities which one would be aſhamed to mention; and nothing leſs than the higheſt Reſentmemt of Soul, Ardency of Expreſſion, and Sharpneſs [43]of Speech, could be an equal Match to Crimes ſo notorious; though whenever he deſcends to be jocoſe, we frequently meet with the Pleaſantry of HO⯑RACE. Both of them, allowing for the different Manner of their Writing, are perfect Maſters in their ſeveral Ways; in the one, the Ridicule appears better than the Severe, in the other, the Severe better than the Ridicule.

The reſt of HORACE's Pieces are ſo admirable, that they exceed our high⯑eſt Encomiums, and are not only beyond our Diſlike, but above our Praiſe.

As to what concerns the Dramatic Poets, PLAUTUS and TERENCE bear away the Bell, whoſe Plots, Turns, and Elegancy of Style, are ſo well known, that nothing New can be ſaid upon them.

[45]As ro SENECA, Mankind have had different Opinions of him; ſome have ranked him with the beſt Tragoe⯑dians, others have ſunk him below the worſt. He certainly had a great Ge⯑nius, an elegant and conciſe Way of Expreſſion; he abounds with ſmart Turns, which always ſavour much of that Stoiciſm of which he was a Fol⯑lower, upon which Account he has al⯑ways been eſteemed by thoſe who have had little or no Taſte of Dramatic Poetry; but then if we conſider him as ſuch, his Tragedies are throughout too elaborate; and this, to paſs by his other Faults, ſeems peculiarly SENECA's, that he makes all his Actors (without any Regard to the Characters they bear) talk in the ſame Strain; all of [47]them inculcate rigid philoſophical Dog⯑mata, and ſuch Morality as is rather fit for the Schools of the Stoicks, than the Roman Theatre: For with him the King and the Slave ſtrut in the ſame Buskin; nay, you may perceive the Nurſe herſelf deeply tinged with the Principles of Stoiciſm.

Among the Epigrammatiſts, MAR⯑TIAL and CLAUDIAN have bore the greateſt Reputaion; the firſt, for the ſevere Point in the Cloſe of his Epi⯑grams, and the peculiar Jingle of his Words. The other, for diſperſing the Poignancy of his Wit throughout his Epigrams, and that in the moſt beauti⯑ful Latin Phraſe.

[49]The reſt of the lower Claſs of the Latin Poets creep ſo low in their Numbers, that they are beneath the Notice either of GODS or Men: And tho' we may now and then diſcover in the affected Songs and Sonnets of CATULLUS, and the obſcene POETRY of TIBULLUS and PROPERTIUS, ſome not diſagree⯑able Pieces, yet it is not worth our while to rake the Dunghills for the ſake of the JEWELS.