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

by Richard Hurd

THE END OF THE NOTES ON THE ART OF POETRY.

Q. HORATII FLACCI
EPISTOLA AD AUGUSTUM.

TO THE REVEREND
MR. WARBURTON.

REVEREND SIR,

Give me leave to present to you the following Essay on the Epistle to Augustus; which, whatever other merit it may want, is secure of this, that it hath been planned upon the best model. For I know not what should hinder me from declaring to you in this public manner, that it was the early pleasure I received from what you had written of this sort, which first engaged me in the province of criticism. And, if I have taken upon me to illustrate another of the finest pieces of antiquity after the same method, it is because I find myself encouraged to do so by higher considerations, than even the Authority of your example.

Criticism, considered in its ancient and noblest office of doing justice to the merits of great writers, more especially in works of poetry and invention, demands, to its perfect execution, these two qualities: a philosophic spirit, capable of penetrating the fundamental reasons of excellence in every different species of composition; and a strong imagination, the parent of what we call true taste, enabling the critic to feel the full force of his author’s excellence himself, and to impress a lively sense of it upon others. Each of these abilities is necessary. For by means of philosophy, criticism, which were otherwise a vague and superficial thing, acquires the soundness and solidity of science. And from the power of fancy, it derives that light and energy and spirit, which are wanting to provoke the public emulation and carry the general conclusions of reason into practice.

Of these talents (to regard them in their separate state) that of a strong imagination, as being the commoner of the two, one would naturally suppose should be the first to exert itself in the service of criticism. And thus it seems, in fact, to have happened. For there were very early in Greece a sort of men, who, under the name of Rhapsodists, made it their business to illustrate the beauties of their favourite writers. Though their art, indeed, was very simple; for it consisted only in acting the finest passages of their works, and in repeating them, with a rapturous kind of vehemence, to an ecstatic auditory. Whence it appears, that criticism, as being yet in its infancy, was wholly turned to admiration; a passion which true judgment as little indulges in the schools of Art, as sound philosophy in those of Nature. Accordingly these enraptured declaimers, though they travelled down to the politer ages, could not subsist in them. The fine ridicule of Plato, in one of his Dialogues[31], and the growing taste for just thinking, seem perfectly to have discredited this folly. And it was presently seen and acknowledged even by the Rhapsodist himself, that, how divinely soever he might feel himself affected by the magnetic virtue of the muse, yet, as he could give no intelligible account of its subtle operations, he was assuredly no Artist; ΘΕΙΟΝ εἶναι καὶ μὴ ΤΕΧΝΙΚΟΝ ἐπαινέτην.

From this time they, who took upon themselves the office of commenting and recommending the great writers of Greece, discharged it in a very different manner. Their researches grew severe, inquisitive, and rational. And no wonder; for the person, who now took the lead in these studies, and set the fashion of them, was a philosopher, and, which was happy for the advancement of this art, the justest philosopher of antiquity. Hence scientific or speculative criticism attained to perfection, at once; and appeared in all that severity of reason and accuracy of method, which Aristotle himself could bestow upon it.

But now this might almost seem as violent an extreme as the other. For though to understand be better than to admire, yet the generality of readers cannot, or will not, understand, where there is nothing for them to admire. So that reason, for her own sake, is obliged to borrow something of the dress, and to mimic the airs, of fancy: And Aristotle’s reason was too proud to submit to this management.

Hence, the critical plan, which the Stagirite had formed with such rigour of science, however it might satisfy the curious speculatist, wanted to be relieved and set off to the common eye by the heightenings of eloquence. This, I observed, was the easier task of the two; and yet it was very long before it was successfully attempted. Amongst other reasons of this delay, the principal, as you observe, might be the fall of the public freedom of Greece, which soon after followed. For then, instead of the free and manly efforts of genius, which alone could accomplish such a reformation, the trifling spirit of the times declined into mere verbal amusements: “whence,” as you say, “so great a cloud of scholiasts and grammarians so soon over-spread the learning of Greece, when once that famous community had lost its liberty[32].”

