From this transient view of the several species of poetry, terminating, as by a beautiful contrivance it is made to do, in the Ode, the order of his ideas carries him into some reflexions on the power of genius (which so essentially belongs to the lyric Muse) and to settle thereby a point of criticism, much controverted among the ancients, and on which a very considerable stress would apparently be laid. For, if after all, so much art and care and caution be demanded in poetry, what becomes of genius, in which alone it had been thought to consist? would the critic insinuate, that good poems can be the sole effect of art, and go so far, in opposition to the reigning prejudice, as to assert nature to be of no force at all? This objection, which would be apt to occur to the general scope and tenor of the epistle, as having turned principally on art and rules without insisting much on natural energy, the poet obviates at once [from v. 408 to 419] by reconciling two things which were held, it seems, incompatible, and demanding in the poet, besides the fire of real genius, all the labour and discipline of art. But there is one thing still wanting. The poet may be excellently formed by nature, and accomplished by art, but will his own judgment be a sufficient guide, without assistance from others? will not the partiality of an author for his own works sometimes prevail over the united force of rules and genius, unless he call in a fairer and less interested guide? Doubtless it will: and therefore the poet, with the utmost propriety, adds [from v. 419 to 450] as a necessary part of this instructive monition to his brother poets, some directions concerning the choice of a prudent and sincere friend, whose unbiassed sense might at all times correct the prejudices, indiscretions, and oversights of the author. And to impress this necessary care, with greater force, on the poet, he closes the whole with shewing the dreadful consequences of being imposed upon in so nice an affair; representing, in all the strength of colouring, the picture of a bad poet, infatuated, to a degree of madness, by a fond conceit of his own works, and exposed thereby (so important had been the service of timely advice) to the contempt and scorn of the public.
And now, an unity of design in this epistle, and the pertinent connection of its several parts being, it is presumed, from this method of illustration, clearly and indisputably shewn, what must we think of the celebrated French interpreter of Horace, who, after a studied translation of this piece, supported by a long, elaborate commentary, minutely condescending to scrutinize each part, could yet perceive so little of its true form and character, as to give it for his summary judgment, in conclusion; “Comme il [Horace] ne travailloit pas à cela de suite et qu’il ne gardoit d’autre ordre que celui des matieres que le hazard lui donnoit à lire et à examiner, il est arrivé delà qu’ IL N’ Y A AUCUNE METHODE NI AUCUNE LIAISON DE PARTIES DANS CE TRAITÉ, qui même n’a jamais été achevé, Horace n’ ayant pas eu le tems d’y mettre la derniere main, ou, ce qui est plus vraisemblable, n’ayant pas voulu s’en donner la peine.” [M. Dacier’s Introd. remarks to the art of poetry.] The softest thing that can be said of such a critic, is, that he well deserves the censure, he so justly applied to the great Scaliger, S’IL L’AVOIT BIEN ENTENDU, IL LUI AUROIT RENDU PLUS DE JUSTICE, ET EN AUROIT PARLÉ PLUS MODESTEMENT.
NOTES
ON THE
ART OF POETRY.
The text of this epistle is given from Dr. Bentley’s edition, except in some few places, of which the reader is advertized in the notes. These, that they might not break in too much on the thread of the Commentary, are here printed by themselves. For the rest, let me apologize with a great critic: Nobis viri docti ignoscent, si hæc fusius: præsertim si cogitent, veri critici esse, non literulam alibi ejicere, alibi innocentem syllabam et quæ nunquàm male merita de patria fuerit, per jocum et ludum trucidare et configere; verùm recte de autoribus et rebus judicare, quod et solidæ et absolutæ eruditionis est. Heinsius.
1. Humano capiti, &c.] It is seen, in the comment, with what elegance this first part [to v. 89] is made preparatory to the main subject, agreeably to the genius of the Epistle. But elegance, in good hands, always implies propriety; as is the case here. For the critic’s rules must be taken either, 1. from the general standing laws of composition; or, 2. from the peculiar ones, appropriated to the kind. Now the direction to be fetched from the former of these sources will of course precede, as well on account of its superior dignity, as that the mind itself delights to descend from universals to the consideration of particulars. Agreeably to this rule of nature, the poet, having to correct, in the Roman drama, these three points, 1. a misconduct in the disposition; 2. an abuse of language; and 3. a disregard of the peculiar characters and colorings of its different species, hath chosen to do this on principles of universal nature; which, while they include the case of the drama, at the same time extend to poetic composition at large. These prefatory, universal observations being delivered, he then proceeds, with advantage, to the second source of his art, viz. the consideration of the laws and rules peculiar to the kind.
9.—Pictoribus atque poetis—Quidlibet audendi semper fuit aequa potestas.] The modern painter and poet will observe that this aphorism comes from the mouth of an objector.
14. Inceptis gravibus, &c.] These preparatory observations concerning the laws of poetic composition at large have been thought to glance more particularly at the epic poetry: Which was not improper: For, 1. The drama, which he was about to criticize, had its rise and origin from the epos. Thus we are told by the great critic, that Homer was the first who invented dramatic imitations, μόνος—ὅτι μιμήσεις δραματικὰς ἐποίησε. And to the same purpose Plato: ἔοικε μὲν τῶν καλῶν ἁπάντων τούτων τῶν τραγικῶν πρῶτος διδάσκαλος καὶ ἡγεμὼν γενέσθαι [Ὅμηρος.] De Rep. l. x. Hence, as our noble critic observes, “There was no more left for tragedy to do after him, than to erect a stage, and draw his dialogues and characters into scenes; turning in the same manner upon one principal action or event, with regard to place and time, which was suitable to a real spectacle.” [Characterist. vol. i. p. 198.] 2. The several censures, here pointed at the epic, would bear still more directly against the tragic poem; it being more glaringly inconsistent with the genius of the drama to admit of foreign and digressive ornaments, than of the extended, episodical epopœia. For both these reasons it was altogether pertinent to the poet’s purpose, in a criticism on the drama, to expose the vicious practice of the epic models. Though, to preserve the unity of his piece, and for the reason before given in note on v. 1. he hath artfully done this under the cover of general criticism.