The works of Richard Hurd, volume 1 (of 8)

by Richard Hurd

INTRODUCTION.

It is agreed on all hands, that the antients are our masters in the art of composition. Such of their writings, therefore, as deliver instructions for the exercise of this art, must be of the highest value. And, if any of them hath acquired a credit, in this respect, superior to the rest, it is, perhaps, the following work: which the learned have long since considered as a kind of summary of the rules of good writing; to be gotten by heart by every young student; and to whose decisive authority the greatest masters in taste and composition must finally submit.

But the more unquestioned the credit of this poem is, the more it will concern the public, that it be justly and accurately understood. The writer of these sheets then believed it might be of use, if he took some pains to clear the sense, connect the method, and ascertain the scope and purpose, of this admired epistle. Others, he knew indeed, and some of the first fame for critical learning, had been before him in this attempt. Yet he did not find himself prevented by their labours; in which, besides innumerable lesser faults, he, more especially, observed two inveterate errors, of such a sort, as must needs perplex the genius, and distress the learning of any commentator. The one of these respects the SUBJECT; the other, the METHOD of the Art of poetry. It will be necessary to say something upon each.

1. That the Art of poetry, at large, is not the proper subject of this piece, is so apparent, that it hath not escaped the dullest and least attentive of its critics. For, however all the different kinds of poetry might appear to enter into it, yet every one saw, that some at least were very slightly considered: whence the frequent attempts, the artes et institutiones poeticæ, of writers both at home and abroad, to supply its deficiencies. But, though this truth was seen and confessed, it unluckily happened, that the sagacity of his numerous commentators went no further. They still considered this famous epistle as a collection, though not a system, of criticisms on poetry in general; with this concession however, that the stage had evidently the largest share in it[5]. Under the influence of this prejudice, several writers of name took upon them to comment and explain it: and with the success, which was to be expected from so fatal a mistake on setting out, as the not seeing, “that the proper and sole purpose of the author, was, not to abridge the Greek critics, whom he probably never thought of; nor to amuse himself with composing a short critical system, for the general use of poets, which every line of it absolutely confutes; but, simply to criticize the Roman drama.” For to this end, not the tenor of the work only, but, as will appear, every single precept in it, ultimately refers. The mischiefs of this original error have been long felt. It hath occasioned a constant perplexity in defining the general method, and in fixing the import of particular rules. Nay its effects have reached still further. For, conceiving as they did, that the whole had been composed out of the Greek critics, the labour and ingenuity of its interpreters have been misemployed in picking out authorities, which were not wanted, and in producing, or, more properly, by their studied refinements in creating, conformities, which were never designed. Whence it hath come to pass, that, instead of investigating the order of the poet’s own reflexions, and scrutinizing the peculiar state of the Roman stage (the methods, which common sense and common criticism would prescribe) the world hath been nauseated with insipid lectures on Aristotle and Phalereus; whose solid sense hath been so attenuated and subtilized by the delicate operation of French criticism, as hath even gone some way towards bringing the art itself into disrepute.

2. But the wrong explications of this poem have arisen, not from the misconception of the subject only, but from an inattention to the METHOD of it. The latter was, in part, the genuin consequence of the former. For, not suspecting an unity of design in the subject, its interpreters never looked for, or could never find a consistency of disposition in the method. And this was indeed the very block upon which Heinsius, and, before him, Julius Scaliger, himself, stumbled. These illustrious critics, with all the force of genius, which is required to disembarrass an involved subject, and all the aids of learning, that can lend a ray to enlighten a dark one, have, notwithstanding, found themselves utterly unable to unfold the order of this epistle; insomuch, that Scaliger[6], hath boldly pronounced the conduct of it to be vicious; and Heinsius, had no other way to evade the charge, than by recurring to the forced and uncritical expedient of a licentious transposition. The truth is, they were both in one common error, That the poet’s purpose had been to write a criticism of the art of poetry at large, and not, as is here shewn, of the Roman drama in particular. But there is something more to be observed, in the case of Heinsius. For, as will be made appear in the notes on particular places, this critic did not pervert the order of the piece, from a simple mistake about the drift of the subject, but, also, from a total inapprehension of the genuin charm and beauty of the epistolary method. And, because I take this to be a principal cause of the wrong interpretations, that have been given of all the epistles of Horace; and it is, in itself, a point of curious criticism, of which little or nothing hath been said by any good writer, I will take the liberty to enlarge upon it.

The Epistle, however various in its appearances, is, in fact, but of two kinds; one of which may be called the Didactic; the other, the Elegiac epistle. By the FIRST I mean all those epistles, whose end is to instruct; whether the subject be morals, politics, criticism, or, in general, human life: by the LATTER, all those, whose end is to move; whether the occasion be love, friendship, jealousy, or other private distresses. If there are some of a lighter kind in Horace, and other good writers, which seem not reducible to either of these two classes, they are to be regarded only, as the triflings of their pen, and deserve not to be considered, as making a third and distinct species of this poem.

Now these two kinds of the epistle, as they differ widely from each other in their subject and end, so do they likewise in their original: though both flourished at the same time, and are both wholly Roman.