And what Greece was thus unable, of a long time, to furnish, we shall in vain seek in another great community, which soon after flourished, in all liberal studies. The genius of Rome was bold and elevated enough for this task. But Criticism, of any kind, was little cultivated, never professed as an art, by this people. The specimens we have of their ability in this way (of which the most elegant, beyond dispute, are the two epistles to Augustus, and the Pisos) are slight occasional attempts; made in the negligence of common sense, and adapted to the peculiar exigencies of their own taste and learning: and not by any means the regular productions of art, professedly bending itself to this work, and ambitious to give the last finishing to the critical system.

For so great an effort as this we are to look back to the confines of Greece. And there at length, and even from beneath the depression of slavery (but with a spirit that might have done honour to its age of greatest liberty) a CRITIC arose, singularly qualified for so generous an undertaking. His profession, which was that of a rhetorical sophist, required him to be fully instructed in the graces and embellishments of eloquence; and these, the vigour of his genius enabled him to comprehend in their utmost force and beauty. In a word, Longinus was the person, whom, of all the critics of antiquity, nature seems to have formed with the proper talents to give the last honour to his profession, and penetrate the very soul of fine writing.

Yet so bounded is human wit, and with such difficulty is human art compleated, that even here the advantage, which had been so fortunately gained on the one hand, was, in great measure, lost and forfeited on the other. He had softened indeed the severity of Aristotle’s plan; but, in doing this, had gone back again too far into the manner of the admiring Rhapsodist. In short, with the brightest views of nature and true beauty, which the finest imagination could afford to the best critic, he now wanted, in a good degree, that precision, and depth of thought, which had so eminently distinguished his predecessor. For, as Plotinus long ago observed of him, though he had approved himself a master of polite literature, he was NO Philosopher; ΦΙΛΟΛΟΓΟΣ ΜΕΝ, ΦΙΛΟΣΟΦΟΣ ΔΕ ΟΥΔΑΜΩΣ.

Thus the art had been shifting reciprocally into two extremes. And in one or other of these extremes, it was likely to continue. For the fame and eminent ability of their great founders had made them considered as models, in their different ways, of perfect criticism. Only it was easy to foresee which of them the humour of succeeding times would be most disposed to emulate. The catching enthusiasm and picturesque fancy of the one would be sure to prevail over the coolness and austerity of the other. Accordingly in the last and present century, when now the diligence of learned men had, by restoring the purity, opened an easy way to the study, of the old classics, a numberless tribe of commentators have attempted, after the manner of Longinus, to flourish on the excellencies of their composition. And some of them, indeed, succeeded so well in this method, that one is not to wonder it soon became the popular and only authorized form of what was reputed just Criticism. Yet, as nothing but superior genius could make it tolerable even in the best of these, it was to be expected (what experience hath now fully shewn), that it would at length, and in ordinary hands, degenerate into the most unmeaning, frivolous, and disgustful jargon, that ever discredited polite letters.

This, Sir, was the state in which you received modern Criticism: a state, which could only shew you, that, of the two models, antiquity had furnished to our use, we had learned, by an awkward imitation of it, to abuse the worst. But it did not content your zeal for the service of letters barely to remedy this abuse. It was not enough, in your enlarged view of things, to restore either of these models to its ancient splendour. They were both to be revived; or rather a new original plan of criticism was to be struck out, which should unite the virtues of each of them. The experiment was made on the TWO greatest of our own poets; and, by reflecting all the lights of the imagination on the severest reason, every thing was effected, which the warmest admirer of ancient art could promise to himself from such an union. But you went farther. By joining to these powers a perfect insight into human nature, and so ennobling the exercise of literary, by the addition of the justest moral, censure, you have now, at length, advanced CRITICISM to its full glory.

Not but, considering the inveterate foible of mankind, which the poet so justly satirizes in the following work, I mean that, which disposes them to malign and depreciate all the efforts of wit and virtue,

—nisi quae terris semota suisque
Temporibus defuncta videt—

Considering, I say, this temper of mankind, you may sooner, perhaps, expect the censures of the dull and envious of all denominations, than the candid applause of the public, even for this service.

I apprehend this consequence the rather, because criticism, though it be the last fruit of literary experience, is more exposed to the cavils of ignorance and vanity, than, perhaps, any other species of learned application: all men being forward to judge, and few men giving themselves leave to doubt of their being able to judge, of the merits of well-known and popular writers.

