Its over-fertile and luxuriant field
Medicines and poisons intermixt doth yield;
for therein
Love with soft passions and rich language drest
Oft steals the heart out of th' ingenuous breast.
("Odyssey," iv. 230; "Iliad," xiv. 216.)
And indeed such only are endangered thereby, for the charms of that art ordinarily affect not those that are downright sots and naturally incapable of learning. Wherefore, when Simonides was asked why of all men he could not deceive the Thessalians, his answer was, Because they are not so well bred as to be capable of being cajoled by me. And Gorgias used to call tragical poems cheats, wherein he that did cheat was juster than he that did not cheat, and he that was cheated was wiser than he that was not cheated.
It deserves therefore our consideration, whether we shall put young men into Epicurus's boat,—wherein, having their ears stopped with wax, as those of the men of Ithaca were, they shall be obliged to sail by and not so much as touch at poetry,—or rather keep a guard on them, so as to oblige their judgments by principles of right reason to use it aright, and preserve them from being seduced to their hurt by that which affords them so much delight. For neither did Lycurgus, the valiant son of Dryas (as Homer calls him) ("Iliad," vi. 130.) act like a man of sound reason in the course which he took to reform his people that were much inclined to drunkenness, by travelling up and down to destroy all the vines in the country; whereas he should have ordered that every vine should have a well of water near it, that (as Plato saith) the drunken deity might be reduced to temperance by a sober one. For water mixed with wine takes away the hurtful spirits, while it leaves the useful ones in it. Neither should we cut down or destroy the Muses' vine, poetry; but where we perceive it luxuriates and grows wild through an ungoverned appetite of applause, there ought we to prune away or keep under the fabulous and theatrical branches thereof; and where we find any of the Graces linked to any of the Muses,—that is, where the lusciousness and tempting charms of language are not altogether barren and unprofitable,—there let us make use of philosophy to incorporate with it.
For as, where the mandrake grows near the vine and so communicates something of its force thereto, the wine that is made of its grapes makes the sleep of those that drink it more refreshing; so doth the tempering poetry with the principles of philosophy and allaying their roughness with its fictions render the study of them more easy and the relish of them more grateful to young learners. Wherefore those that would give their minds to philosophical studies are not obliged to avoid poetry altogether, but rather to introduce themselves to philosophy by poems, accustoming themselves to search for and embrace that which may profit in that which pleaseth them, and rejecting and discarding that wherein they find nothing of this nature. For this discrimination is the first step to learning; and when this is attained, then, according to what Sophocles saith,—
To have begun well what we do intend
Gives hope and prospect of as good an end.
Let us therefore in the first place possess those whom we initiate in the study of poetry with this notion (as one which they ought always to have at hand), that
'Tis frequently the poet's guise
To intermingle truth with lies;—
which they do sometimes with and sometimes against their wills. They do it with their wills, because they find strict truth too rigid to comply with that sweetness and gracefulness of expression, which most are taken with, so readily as fiction doth. For real truth, though it disgust never so much, must be told as it is, without alteration; but that which is feigned in a discourse can easily yield and shift its garb from the distasteful to that which is more pleasing. And indeed, neither the measures nor the tropes nor the grandeur of words nor the aptness of metaphors nor the harmony of the composition gives such a degree of elegance and gracefulness to a poem as a well-ordered and artificial fiction doth. But as in pictures the colors are more delightful to the eye than the lines because those give them a nearer resemblance to the persons they were made for, and render them the more apt to deceive the beholder; so in poems we are more apt to be smitten and fall in love with a probable fiction than with the greatest accuracy that can be observed in measures and phrases, where there is nothing fabulous or fictitious joined with it. Wherefore Socrates, being induced by some dreams to attempt something in poetry, and finding himself unapt, by reason that he had all his lifetime been the champion of severe truth, to hammer out of his own invention a likely fiction, made choice of Aesop's fables to turn into verse; as judging nothing to be true poetry that had in it nothing of falsehood. For though we have known some sacrifices performed without pipes and dances, yet we own no poetry which is utterly destitute of fable and fiction. Whence the verses of Empedocles and Parmenides, the Theriaca of Nicander, and the sentences of Theognis, are rather to be accounted speeches than poems, which, that they might not walk contemptibly on foot, have borrowed from poetry the chariot of verse, to convey them the more creditably through the world. Whensoever therefore anything is spoken in poems by any noted and eminently famous man, concerning gods or daemons or virtue, that is absurd or harsh, he that takes such sayings for truths is thereby misled in his apprehension and corrupted with an erroneous opinion. But he that constantly keeps in his mind and maintains as his principle that the witchcraft of poetry consists in fiction, he that can at all turns accost it in this language,—