I. The former, or Didactic epistle, was, in fact, the true and proper offspring of the Satire. It will be worth while to reflect how this happened. Satire, in its origin, I mean in the rude fescennine farce, from which the idea of this poem was taken was a mere extemporaneous jumble of mirth and ill-nature. Ennius, who had the honour of introducing it under its new name, without doubt, civilized both, yet left it without form or method; it being only, in his hands, a rhapsody of poems on different subjects, and in different measures. Common sense disclaiming the extravagance of this heterogeneous mixture, Lucilius advanced it, in its next step, to an unity of design and metre; which was so considerable a change, that it procured him the high appellation of Inventor of this poem. Though, when I say, that Lucilius introduced into satire an unity of metre, I mean only, in the same piece; for the measure, in different satires, appears to have been different. That the design in him was one, I conclude, first, Because Horace expresly informs us, that the form or kind of writing in the satires of Lucilius was exactly the same with that in his own; in which no one will pretend, that there is the least appearance of that rhapsodical, detached form, which made the character of the old satire. But, principally, because, on any other supposition, it does not appear, what could give Lucilius a claim to that high appellation of Inventor of this poem. That he was the first, who copied the manner of the old comedy in satire, could never be sufficient for this purpose. For all, that he derived into it from thence, was, as Quinctilian speaks, libertas atque inde acerbitas et abunde salis. It sharpened his invective, and polished his wit, that is, it improved the air, but did not alter the form of the satire. As little can a right to this title be pleaded from the uniformity of measure, which he introduced into it. For this, without an unity of design, is so far from being an alteration for the better, that it even heightens the absurdity; it being surely more reasonable to adapt different measures to different subjects, than to treat a number of inconnected and quite different subjects in the same measure. When therefore Horace tells us, that Lucilius was the Inventor of the satire, it must needs be understood, that he was the FIRST, who, from its former confused state, reduced it into a regular consistent poem, respecting one main end, as well as observing one measure. Little now remained for Horace but to polish and refine. His only material alteration was, that he appropriated to the satire ONE, that is, the heroic metre.

From this short history of the satire we collect, 1. that its design was one: And 2. we learn, what was the general form of its composition. For, arising out of a loose, disjointed, miscellany, its method, when most regular, would be free and unconstrained; nature demanding some chain of connexion, and a respect to its origin requiring that connexion to be slight and somewhat concealed. But its aim, as well as origin, exacted this careless method. For being, as Diomedes observes, archææ comœdiæ charactere compositum, “professedly written after the manner of the old comedy,” it was of course to admit the familiarity of the comic muse; whose genius is averse from all constraint of order, save that only which a natural, successive train of thinking unavoidably draws along with it. And this, by the way, accounts for the dialogue air, so frequent in the Roman satire, as likewise for the looser numbers which appeared so essential to the grace of it. It was in learned allusion to this comic genius of the satire, that Mr. Pope hath justly characterized it in the following manner:

“Horace still charms with graceful negligence,
“And, without method, TALKS us into sense.”

2. It being now seen, what was the real form of the satire, nothing, it is plain, was wanting, but the application of a particular address, to constitute the didactic epistle: the structure of this poem, as prescribed by the laws of nature and good sense, being in nothing different from that of the other. For here 1. an unity of subject or design is indispensably necessary, the freedom of a miscellaneous matter being permitted only to the familiar letter. And 2. not professing formally to instruct (which alone justifies the severity of strict method) but, when of the gravest kind, in the way of address only to insinuate instruction, it naturally takes an air of negligence and inconnexion, such as we have before seen essential to the satire. All which is greatly confirmed by the testimony of one, who could not be uninformed in these matters. In addressing his friend on the object of his studies, he says,

sive
Liventem satiram nigra rubigine turpes,
Seu tua NON ALIA splendescat epistola CURA.
[Stat. lib. i. Sylv. Tiburt. M. V.]

plainly intimating, that the rules and labour of composition were exactly the same in these two poems. Though the critics on Statius, not apprehending this identity, or exact correspondence between the satire and epistle, have unnecessarily, and without warrant, altered the text, in this place, from ALIA into ALTA.

3. The general form and structure of this epistle being thus clearly understood, it will now be easy, in few words, to deduce the peculiar laws of its composition.

And 1. it cannot wholly divest itself of all method: For, having only one point in view, it must of course pursue it by some kind of connexion. The progress of the mind in rational thinking requires, that the chain be never broken entirely, even in its freest excursions.

2. As there must needs be a connexion, so that connexion will best answer its end and the purpose of the writer, which, whilst it leads, by a sure train of thinking, to the conclusion in view, conceals itself all the while, and leaves to the reader the satisfaction of supplying the intermediate links, and joining together, in his own mind, what is left in a seeming posture of neglect and inconnexion. The art of furnishing this gratification, so respectful to the sagacity of the reader, without putting him to the trouble of a painful investigation, is what constitutes the supreme charm and beauty of Epistolary Method.