Nor is this all: When writers of a certain rank condescend to this work of criticism, the innovation excites a very natural ferment in the men of the profession.

Their JEALOUSY is alarmed, as if there was a design to strip them of the only honour they can reasonably pretend to, that of sitting in judgment on the inventions of their betters. But to JUDGE, he well as to INVENT, is thought a violent encroachment in the republic of Letters; not unlike the ambition of the Roman emperors, who would be consuls, and censors too, that is, would have the privilege of excluding from the senate, as well as of presiding in it.

But if jealousy were out of the case, their MALIGNITY would be much inflamed by this intrusion. For who can bear to see his own weak endeavours in any art, disgraced by a consummate model?

Besides, to say the truth, the conceptions of such writers, as I before spoke of, lie so remote from vulgar apprehension, that, without either jealousy or malignity, DULLNESS itself will be sure to create them many peevish detractors. For an ordinary critic can scarce help finding fault with what he does not understand, or being angry where he has no ideas.

On all these accounts it may possibly happen, as I said, that your critical labours will draw upon you much popular resentment and invective.

But if such should be the present effect of your endeavours to cultivate and complete this elegant part of literature, you, who know the temper of the learned world, and, by your eminent merits, have so oft provoked its injustice, will not be disturbed or surprized at it: much less should it discourage those who are disposed to do you more right, from celebrating, and, as they find themselves able, from copying your example;

For USE will father what’s begot by SENSE, as well in this, as in other instances.

You see, Sir, what there is of encomium in the turn of this Letter, was intended not so much for your sake, as my own. Had my purpose been any other, I must have chosen very ill among the various parts of your character to take this for the subject of an address to you. For, after all I have said and think of your critical abilities, it might seem almost as strange in a panegyrist on Mr. Warburton to tell of his admirable criticisms on Pope and Shakespear, as it would be in him, who should design an encomium on Socrates, to insist on his excellent sculpture of MERCURY and the GRACES. Yet there is a time, when it may be allowed to lay a stress on the amusements of such men. It is, when an adventurer in either art would do an honour to his profession.

I am, with the truest esteem,
Reverend Sir,
Your most obedient
and most humble servant,
R. Hurd.
Cambridge,
March 29, 1753.

