i. e. a soft flowing versification, and an exquisitely finished expression: the two precise, characteristic merits of Virgil’s rural poetry.
This change, in the sense of words, is common in all languages, and creeps in so gradually and imperceptibly as to elude the notice, sometimes, of the best critics, even in their own language. The transition of ideas, in the present instance, may be traced thus. As what was wittily said, was most studied, artificial, and exquisite, hence in process of time facetum lost its primary sense, and came to signify merely, witty.
We have a like example in our own language. A good wit meant formerly a man of good natural sense and understanding: but because what we now call wit was observed to be the flower and quintessence, as it were, of good sense, hence a man of wit is now the exclusive attribute of one who exerts his good sense in that peculiar manner.
247. Dilecti tibi Virgilius &c.] It does honour to the memory of Augustus, that he bore the affection, here spoken of, to this amiable poet; who was not more distinguished from his contemporary writers by the force of an original, inventive genius, than the singular benevolence and humanity of his character. Yet there have been critics of so perverse a turn, as to discover an inclination, at least, of disputing both.
1. Some have taken offence at his supposed unfriendly neglect of Horace, who, on every occasion, shewed himself so ready to lavish all his praises on him. But the folly of this slander is of a piece with its malignity, as proceeding on the absurd fancy, that Virgil’s friends might as easily have slid into such works, as the Georgics and Eneïs, as those of Horace into the various occasional poems, which employed his pen.
Just such another senseless suspicion hath been raised of his jealousy of Homer’s superior glory (a vice, from which the nature of the great poet was singularly abhorrent), only, because he did not think fit to give him the first place among the poets in Elysium, several hundred years before he had so much as made his appearance upon earth.
But these petty calumnies of his moral character hardly deserve a confutation. What some greater authorities have objected to his poetical, may be thought more serious. For,
2. It has been given out by some of better note among the moderns, and from thence, according to the customary influence of authority, hath become the prevailing sentiment of the generality of the learned, that the great poet was more indebted for his fame to the exactness of his judgment; to his industry, and a certain trick of imitation, than to the energy of natural genius; which he is thought to have possessed in a very slender degree.
This charge is founded on the similitude, which all acknowledge, betwixt his great work, the Aeneis, and the poems of Homer. But, “how far such similitude infers imitation; or, how far imitation itself infers an inferiority of natural genius in the imitator,” this hath never been considered. In short the affair of imitation in poetry, though one of the most curious and interesting in all criticism, hath been, hitherto, very little understood: as may appear from hence, that there is not, as far as I can learn, one single treatise, now extant, written purposely to explain it; the discourse, which the learned Menage intended, and which, doubtless, would have given light to this matter, having never, as I know of, been made public. To supply, in some measure, this loss, I have thought it not amiss to put together and methodize a few reflexions of my own on this subject, which (because the matter is large, and cannot easily be drawn into a compass, that suits with the nature of these occasional remarks) the reader will find in a distinct and separate dissertation upon it[53].