II. What hath hitherto been advanced respects chiefly the didactic form. It remains to say something of that other species of the epistle, the Elegiac; which, as I observed, had quite another original. For this apparently sprung up from what is properly called the Elegy: a poem of very antient Greek extraction: naturally arising from the plaintive, querulous humour of mankind; which, under the pressure of any grief, is impatient to break forth into wailings and tender expostulations, and finds a kind of relief in indulging and giving a loose to that flow of sorrow, which it hath not strength or resolution wholly[7] to restrain. This is the account of the Elegy in its proper Greek form; a negligent, inconnected, abrupt species of writing, perfectly suited to an indolent disposition and passionate heart. Such was Ovid’s; who, taking advantage of this character of the elegy, contrived[8] a new kind of poetry, without the expence of much invention, or labour to himself. For, collecting, as it were, those scattered hints, which composed the elegy, and directing them to one principal view; and superadding a personal address, he became the author of what is here styled the Elegiac epistle; beautiful models of which we have in his Heroides, and the Epistles from Pontus. We see then the difference of this from the didactic form. They have both one principal end and point in view. But the Didactic, being of a cooler and more sedate turn, pursues its design uniformly and connects easily. The Elegiac, on the contrary, whose end is emotion, not instruction, hath all the abruptness of irregular disordered passion. It catches at remote and distant hints, and starts at once into a digressive train of thinking, which it requires some degree of enthusiasm in the reader to follow.

Further than this it is not material to my present design to pursue this subject. More exact ideas of the form and constitution of this epistle, must be sought in that best example of it, the natural Roman poet. It may only be observed of the different qualities, necessary to those, who aspire to excel in these two species: that, as the one would make an impression on the heart, it can only do this by means of an exquisite sensibility of nature and elegance of mind; and that the other, attempting in the most inoffensive manner, to inform the head, must demand, to the full accomplishment of its purpose, superior good sense, the widest knowledge of life, and, above all, the politeness of a consummate address. That the former was the characteristic of Ovid’s genius hath been observed, and is well known. How far the latter description agrees to Horace can be no secret to those of his readers who have any share, or conception of these talents themselves. But matters of this nicer kind are properly the objects, not of criticism, but of sentiment. Let it suffice then to examine the poet’s practice, so far only, as we are enabled to judge of it by the standard of the preceding rules.

III. These rules are reducible to three. 1. that there be an unity in the subject. 2. a connexion in the method: and 3. that such connexion be easy. All which I suppose to have been religiously observed in the poet’s conduct of this, i. e. the didactic epistle. For,

1. The subject of each epistle is one: that is, one single point is prosecuted through the whole piece, notwithstanding that the address of the poet, and the delicacy of the subject may sometimes lead him through a devious tract to it. Had his interpreters attended to this practice, so consonant to the rule of nature before explained, they could never have found an art of poetry in the epistle, we are about to examine.

2. This one point, however it hath not been seen[9], is constantly pursued by an uniform, consistent method; which is never more artificial, than when least apparent to a careless, inattentive reader. This should have stimulated his learned critics to seek the connexion of the poet’s own ideas, when they magisterially set themselves to transpose or vilify his method.

3. This method is every where sufficiently clear and obvious; proceeding if not in the strictest forms of disposition, yet, in an easy, elegant progress, one hint arising out of another, and insensibly giving occasion to succeeding ones, just as the cooler genius of this kind required. This, lastly, should have prevented those, who have taken upon themselves to criticize the art of poetry by the laws of this poem, from concealing their ignorance of its real views under the cover of such abrupt and violent transitions, as might better agree to the impassioned elegy, than to the sedate didactic epistle.

To set this three-fold character, in the fullest light, before the view of the reader, I have attempted to explain the Epistle to the Pisos, in the way of continued commentary upon it. And that the coherence of the several parts may be the more distinctly seen, the Commentary is rendered as concise as possible; some of the finer and less obvious connexions being more carefully observed and drawn out in the notes.

For the kind of interpretation itself, it must be allowed, of all others, the fittest to throw light upon a difficult and obscure subject, and, above all, to convey an exact idea of the scope and order of any work. It hath, accordingly, been so considered by several of the foreign, particularly the Italian, critics; who have essayed long since to illustrate, in this way, the very piece before us. But the success of these foreigners is, I am sensible, a slender recommendation of their method. I chuse therefore to rest on the single authority of a great author, who, in his edition of our English Horace, the best that ever was given of any classic, hath now retrieved and established the full credit of it. What was the amusement of his pen, becomes indeed, the labour of inferior writers. Yet, on these unequal terms, it can be no discredit to have aimed at some resemblance of one of the least of those merits, which shed their united honours on the name of the illustrious friend and commentator of Mr. Pope.

