Crites. "Well, for daubing and wheedling, I'll let thee loose to any poet in Christendom."
Bays. "That, if by his mighty feat he could form those Irish atoms of Lucretius into so regular, and well-disciplined an army, could raise such harmony out of a dull unmusical philosopher, how glorious and exalted would his attempts be upon Horace, or what might we not expect from so advantageous, so promising an undertaking. And so, gentlemen, with the help of a little incense and flattery, I so cajoled this Æsop's crow, that he presently dropt his Epicurean cheese out of his mouth, to sing one of his unmusical ill-turned Odes of Horace. I persuaded this Welch courser to leave his ragged unaccessible precipices, where there was no coming after him, to try his strength and feet upon good plain ground, where an English vinegar horse, I knew, would easily distance him." The Reasons of Mr Bayes changing his Religion considered in a Dialogue.
Shields, or whoever wrote Creech's Life, in the collection to which Theophilus Cibber gave his name, has not only adopted this tale of scandal, but has added, that the great contempt expressed by Dryden for the translation of Horace, gave the author a shock, from which he never recovered, and, in short, occasioned his falling into low-spirits, and finally committing suicide. The passage, to which this note refers, is sufficient to clear our author from so gross and scandalous a reproach. It shews that after the publication of Creech's Horace he continued, in the most public manner, not only to speak kindly and respectfully of the translator, but to stimulate him to new exertions. It is hence evident, that no breach of friendship took place between them on this occasion; far less could Dryden have driven him to despair by harshness or contempt. The inference, that Dryden urged Creech to attempt Horace, because he foresaw his failure, seems the unfounded deduction of calumny and envy. In the dedication to the Translation of Horace, which is addressed to our author, Creech himself bears the following strong testimony to the liberality of Dryden's sentiments.
"'Tis you, sir, that have advanced our dramatic to its height, and showed that epic poetry is not confined to Italy and Greece. That you are honoured by the best, and envied by others, proclaims excellency and worth; for, true honour is built only upon perfection; and envy, as it is as sharp sighted, so 'tis as soaring as an eagle; and who ever saw it stoop at a sparrow or a wren? and that candour and goodness have the greatest share in your composition, I dare appeal to every one whom you have any way favoured with your conversation; these so fill your mind, that there is no room left for pride, or any disobliging quality. This appears from the encouragement you are ready to give any tolerable attempts, and reach out a helping hand to all those who endeavour to climb that height where you are already seated. Even this owes its completion to those smiles which you condescended to bestow upon some parts of it, and now ventures to appear a second time, where at first it found a favourable entertainment."
The reader will observe that this dedication is prefixed to the second edition of the Translation of Horace; a circumstance which confutes the assertion that Dryden ridiculed the work, and indeed the whole of a tale, so malignantly invented by slander, and repeated by credulity.
[39] Marcus Manilius, a poet of the Augustan age, wrote the poem on astronomy, to which Dryden refers.
[40] Sir Henry Shere published his Translation of Polybius in 1692-3, in two volumes, 8vo., to which there was prefixed a character of the author, and of his writings, by Dryden.
[41] Ægiatis was the first wife of Cleomenes. The reader will find an account of the modest custom of Sparta here alluded to, with a curious advantage taken of it by a stranger, in "Les Voyages D'Antenor."
[42] It is surprising that Dryden has not here availed himself of the beautiful and affectionate apostrophe of Cleomenes, when he saw his brother Eucleidas overpowered in the battle of Sellasia: "Thou art lost, dear brother! lost for ever, thou brave example to our Spartan youth, and theme of our matrons' songs!"
[43] This very appropriate simile is taken literally from Plutarch. See the prefixed Life of Cleomenes, p. 239.