Q. HORATII FLACCI
EPISTOLA AD AUGUSTUM.

Cum tot sustineas et tanta negotia solus,
Res Italas armis tuteris, moribus ornes,
Legibus emendes; in publica commoda peccem,
Si longo sermone morer tua tempora, Caesar.
Romulus, et Liber pater, et cum Castore Pollux, 5
Post ingentia fata, Deorum in templa recepti,
Dum terras hominumque colunt genus, aspera bella
Conponunt, agros adsignant, oppida condunt;
Ploravere suis non respondere favorem
Speratum meritis. diram qui contudit Hydram, 10
Notaque fatali portenta labore subegit,
Comperit invidiam supremo fine domari.
Urit enim fulgore suo, qui praegravat artis
Infra se positas: extinctus amabitur idem.
Praesenti tibi maturos largimur honores, 15
Jurandasque tuum per numen ponimus aras,
Nil oriturum alias, nil ortum tale fatentes.
Sed tuus hoc populus sapiens et justus in uno,
Te nostris ducibus, te Graiis anteferendo,
Cetera nequaquam simili ratione modoque 20
Aestimat; et, nisi quae terris semota suisque
Temporibus defuncta videt, fastidit et odit:
Sic fautor veterum, ut Tabulas peccare vetantis,
Quas bis quinque viri sanxerunt, Foedera regum
Vel Gabiis vel cum rigidis aequata Sabinis, 25
Pontificum libros, annosa volumina Vatum,
Dictitet Albano Musas in monte locutas.
Si, quia Graiorum sunt antiquissima quaeque
Scripta vel optima, Romani pensantur eadem
Scriptores trutina; non est quod multa loquamur: 30
Nil intra est olea, nil extra est in nuce duri:
Venimus ad summum fortunae: pingimus, atque
Psallimus, et luctamur Achivis doctius unctis.
Si meliora dies, ut vina, poemata reddit;
Scire velim, chartis pretium quotus arroget annus, 35
Scriptor ab hinc annos centum qui decidit, inter
Perfectos veteresque referri debet, an inter
Vilis atque novos? excludat jurgia finis.
Est vetus atque probus centum qui perficit annos.
Quid? qui deperiit minor uno mense vel anno, 40
Inter quos referendus erit? veteresne poetas,
An quos et praesens et postera respuat aetas?
Iste quidem veteres inter ponetur honeste,
Qui vel mense brevi, vel toto est junior anno.
Utor permisso, caudaeque pilos ut equinae 45
Paullatim vello; et demo unum, demo et item unum;
Dum cadat elusus ratione ruentis acervi,
Qui redit in fastos, et virtutem aestimat annis,
Miraturque nihil, nisi quod Libitina sacravit.
Ennius et sapiens, et fortis, et alter Homerus, 50
Ut critici dicunt, leviter curare videtur
Quo promissa cadant, et somnia Pythagorea.
Naevius in manibus non est, et mentibus haeret
Pene recens? adeo sanctum est vetus omne poema.
Ambigitur quotiens, uter utro sit prior; aufert 55
Pacuvius docti famam senis, Accius alti:
Dicitur Afranî toga convenisse Menandro:
Plautus ad exemplar Siculi properare Epicharmi;
Vincere Caecilius gravitate, Terentius arte.
Hos ediscit, et hos arto stipata theatro 60
Spectat Roma potens; habet hos numeratque poetas
Ad nostrum tempus, Livî Scriptoris ab aevo.
Interdum volgus rectum videt: est ubi peccat.
Si veteres ita miratur laudatque poetas,
Ut nihil anteferat, nihil illis comparet; errat: 65
Si quaedam nimis antique, si pleraque dure
Dicere cedit eos, ignave multa fatetur;
Et sapit, et mecum facit, et Jove judicat aequo.
Non equidem insector, delendave carmina Laevî
Esse reor, memini quae plagosum mihi parvo 70
Orbilium dictare; sed emendata videri
Pulchraque, et exactis minimum distantia, miror:
Inter quae verbum emicuit si forte decorum,
Si versus paulo concinnior unus et alter;
Injuste totum ducit venitque poema. 75
Indignor quicquam reprehendi, non quia crasse
Compositum, inlepideve putetur, sed quia nuper:
Nec veniam antiquis, sed honorem et praemia posci.
Recte necne crocum floresque perambulet Attae
Fabula, si dubitem; clament periisse pudorem 80
Cuncti pene patres: ea cum reprehendere coner,
Quae gravis Aesopus, quae doctus Roscius egit.
Vel quia nil rectum, nisi quod placuit sibi, ducunt;
Vel quia turpe putant parere minoribus, et, quae
Inberbi didicere, senes perdenda fateri. 85
Jam Saliare Numae carmen qui laudat, et illud
Quod mecum ignorat, solus volt scire videri;
Ingeniis non ille favet plauditque sepultis,
Nostra sed inpugnat, nos nostraque lividus odit.