Q. HORATII FLACCI
ARS POETICA
EPISTOLA AD PISONES.

Humano capiti cervicem pictor equinam
Jungere si velit, et varias inducere plumas
Undique collatis membris, ut turpiter atrum
Desinat in piscem mulier formosa superne;
Spectatum admissi risum teneatis amici? 5
Credite, Pisones, isti tabulae fore librum
Persimilem, cujus, velut aegri somnia, vanae
Fingentur species; ut nec pes, nec caput uni
Reddatur formae. Pictoribus atque poetis
Quidlibet audendi semper fuit aequa potestas: 10
Scimus, et hanc veniam petimusque damusque vicissim:
Sed non ut placidis coëant inmitia; non ut
Serpentes avibus geminentur, tigribus agni.
Inceptis gravibus plerumque et magna professis
Purpureus, late qui splendeat, unus et alter 15
Adsuitur pannus: cum lucus, et ara Dianae,
Et properantis aquae per amoenos ambitus agros,
Aut flumen Rhenum, aut pluvius describitur arcus.
Sed nunc non erat his locus: et fortasse cupressum
Scis simulare: quid hoc, si fractis enatat exspes 20
Navibus, aere dato qui pingitur? amphora coepit
Institui, currente rota, cur urceus exit?
Denique sit quidvis; simplex dumtaxat et unum.
Maxima pars vatum, pater et juvenes patre digni,
Decipimur specie recti. Brevis esse laboro, 25
Obscurus fio: sectantem lenia nervi
Deficiunt animique: professus grandia turget:
Serpit humi tutus nimium timidusque procellae:
Qui variare cupit rem prodigialiter unam,
Delphinum silvis adpingit, fluctibus aprum. 30
In vitium ducit culpae fuga, si caret arte.
Aemilium circa ludum faber, unus et unguis
Exprimet, et mollis imitabitur aere capillos;
Infelix operis, summa: quia ponere totum
Nesciet. hunc ego me, si quid componere curem, 35
Non magis esse velim; quam naso vivere pravo,
Spectandum nigris oculis nigroque capillo.
Sumite materiam vestris, qui scribitis, aequam
Viribus; et versate diu, quid ferre recusent,
Quid valeant humeri. cui lecta potenter erit res, 40
Nec facundia deseret hunc, nec lucides ordo.
Ordinis haec virtus erit et venus, aut ego fallor;
Ut jam nunc dicat, jam nunc debentia dici
Pleraque differat et praesens in tempus omittat.
Hoc amet, hoc spernat, promissi carminis auctor. 45
In verbis etiam tenuis cautusque serendis;
Dixeris egregie, notum si callida verbum
Reddiderit junctura novum; si forte necesse est
Indiciis monstrare recentibus abdita rerum;
Fingere cinctutis non exaudita Cethegis 50
Continget: dabiturque licentia sumta pudenter.
Et nova factaque nuper habebunt verba fidem; si
Graeco fonte cadent, parce detorta, quid autem:
Caecilio Plautoque dabit Romanus, ademtum
Virgilio Varioque? ego cur adquirere pauca, 55
Si possum, invideor? quum lingua Catonis et Enni
Sermonem patrium ditaverit, et nova rerum
Nomina protulerit. licuit, semperque licebit
Signatum praesente nota procudere nummum.
Ut silvis folia privos mutantur in annos; 60
Prima cadunt: ita verborum vetus interit aetas,
Et juvenum ritu florent modo nata vigentque.
Debemur morti nos, nostraque: sive receptus
Terra Neptunus classis Aquilonibus arcet,
Regis opus; sterilisve palus prius aptaque remis 65
Vicinas urbis alit, et grave sentit aratrum:
Seu cursum mutavit iniquum frugibus amnis,
Doctus iter melius: mortalia cuncta peribunt:
Nedum sermonum stet honos, et gratia vivax.
Multa renascentur, quae jam cecidere; cadentque, 70
Quae nunc sunt in honore vocabula: si volet usus,
Quem penes arbitrium est, et jus, et norma loquendi.
Res gestae regumque ducumque, et tristia bella,
Quo scribi possent numero, monstravit Homerus.
Versibus inpariter junctis querimonia primum, 75
Post etiam inclusa est voti sententia compos.
Quis tamen exiguos elegos emiserit auctor,
Grammatici certant, et adhuc sub judice lis est.
Archilochum proprio rabies armavit iambo.
Hunc socci cepere pedem grandesque cothurni, 80
Alternis aptum sermonibus, et popularis
Vincentem strepitus, et natum rebus agendis.
Musa dedit fidibus Divos, puerosque Deorum,
Et pugilem victorem, et equum certamine primum,
Et juvenum curas, et libera vina referre. 85
Descriptas servare vices operumque colores,
Cur ego, si nequeo ignoroque, poeta salutor?
Cur nescire, pudens prave, quam discere malo?
Versibus exponi tragicis res comica non volt:
Indignatur item privatis ac prope socco 90
Dignis carminibus narrari coena Thyestae.
Singula quaeque locum teneant sortita decentem.
Interdum tamen et vocem comoedia tollit,
Iratusque Chremes tumido dilitigat ore.
