This may be understood of any harbour; but it is generally interpreted to refer to the Portus Julius, a haven formed by letting in the sea upon the Lucrine Lake, and forming a junction between that and the Lake Avernus; a work, commenced by Julius Caesar, and compleated by Augustus, or Agrippa under his auspices. Regis opus! Both these lakes (says Martin) were in Campania: the former was destroyed by an earthquake; but the latter is the present Lago d'Averno. Strabo, the Geographer, who, as well as our Poet, was living at the time, ascribes this work to Agrippa, and tells us that the Lucrine bay was separated from the Tyrrhene sea by a mound, said to have been first made by Hercules, and restored by Agrippa. Philargyrius says that a storm arose at the time of the execution of this great work, to which Virgil seems to refer in his mention of this Port, in the course of his Panegyrick on Italy in the second Georgick.
An memorem portus Lucrinoque addita claustra,
Atque indignatem magnis strideribus aequor,
Julia qua ponto longe sonat unda refuso,
Tyrrbenusque fretis immittitur aeflut AVERNIS?
Or shall I praise thy Ports, or mention make
Of the vast mound, that binds the Lucrine Lake?
Or the disdainful sea, that, shut from thence,
Roars round the structure, and invades the fence;
There, where secure the Julian waters glide,
Or where Avernus' jaws admit the Tyrrhene tide?
DRYDEN.
98.—WHETHER THE MARSH, &c. Sterilisve Palus.]
THE PONTINE MARSH, first drained by the Consul Cornelius Cethegus; then, by Augustus; and many, many years after by Theodorick.
102.—OR IF THE RIVER, &c.] Sen cursum, &c. The course of the Tyber, changed by Augustus, to prevent inundations.
110.—FOR DEEDS OF KINGS, &c.] Res gestae regumque, &c.
The ingenious author of the English Commentary, to whom I have so often referred, and to whom I must continue to refer, has discovered particular taste, judgement, and address, in his explication of this part of the Epistle. runs thus.
"From reflections on poetry, at large, he proceeds now to particulars: the most obvious of which being the different forms and measures of poetick composition, he considers, in this view, [from v. 75 to 86] the four great species of poetry, to which all others may be reduced, the Epick, Elegiack, Dramatick, and Lyrick. But the distinction of the measure, to be observed in the several species is so obvious, that there can scarcely be any mistake about them. The difficulty is to know [from v. 86 to 89] how far each may partake of the spirit of the other, without destroying that natural and necessary difference, which ought to subsist betwixt them all. To explain this, which is a point of great nicety, he considers [from v. 89 to 99] the case of Dramatick Poetry; the two species of which are as distinct from each other, as any two can be, and yet there are times, when the features of the one will be allowed to resemble those of the other.—But the Poet had a further view in choosing this instance. For he gets by this means into the main of his subject, which was Dramatick Poetry, and, by the most delicate transition imaginable, proceeds [from 89 to 323] to deliver a series of rules, interspersed with historical accounts, and enlivened by digressions, for the regulation of the Roman stage."
It is needless to insist, that my hypothesis will not allow me to concur entirely in the latter part of this extract; at least in that latitude, to which; the system of the writer carries it: yet I perfectly agree with Mr. Duncombe, that the learned Critick, in his observations on this Epistle, "has shewn, in general, the connection and dependence of one part with another, in a clearer light than any other Commentator." His shrewd and delicate commentary is, indeed, a most elegant contrast to the barbarous analysis of Scaliger, drawn up without the least idea of poetical transition, and with the uncouth air of a mere dry logician, or dull grammarian. I think, however, the Order and Method, observed in this Epistle, is stricter than has yet been observed, and that the series of rules is delivered with great regularity; NOT enlivened by digressions, but passing from one topick to another, by the most natural and easy transitions. The Author's discrimination of the different stiles of the several species of poetry, leads him, as has been already shewn, to consider the diction of the Drama, and its accommodation to the circumstances and character of the Speaker. A recapitulation of these circumstances carries him to treat of the due management of characters already known, as well as of sustaining those that are entirely original; to the first of which the Poet gives the preference, recommending known characters, as well as known subjects: And on the mention of this joint preference, the Author leaves further consideration of the diction, and slides into discourse upon the fable, which he continues down to the 152d verse.