Quod si tam Graiis novitas invisa fuisset, 90
Quam nobis; quid nunc esset vetus? aut quid haberet,
Quod legeret tereretque viritim publicus usus?
Ut primum positis nugari Graecia bellis
Coepit, et in vitium fortuna labier aequa;
Nunc athletarum studiis, nunc arsit equorum: 95
Marmoris, aut eboris fabros, aut aeris amavit;
Suspendit picta vultum mentemque tabella;
Nunc tibicinibus, nunc est gavisa tragoedis:
Sub nutrice puella velut si luderet infans,
Quod cupide petiit, mature plena reliquit. 100
Quid placet, aut odio est, quod non mutabile credas?
Hoc paces habuere bonae, ventique secundi.
Romae dulce diu fuit et sollenne, reclusa
Mane domo vigilare, clienti promere jura:
Scriptos nominibus rectis expendere nummos: 105
Majores audire, minori dicere, per quae
Crescere res posset, minui damnosa libido.
Mutavit mentem populus levis, et calet uno
Scribendi studio: puerique patresque severi
Fronde comas vincti coenant, et carmina dictant. 110
Ipse ego, qui nullos me adfirmo scribere versus,
Invenior Parthis mendacior; et prius orto
Sole vigil, calamum et chartas et scrinia posco.
Navem agere ignarus navis timet: abrotonum aegro
Non audet, nisi qui didicit, dare: quod medicorum est, 115
Promittunt medici: tractant fabrilia fabri:
Scribimus indocti doctique poemata passim.
Hic error tamen et levis haec insania quantas
Virtutes habeat, sic collige: vatis avarus
Non temere est animus: versus amat, hoc studet unum; 120
Detrimenta, fugas servorum, incendia ridet:
Non fraudem socio, puerove incogitat ullam
Pupillo: vivit siliquis, et pane secundo:
Militiae quanquam piger et malus, utilis urbi;
Si das hoc, parvis quoque rebus magna juvari; 125
Os tenerum pueri balbumque poëta figurat:
Torquet ab obscoenis jam nunc sermonibus aurem;
Mox etiam pectus praeceptis format amicis,
Asperitatis et invidiae corrector et irae:
Recte facta refert; orientia tempora notis 130
Instruit exemplis; inopem solatur et aegrum.
Castis cum pueris ignara puella mariti
Disceret unde preces, vatem ni Musa dedisset?
Poscit opem chorus, et praesentia numina sentit;
Coelestis implorat aquas, docta prece blandus; 135
Avertit morbos, metuenda pericula pellit;
Inpetrat et pacem, et locupletem frugibus annum:
Carmine Dî superi placantur, carmine Manes.
Agricolae prisci, fortes, parvoque beati,
Condita post frumenta, levantes tempore festo 140
Corpus et ipsum animum spe finis dura ferentem,
Cum sociis operum pueris et conjuge fida,
Tellurem porco, Silvanum lacte piabant,
Floribus et vino Genium memorem brevis aevi.
Fescennina per hunc invecta licentia morem 145
Versibus alternis opprobria rustica fudit;
Libertasque recurrentis accepta per annos
Lusit amabiliter: donec jam saevus apertam
In rabiem coepit verti jocus, et per honestas
Ire domos impune minax. doluere cruento 150
Dente lacessiti: fuit intactis quoque cura
Conditione super communi: quin etiam lex
Poenaque lata, malo quae nollet carmine quemquam
Describi. vertere modum, formidine fustis
Ad bene dicendum delectandumque redacti. 155
Graecia capta ferum victorem cepit, et artis
Intulit agresti Latio. sic horridus ille
Defluxit numerus Saturnius, et grave virus
Munditiae pepulere: sed in longum tamen aevum
Manserunt, hodieque manent, vestigia ruris. 160
Serus enim Graecis admovit acumina chartis;
Et post Punica bella quietus quaerere coepit,
Quid Sophocles et Thespis et Aeschylos utile ferrent:
Tentavit quoque rem, si digne vertere posset:
Et placuit sibi, natura sublimis et acer. 165
Nam spirat tragicum satis, et feliciter audet;
Sed turpem putat inscitus metuitque lituram.
Creditur, ex medio quia res arcessit, habere
Sudoris minimum; sed habet Comoedia tanto
Plus oneris, quanto veniae minus. aspice, Plautus 170
Quo pacto partis tutetur amantis ephebi;
Ut patris attenti, lenonis ut insidiosi:
Quantus sit Dossennus edacibus in parasitis:
Quam non adstricto percurrat pulpita socco.
Gestit enim nummum in loculos demittere; post hoc 175
Securus, cadat an recto stet fabula talo.
Quem tulit ad scenam ventoso gloria curru,
Exanimat lentus spectator, sedulus inflat.
Sic leve, sic parvum est, animum quod laudis avarum