Et tragicus plerumque dolet sermone pedestri. 95
Telephus aut Peleus, cum pauper et exul uterque,
Projicit ampullas et sesquipedalia verba,
Si curat cor spectantis tetigisse querela.
Non satis est pulchra esse poëmata; dulcia sunto,
Et quocunque volent, animum auditoris agunto. 100
Ut ridentibus adrident, ita flentibus adflent
Humani voltus. si vis me flere, dolendum est
Primum ipsi tibi: tunc tua me infortunia laedent.
Telephe, vel Peleu, male si mandata loqueris,
Aut dormitabo, aut ridebo. tristia moestum 105
Voltum verba decent; iratum, plena minarum;
Ludentem, lasciva; severum, seria dictu.
Format enim Natura prius nos intus ad omnem
Fortunarum habitum; juvat, aut inpellit ad iram,
Aut ad humum moerore gravi deducit, et angit: 110
Post effert animi motus interprete lingua.
Si dicentis erunt fortunis absona dicta,
Romani tollent equitesque patresque cachinnum.
Intererit multum, Divusne loquatur, an heros;
Maturusne senex, an adhuc florente juventa 115
Fervidus; et matrona potens, an sedula nutrix;
Mercatorne vagus, cultorne virentis agelli;
Colchus, an Assyrius; Thebis nutritus, an Argis.
Aut famam sequere, aut sibi convenientia finge,
Scriptor. Homereum si forte reponis Achillem; 120
Impiger, iracundus, inexorabilis, acer,
Jura neget sibi nata, nihil non arroget armis.
Sit Medea ferox invictaque, flebilis Ino,
Perfidus Ixion, Io vaga, tristis Orestes.
Si quid inexpertum scenae conmittis, et audes 125
Personam formare novam; servetur ad imum
Qualis ab incepto processerit, et sibi constet.
Difficile est proprie communia dicere: tuque
Rectius Iliacum carmen deducis in actus,
Quàm si proferres ignota indictaque primus. 130
Publica materies privati juris erit, si
Non circa vilem patulumque moraberis orbem;
Nec verbum verbo curabis reddere fidus
Interpres; nec desilies imitator in artum,
Unde pedem proferre pudor vetet aut operis lex. 135
Nec sic incipies, ut scriptor cyclicus olim:
Fortunam Priami cantabo, et nobile bellum.
Quid dignum tanto feret hic promissor hiatu?
Parturiunt montes: nascetur ridiculus mus.
Quanto rectius hic, qui nîl molitur inepte! 140
Dic mihi, Musa, virum, captae post moenia Trojae,
Qui mores hominum multorum vidit et urbis.
Non fumum ex fulgore, sed ex fumo dare lucem
Cogitat, ut speciosa dehinc miracula promat,
Antiphaten, Scyllamque, et cum Cyclope Charybdin. 145
Nec reditum Diomedis ab interitu Meleagri,
Nec gemino bellum Trojanum orditur ab ovo:
Semper ad eventum festinat; et in medias res,
Non secus ac notas, auditorem rapit; et quae
Desperat tractata nitescere posse, relinquit: 150
Atque ita mentitur, sic veris falsa remiscet,
Primo ne medium, medio ne discrepet imum.
Tu, quid ego et populus mecum desideret, audi;
Si fautoris eges aulaea manentis, et usque
Sessuri, donec cantor, Vos plaudite, dicat: 155
Aetatis cujusque notandi sunt tibi mores,
Mobilibusque decor naturis dandus et annis.
Reddere qui voces jam scit puer, et pede certo
Signat humum; gestit paribus colludere, et iram
Colligit ac ponit temere, et mutatur in horas. 160
Inberbus juvenis, tandem custode remoto,
Gaudet equis canibusque et aprici gramine campi;
Cereus in vitium flecti, monitoribus asper,
Utilium tardus provisor, prodigus aeris,
Sublimis, cupidusque, et amata relinquere pernix. 165
Conversis studiis, aetas animusque virilis
Quaerit opes et amicitias, inservit honori;
Conmisisse cavet quod mox mutare laboret.
Multa senem circumveniunt incommoda; vel quod
Quaerit, et inventis miser abstinet, ac timet uti; 170
Vel quòd res omnis timide gelideque ministrat,
Dilator, spe lentus, iners, pavidusque futuri;
Difficilis, querulus, laudator temporis acti
Se puero, castigator, censorque minorum.
Multa ferunt anni venientes commoda secum, 175
Multa recedentes adimunt: ne forte seniles
Mandentur juveni partes, pueroque viriles.
Semper in adjunctis aevoque morabimur aptis.
Aut agitur res in scenis, aut acta refertur:
Segnius inritant animos demissa per aurem, 180
Quam quae sunt oculis subjecta fidelibus, et quae
Ipse sibi tradit spectator. non tamen intus
Digna geri promes in scenam: multaque tolles
Ex oculis, quae mox narret facundia praesens:
Ne pueros coram populo Medea trucidet; 185
Aut humana palam coquat exta nefarius Atreus;
Aut in avem Procne vertatur, Cadmus in anguem.
Quodcunque ostendis mihi sic, incredulus odi.
Neve minor, neu sit quinto productior actu
