[27] With all my respect for the learning of the good old man, it is impossible, now and then, to suppress a smile at his simplicity. In apologizing for his translation, he says: "As for publishing poetry, it needs no defense; there being, if my Lord of Verulam's judgment shall be admitted, 'a divine rapture in it!'"
[28] He evidently alludes to the versions of the second and eighth Satires by Tate and Stepney, but principally to the latter, in which Juvenal illustrates his argument by the practice of Smithfield and Newmarket! Indeed, Dryden himself, though confessedly aware of its impropriety, is not altogether free from "innovation;" he talks of the Park, and the Mall, and the Opera, and of many other objects, familiar to the translator, but which the original writer could only know by the spirit of prophecy.
I am sensible how difficult it is to keep the manners of different ages perfectly distinct in a work like this: I have never knowingly confounded them, and, I trust, not often inadvertently; yet more occasions perhaps of exercising the reader's candor will appear, after all, than are desirable.
[29] Yet Johnson knew him well. The peculiarity of Juvenal, he says (vol. ix., p. 424), "is a mixture of gayety and stateliness, of pointed sentences, and declamatory grandeur." A good idea of it may be formed from his own beautiful imitation of the third Satire. His imitation of the tenth (still more beautiful as a poem) has scarcely a trait of the author's manner—that is to say, of that "mixture of gayety and stateliness," which, according to his own definition, constitutes the "peculiarity of Juvenal." "The Vanity of Human Wishes" is uniformly stately and severe, and without those light and popular strokes of sarcasm which abound so much in his "London."
[30] In the fourteenth Satire, for example, there is an omission of fifteen lines, and this, too, in a passage of singular importance.
[31] Sub-Dean and Prebendary of Westminster, and Vicar of Croydon, in Surrey.
[32] The architect of Eton Hall, Cheshire, a structure which even now stands pre-eminent among the works which embellish the nation, and which future times will contemplate with equal wonder and delight.