Subruit ac reficit. valeat res ludicra, si me 180
Palma negata macrum, donata reducit opimum.
Saepe, etiam audacem, fugat hoc terretque poetam;
Quod numero plures, virtute et honore minores,
Indocti, stolidique, et depugnare parati
Si discordet eques, media inter carmina poscunt 185
Aut ursum aut pugiles: his nam plebecula gaudet.
Verum equiti quoque jam migravit ab aure voluptas
Omnis, ad ingratos oculos, et gaudia vana.
Quatuor aut pluris aulaea premuntur in horas;
Dum fugiunt equitum turmae, peditumque catervae: 190
Mox trahitur manibus regum fortuna retortis:
Esseda festinant, pilenta, petorrita, naves:
Captivum portatur ebur, captiva Corinthus.
Si foret in terris, rideret Democritus; seu
Diversum confusa genus panthera camelo, 195
Sive elephas albus volgi converterit ora:
Spectaret populum ludis attentius ipsis,
Ut sibi praebentem mimo spectacula plura:
Scriptores autem narrare putaret asello
Fabellam surdo. nam quae pervincere voces 200
Evaluere sonum, referunt quem nostra theatra?
Garganum mugire putes nemus, aut mare Tuscum.
Tanto cum strepitu ludi spectantur, et artes,
Divitiaeque peregrinae: quibus oblitus actor
Cum stetit in scena, concurrit dextera laevae: 205
Dixit adhuc aliquid? nil sane. quid placet ergo?
Lana Tarentino violas imitata veneno.
Ac ne forte putes me, quae facere ipse recusem,
Cum recte tractent alii, laudare maligne:
Ille per extentum funem mihi posse videtur 210
Ire poeta; meum qui pectus inaniter angit,
Inritat, mulcet, falsis terroribus inplet,
Ut magus; et modo me Thebis, modo ponit Athenis.
Verum age, et his, qui se lectori credere malunt,
Quam spectatoris fastidia ferre superbi, 215
Curam impende brevem: si munus Apolline dignum
Vis complere libris; et vatibus addere calcar,
Ut studio majore petant Helicona virentem.
Multa quidem nobis facimus mala saepe poëtae,
(Ut vineta egomet caedam mea) cum tibi librum 220
Sollicito damus, aut fesso: cum laedimur, unum
Si quis amicorum est ausus reprendere versum:
Cum loca jam recitata revolvimus inrevocati:
Cum lamentamur non adparere labores
Nostros, et tenui deducta poemata filo: 225
Cum speramus eo rem venturam, ut, simul atque
Carmina rescieris nos fingere, commodus ultro
Arcessas, et egere vetes, et scribere cogas.
Sed tamen est operae pretium cognoscere, qualis
Aedituos habeat belli spectata domique 230
Virtus, indigno non committenda poetae.
Gratus Alexandro regi Magno fuit ille
Choerilos, incultis qui versibus et male natis
Rettulit acceptos, regale nomisma, Philippos.
Sed veluti tractata notam labemque remittunt 235
Atramenta, fere scriptores carmine foedo
Splendida facta linunt. idem rex ille, poëma
Qui tam ridiculum tam care prodigus emit,
Edicto vetuit; ne quis se, praeter Apellen
Pingeret, aut alius Lysippo cuderet aera 240
Fortis Alexandri voltum simulantia. quod si
Judicium subtile videndis artibus illud
Ad libros et ad haec Musarum dona vocares;
Boeotum in crasso jurares aëre natum.
At neque dedecorant tua de se judicia, atque 245
Munera, quae multa dantis cum laude tulerunt,
Dilecti tibi Virgilius Variusque poetae:
Nec magis expressi voltus per aënea signa,
Quam per vatis opus mores animique virorum
Clarorum adparent. nec sermones ego mallem 250
Repentis per humum, quam res componere gestas,
Terrarumque situs, et flumina dicere, et arcis
Montibus impositas, et barbara regna, tuisque
Auspiciis totum confecta duella per orbem,
Claustraque custodem pacis cohibentia Janum, 255
Et formidatam Parthis, te principe, Romam:
Si quantum cuperem, possem quoque. sed neque parvum
Carmen majestas recipit tua; nec meus audet
Rem tentare pudor, quam vires ferre recusent.
Sedulitas autem stulte, quem diligit, urguet; 260
Praecipue cum se numeris commendat et arte.
Discit enim citius, meminitque libentius illud
Quod quis deridet, quam quod probat et veneratur.
Nil moror officium, quod me gravat: ac neque ficto
In pejus voltu proponi cereus usquam, 265
Nec prave factis decorari versibus opto:
Ne rubeam pingui donatus munere, et una
Cum scriptore meo capsa porrectus operta,
Deferar in vicum vendentem tus et odores,
Et piper, et quicquid chartis amicitur ineptis. 270