Fabula, quae posci volt, et spectata reponi. 190
Nec Deus intersit, nisi dignus vindice nodus
Inciderit: nec quarta loqui persona laboret.
Actoris partes chorus, officiumque virile
Defendat: neu quid medios intercinat actus,
Quod non proposito conducat et haereat apte. 195
Ille bonis faveatque et consilietur amice,
Et regat iratos, et amet pacare tumentis:
Ille dapes laudet mensae brevis, ille salubrem
Justitiam, legesque, et apertis otia portis:
Ille tegat conmissa; Deosque precetur et oret, 200
Ut redeat miseris, abeat fortuna superbis.
Tibia non, ut nunc, orichalco juncta, tubaeque
Aemula; sed tenuis, simplexque foramine pauco,
Aspirare et adesse choris erat utilis, atque
Nondum spissa nimis conplere sedilia flatu: 205
Quo sane populus numerabilis, utpote parvus
Et frugi castusque verecundusque coibat.
Postquam coepit agros extendere victor, et urbem
Laxior amplecti murus, vinoque diurno
Placari Genius festis inpune diebus; 210
Accessit numerisque modisque licentia major.
Indoctus quid enim saperet liberque laborum,
Rusticus urbano confusus, turpis honesto?
Sic priscae motumque et luxuriem addidit arti
Tibicen, traxitque vagus per pulpita vestem: 215
Sic etiam fidibus voces crevere severis,
Et tulit eloquium insolitum facundia praeceps;
Utiliumque sagax rerum, et divina futuri,
Sortilegis non discrepuit sententia Delphis.
Carmine qui tragico vilem certavit ob hircum, 220
Mox etiam agrestis Satyros nudavit, et asper
Incolumi gravitate jocum tentavit: eo quod
Inlecebris erat et grata novitate morandus
Spectator functusque sacris, et potus, et exlex.
Verum ita risores, ita commendare dicacis 225
Conveniet Satyros, ita vertere seria ludo;
Ne quicunque Deus, quicunque adhibebitur heros
Regali conspectus in auro nuper et ostro,
Migret in obscuras humili sermone tabernas:
Aut, dum vitat humum, nubes et inania captet. 230
Effutire levis indigna tragoedia versus,
Ut festis matrona moveri jussa diebus,
Intererit Satyris paulum pudibunda protervis.
Non ego inornata et dominantia nomina solum
Verbaque, Pisones, Satyrorum scriptor amabo: 235
Nec sic enitar tragico differre colori;
Ut nihil intersit, Davusne loquatur et audax
Pythias emuncto lucrata Simone talentum;
An custos famulusque Dei Silenus alumni.
Ex noto fictum carmen sequar: ut sibi quivis 240
Speret idem; sudet multum, frustraque laboret
Ausus idem: tantum series juncturaque pollet:
Tantum de medio sumtis accedit honoris.
Silvis deducti caveant, me judice, Fauni,
Ne velut innati triviis, ac pene forenses, 245
Aut nimium teneris juvenentur versibus umquam,
Aut inmunda crepent ignominiosaque dicta.
Offenduntur enim, quibus est equus, et pater, et res;
Nec, si quid fricti ciceris probat et nucis emtor,
Aequis accipiunt animis, donantve corona. 250
Syllaba longa brevi subjecta, vocatur Iambus,
Pes citus: unde etiam Trimetris adcrescere jussit
Nomen Iambeis, cum senos redderet ictus
Primus ad extremum similis sibi: non ita pridem,
Tardior ut paulo graviorque veniret ad auris, 255
Spondeos stabilis in jura paterna recepit
Commodus et patiens: non ut de sede secunda
Cederet, aut quarta socialiter. Hic et in Accî
Nobilibus Trimetris apparet rarus, et Ennî.
In scenam missus cum magno pondere versus, 260
Aut operae celeris nimium curaque carentis,
Aut ignoratae premit artis crimine turpi.
Non quivis videt immodulata poëmata judex:
Et data Romanis venia est indigna poetis.
Idcircone vager, scribamque licenter? ut omnis 265
Visuros peccata putem mea; tutas et intra
Spem veniae cautus? vitavi denique culpam,
Non laudem merui. Vos exemplaria Graeca
Nocturna versate manu, versate diurna.
At vestri proavi Plautinos et numeros et 270
Laudavere sales; nimium patienter utrumque
(Ne dicam stulte) mirati: si modo ego et vos
Scimus inurbanum lepido seponere dicto,
Legitimumque sonum digitis callemus et aure.
Ignotum tragicae genus invenisse Camenae 275
Dicitur, et plaustris vexisse poëmata Thespis
Qui canerent agerentque, peruncti faecibus ora.
Post hunc personae pallaeque repertor honestae
Aeschylos et modicis instravit pulpita tignis,
Et docuit magnumque loqui, nitique cothurno. 280
Successit vetus his Comoedia, non sine multa
Laude: sed in vitium libertas excidit, et vim
Dignam lege regi: lex est accepta; chorusque
Turpiter obticuit, sublato jure nocendi.
Nil intentatum nostri liquere poëtae: 285
Nec minimum meruere decus, vestigia Graeca
