Page 15. l. 3. Vossius's Definition is short as it makes the Essence of Poetry consist solely in Imitation. Add this Note, The Author of Observations on Poetry occasioned by the late Poem on Leonidas, p. 71. finds the same Fault with Aristotle; who "by this, says he, excludes all descriptive Poetry; and accordingly he (Aristotle) directs the epic poet to introduce his characters, and write in dialogue, as much as possible, for this reason, that when the poet speaks himself, he is not an imitator. Plato has more justly distinguish'd, that some kinds of Poetry consist wholly in imitation, as tragedy and comedy; some in narration only, where the poet speaks in his own person, as odes; whereas some, as the epic, contain a mixture of both." For my Part, I cannot think it any great Violence put upon Words to allow that Description or Narration is Imitation. It is certain Aristotle uses the Word Imitation in this Sense, c. 3. και ναρ ιν τοιϛ αυ τοιϛ και αιτα μιμε αθ αι ισιν, οτι μεν απαγρελλο, η ἑτιρον τε γιγιομενσιϛ, A Poet may imitate the same Things either by Narration, or by assuming the Character of some other Person: And c. 22, 23. he distinguishes περι τηϛ οιτε ορθτειν μιμησιωϛ, and περι τηϛ δραγεαστικηϛ, between Dramatic Imitation, and Narrative: and c. 2. & 4. he mentions the Dithyrambics and Nomi, Hymns in Honour of Bacchus and Apollo, and other Odes, as Instances of Poetic Imitation. Now, I need not observe, that if in these Hymns and Odes, Actions, as Dacier contends, were imitated by Description or Narration, other Things may likewise. Nay Plato himself has omitted descriptive Poetry, as well as Aristotle if it is not included under narrative.
But still, if it is, the ingenious Author will not allow it to be Imitation, upon the Authority of Plato. Now as to Plato, Dan. Heinsius long since observed, that tho', with Dr. Pemberton, he sometimes speaks of Imitation as a Species of Poetry, yet at other times he agrees with Aristotle, in making it the Genus. In short, these two Philosophers are agreed, that All Poetry is Imitation; but Dramatic Imitation, or that which is supported by Dialogue, is more peculiarly so.
Next let us see if Dr. Pemberton's own Account of Poetry will not lead us to think Description to be Imitation. He observes, p. 75. That it is the peculiar Office of the Poet, in Opposition to the Prose-writer, to exhibit continually sensible Images of things. Now Images are surely Likenesses or Imitations; and whether these are the genuine Images of the Poet's Subject, or adventitious ones fetch'd in to illustrate it, still 'tis all Imagery: Imitation is his distinguishing Character. Again, p. 98. he observes, The language of comedy receives its poetic Air not by departing from the ordinary forms of speech, but by keeping more close to them. So that where we almost lose Sight of Poetry, the Traces of it are preserved by Imitation. Upon the whole 1. we see Plato and Aristotle use Imitation in a larger Sense than Dr. Pemberton was aware of; and 2. the Doctor naturally falls into the Sentiments of both, while he opposes one of them.
Vossius, it seems, and Dacier go farther, and suppose that Aristotle makes Poetry consist in the Imitation of Actions only. But the Words, c. 2. as Dr. Trapp observes, very well bear another Sense, ιπειδη μιμενται ον μιμουμενοι πορθονταϛ, &c. Since Imitators, or Poets imitate Actions, i.e. as well as other things; or possibly thus, joining ποθιτδοιδαϛ to μιμουμενοι, since those that imitate Actions are Imitators,—such Actions, he goes on, must be either good or bad.
As to Dacier, I cannot well make him consistent with himself: Aristotle, says he, c. 2. rem. 1. lays it down as an undoubted Principle, that All those that imitate, imitate Actions; and indeed it is so, for there is nothing else but Actions which can be imitated. And yet upon Aristotle's saying that Music is Imitation, he observes, that whatever employs means to shew and represent any Subject as naturally as may be, whether it Does Really Exist or no, is called Imitation. Does he by Actions above mean Effects? Aristotle, it must be own'd, instances in Actions as the Objects of Poetic Imitation, being to treat of Epic and Dramatic Poetry particularly. But he ascribes the Rise of Poetry in general to the Desire of Imitation, and the Pleasure we take in comparing the Likeness of Copies with their Originals. And this Faculty surely is exercised not only in viewing the Description of a Man, but of a Mountain; not only in representing the Conflicts of Passion, but
A painted Meadow and a purling Stream.
P. 154. l. 10, 11, r. thus
Tartuffe in English freely I resign; The Excrement is his, the Food was mine.
P. 303. l. 2. add this Note, I make no Doubt, but for ιπαγγελιαϛ the former being never used for Narration, the latter more than once by Aristotle, as c. 2. απαγγελιαϛ, and c. 6. ὁτε μεν απαγγελλοντα