Ausi deserere, et celebrare domestica facta,
Vel qui Praetextas, vel qui docuere Togatas.
Nec virtute foret clarisve potentius armis,
Quam lingua, Latium; si non offenderet unum- 290
Quemque poëtarum limae labor et mora. Vos, ô
Pompilius sanguis, carmen reprehendite, quod non
Multa dies et multa litura coërcuit, atque
Praesectum decies non castigavit ad unguem.
Ingenium misera quia fortunatius arte 295
Credit, et excludit sanos Helicone poëtas
Democritus; bona pars non unguis ponere curat,
Non barbam: secreta petit loca, balnea vitat.
Nanciscetur enim pretium nomenque poëtae,
Si tribus Anticyris caput insanabile numquam 300
Tonsori Licino conmiserit. O ego laevus,
Qui purgor bilem sub verni temporis horam?
Non alius faceret meliora poëmata: verum
Nil tanti est. ergo fungar vice cotis, acutum
Reddere quae ferrum valet, exsors ipsa secandi. 305
Munus et officium, nil scribens ipse, docebo;
Unde parentur opes: quid alat formetque poëtam;
Quid deceat, quid non; quo virtus, quo ferat error.
Scribendi recte, sapere est et principium et fons.
Rem tibi Socraticae poterunt ostendere chartae: 310
Verbaque provisam rem non invita sequentur.
Qui didicit patriae quid debeat, et quid amicis;
Quo sit amore parens, quo frater amandus et hospes;
Quod sit conscripti, quod judicis officium; quae
Partes in bellum missi ducis; ille profecto 315
Reddere personae scit convenientia cuique.
Respicere exemplar vitae morumque jubebo
Doctum imitatorem, et vivas hinc ducere voces.
Interdum speciosa locis, morataque recte
Fabula, nullius veneris, sine pondere et arte, 320
Valdius oblectat populum, meliusque moratur,
Quam versus inopes rerum, nugaeque canorae.
Graiis ingenium, Graiis dedit ore rotundo
Musa loqui, praeter laudem, nullius avaris.
Romani pueri longis rationibus assem 325
Discunt in partis centum diducere. Dicas
Filius Albini, si de quincunce remota est
Uncia, quid superet, poterat dixisse, triens? Eu!
Rem poteris servare tuam. Redit uncia: quid fit?
Semis. An haec animos aerugo et cura peculî 330
Cum semel inbuerit, speramus carmina fingi
Posse linenda cedro, et levi servanda cupresso?
Aut prodesse volunt, aut delectare poëtae;
Aut simul et jocunda et idonea dicere vitae.
Quicquid praecipies, esto brevis: ut cito dicta 335
Percipiant animi dociles, teneantque fideles.
[Omne supervacuum pleno de pectore manat.]
Ficta voluptatis causa sint proxima veris:
Ne, quodcumque volet, poscat sibi fabula credi;
Neu pransae Lamiae vivum puerum extrahat alvo. 340
Centuriae seniorum agitant expertia frugis:
Celsi praetereunt austera poëmata Ramnes.
Omne tulit punctum, qui miscuit utile dulci,
Lectorem delectando, pariterque monendo.
Hic meret aera liber Sosiis, hic et mare transit, 345
Et longum noto scriptori prorogat aevum.
Sunt delicta tamen, quibus ignovisse velimus:
Nam neque chorda sonum reddit, quem volt manus et mens;
Poscentique gravem persaepe remittit acutum:
Nee semper feriet, quodcumque minabitur, arcus. 350
Verum ubi plura nitent in carmine, non ego paucis
Offendar maculis, quas aut incuria fudit,
Aut humana parum cavit natura. quid ergo est?
Ut scriptor si peccat idem librarius usque,
Quamvis est monitus, venia caret; ut citharoedus 355
Ridetur, chorda qui semper oberrat eadem:
Sic mihi qui multum cessat, fit Choerilos ille,
Quem bis terve bonum, cum risu miror; et idem
Indignor, quandoque bonus dormitat Homerus.
Verum operi longo fas est obrepere somnum. 360
Ut pictura, poësis: erit quae, si propius stes,
Te capiat magis; et quaedam, si longius abstes:
Haec amat obscurum; volet haec sub luce videri,
Judicis argutum quae non formidat acumen:
Haec placuit semel; haec decies repetita placebit. 365
O major juvenum, quamvis et voce paterna
Fingeris ad rectum, et per te sapis; hoc tibi dictum
Tolle memor: certis medium et tolerabile rebus
Recte concedi: consultus juris, et actor
Causarum mediocris; abest virtute diserti 370
Messallae, nec scit quantum Cascellius Aulus;
Sed tamen in pretio est: mediocribus esse poëtis
Non homines, non Dî, non concessere columnae.
Ut gratas inter mensas symphonia discors,
Et crassum unguentum, et Sardo cum melle papaver 375
Offendunt; poterat duci quia coena sine istis:
Sic animis natum inventumque poëma juvandis,
Si paulum summo decessit, vergit ad imum.
Ludere qui nescit, campestribus abstinet armis;
Indoctusque pilae, discive, trochive, quiescit; 380
Ne spissae risum tollant inpune coronae:
Qui nescit versus, tamen audet fingere. Quid nî?
Liber et ingenuus; praesertim census equestrem
Summam nummorum, vitioque remotus ab omni.
Tu nihil invita dices faciesve Minerva: 385
Id tibi judicium est, ea mens, si quid tamen olim
Scripseris, in Maecî descendat judicis auris,
Et patris, et nostras; nonumque prematur in annum,
Membranis intus positis. Delere licebit
Quod non edideris: nescit vox missa reverti. 390
Silvestris homines sacer interpresque Deorum
Caedibus et victu foedo deterruit Orpheus;
Dictus ob hoc lenire tigris rabidosque leones.
Dictus et Amphion, Thebanae conditor arcis,
Saxa movere sono testudinis, et prece blanda 395
Ducere quo vellet. fuit haec sapientia quondam,
Publica privatis secernere, sacra profanis;
Concubitu prohibere vago; dare jura maritis;
Oppida moliri; leges incidere ligno.
Sic honor et nomen divinis vatibus atque 400
Carminibus venit. post hos insignis Homerus
Tyrtaeusque mares animos in Martia bella
Versibus exacuit. dictae per carmina sortes,
Et vitae monstrata via est, et gratia regum
Pieriis tentata modis, ludusque repertus, 405
Et longorum operum finis; ne forte pudori
Sit tibi Musa lyrae solers, et cantor Apollo.
Natura fieret laudabile carmen, an arte,
Quaesitum est. Ego nec studium sine divite vena,
Nec rude quid possit video ingenium: alterius sic 410
Altera poscit opem res, et conjurat amice.
Qui studet optatam cursu contingere metam,
Multa tulit fecitque puer; sudavit et alsit;
Abstinuit venere et vino. qui Pythia cantat
Tibicen, didicit prius, extimuitque magistrum. 415
Nec satis est dixisse, Ego mira poëmata pango:
Occupet extremum scabies: mihi turpe relinqui est,
Et, quod non didici, sane nescire fateri.
Ut praeco, ad merces turbam qui cogit emendas;
Adsentatores jubet ad lucrum ire poëta 420
Dives agris, dives positis in foenore nummis.
Si vero est, unctum qui recte ponere possit,
Et spondere levi pro paupere, et eripere artis
Litibus inplicitum; mirabor, si sciet inter-
Noscere mendacem verumque beatus amicum. 425
Tu seu donaris seu quid donare voles cui;
Nolito ad versus tibi factos ducere plenum
Laetitiae; clamabit enim, Pulchre, bene, recte!
Pallescet: super his etiam stillabit amicis
Ex oculis rorem; saliet; tundet pede terram. 430
Ut qui conducti plorant in funere, dicunt
Et faciunt prope plura dolentibus ex animo: sic
Derisor vero plus laudatore movetur.
Reges dicuntur multis urguere culullis,
Et torquere mero quem perspexisse laborant 435
An sit amicitia dignus. si carmina condes,
Nunquam te fallant animi sub volpe latentes.
Quintilio si quid recitares: Corrige sodes
Hoc, aiebat, et hoc. melius te posse negares,
Bis terque expertum frustra? delere jubebat, 440
Et male ter natos incudi reddere versus.
Si defendere delictum, quam vertere, malles;
Nullum ultra verbum, aut operam insumebat inanem,
Quin sine rivali teque et tua solus amares.
Vir bonus et prudens versus reprehendet inertis; 445
Culpabit duros; incomptis adlinet atrum
Transverso calamo signum; ambitiosa recidet
Ornamenta; parum claris lucem dare coget;
Arguet ambigue dictum; mutanda notabit;
Fiet Aristarchus; non dicet, Cur ego amicum 450
Offendam in nugis? Hae nugae seria ducent
In mala derisum semel, exceptumque sinistre.
Ut mala quem scabies aut morbus regius urguet,
Aut fanaticus error, et iracunda Diana;
Vesanum tetigisse timent fugiuntque poëtam, 455
Qui sapiunt: agitant pueri, incautique sequuntur.
Hic, dum sublimis versus ructatur, et errat,
Si veluti merulis intentus decidit auceps
In puteum, foveamve; licet, Succurrite, longum
Clamet, io cives: non sit qui tollere curet. 460
Si curet quis opem ferre, et demittere funem;
Quî scis, an prudens huc se projecerit, atque
Servari nolit? dicam: Siculique poëtae
Narrabo interitum. Deus inmortalis haberi
Dum cupit Empedocles, ardentem frigidus Aetnam 465
Insiluit. sit jus, liceatque perire poëtis.
Invitum qui servat, idem facit occidenti.
Nec semel hoc fecit; nec si retractus erit jam,
Fiet homo, et ponet famosae mortis amorem.
Nec satis adparet, cur versus factitet; utrum 470
Minxerit in patrios cineres, an triste bidental
Moverit incestus: certe furit, ac velut ursus
Objectos caveae valuit si frangere clathros,
Indoctum doctumque fugat recitator acerbus.
Quem vero arripuit, tenet, occiditque legendo, 475
Non missura cutem, nisi plena cruoris, hirudo.