Mr. Addison's dissertation upon the most celebrated Roman poets: Also an essay upon the Roman elegiac poets. By Major Pack. The third edition. To which is added, an essay upon Mr. Addison's writings. By R. Young, Esq;.

Table of contents

- [titlepage]

- Nomina AUTHORUM.

- [dissertation]

- DISSERTATIO DE INSIGNIORIBUS ROMANORUM POETIS.

- A DISSERTATION Upon the most Celebrated Roman POETS.

- [essay]

- TENTAMEN De POETIS Romanis ELEGIACIS.

- AN ESSAY UPON THE Roman ELEGIAC POETS.

FINIS.

Mr. ADDISON'S DISSERTATION Upon the most Celebrated Roman POETS, ALSO AN ESSAY UPON THE Roman Elegiac POETS.

By Major PACK.

The THIRD EDITION.

To which is Added, •n ESSAY upon Mr. ADDISON's Writings. By R. YOUNG, Esq

LONDON: ••inted for E. CURLL, over against Catherine Street in the Strand, 1721. Price 1s. 6d.

Nomina AUTHORUM.

- I. VIRGILIUS.

- II. Lucretius.

- III. Ovidius.

- IV. Statius.

- V. Lucanus.

- VI. Claudianus.

- VII. Horatius.

- VIII. Juvenalis.

- IX. Plautus.

- X. Terentius.

- XI. Seneca.

- XII. Martialis.

- XIII. Catullus.

- XIV. Tibullus.

- XV. Propertius.

DISSERTATIO DE INSIGNIORIBUS ROMANORUM POETIS.

OMNIUM, in re Poeticâ, maxime inclaruerunt Romani, & Romanorum VIRGILIUS: Optimae quaeque Regulae, huic Arti inservientes, non tam Criticorum Praeceptis, quam MARONIS exemplo, sunt depromendae. Ut ideo de reliquis Heroici Carminis Scriptoribus, recte statuamus Virtutes & Vitia, quae apud singulos occurrunt, lectioni conferamus Virgilianae; qui, si ullibi defecerit Bucolicis, nonnunquam puriorem immiscuit Styli elegantiam, quam quae Pastoribus conveniat; & saepe grandior sonat Carminum Majestas, quam quae tenui avenae consona videatur. Apud quemlibet Georgicorum librum, inimitabili quâdam Sermonis Elegantiâ, Res rusticae explicantur; sed ultimus, de Apum Naturâ, valdè, praeter caeteros, animum delectat; ubi, dum in tenui Argumento procedit Poema, solennem quandam Sententiarum & Verborum Pompam studiosè affectat Poeta. Apum ideo Opera Cyclopum assimulat Laboribus, nec majori Carminum tumultu AENEAE & TURNI recitat Certamina, quam hasce Insectorum Turmas inter sese depraeliantes. Ubique exiguae Reipublicae Duces, Populi, Studia, Mores, & tenue illud Imperium, quod intra Alvearii Angustias exercetur, venustâ, nescio quâ, Carminis Magnificentiâ exprimuntur: Quin hoc certe in toto Opere praecipue occurrit admirandum, quomodo, dum Plantationis, Pastionis, & Agriculturae curas exequitur Poeta, omissis usitatioribus loquendi formulis, materiae tam incultae locutionem Poeticam accommodaret; quomodo ignobiliori depressus Argumento nunquam ad Stylum Plebeium Orationem demiserat: Sed tanta undique apparet Locutionum vis, ut multi (quamvis temerè) Georgicos etiam Aeneidi praetulisse non dubitarint; sed in hoc Opere, per Argumentum, non licuit alias Poese•s Partes praeftitisse, quam Styli & Descriptionum Elegantiam. Quod ad utrumque attinet, illud sibi proprium semper vendicat MARONIS Pagina, ut, quicquid exprimat, mirâ quâdam Dulcedine animum ingrediatur, & quod describat, melius quam si Oculis subjiciatur, tanquam praesens intueamur.

In Styli puritate proxime accedit LUCRETIUS, cujus Dictio, si obsoletae aliquando Verborum Antiquitati, & Numeris pene solutis agnoscas, illorum Palato, qui Romanè sapiunt, persuavis videatur. In Descriptionibus tamen CLAUDIANO secundus debetur Honos, qui amoenas Rerum Imagines ubique venustissimâ contexuit Oratione, in hoc solummodo vitiosus, quod fusius, quam par eft, semper expatietur, eosdemque Versus diversis exponat Loquendi Modis. In hac Arte sese maximè profecisse satis noverat CLAUDIANUS; de quacunque enim re satagit, assiduè semper quaerit quae describenda sunt, imo plurima sumpsit Argumenta, quae tota in Descriptionibus occupantur, ut videre est in Praefationibus, in Idylliis, in Libris de raptu PROSERPINAE, de PHOENICE, HISTRICE, TORPEDINE, & plerisque Epigramatum.

OVIDIUS (ut erat Aulici Ingenii Homo) terso quidem & polito Carmine res exhibuit amatorias, in caeteris tamen Operibus istiusmodi occurrit Sermo, quali in Triviis uti solent: Ille enim Ingenio suo confisus de operosiori Dictione elaborandâ parum erat satis solicitus: In Libro tamen Metamorphose•s varias optime depinxit Animalium Mutationes, dum prior paulatim exuitur Forma & nova superinducitur.

Utrumque hoc, quod jam tractamus, Poetis Officium non rarò optimè praestitit PAPINIUS; LUCANUS neutrum, cujus Dictio, quanquam multùm sonat inflata, nullâ tamen Phraseorum aut Epithetorum Venustate animatur, sed Orationi magis solutae convenit, quam Poeticae; imo certe tali plerumque utitur Verborum delectû, qualem vel Liber dedignetur Sermo. Et quanquam in Descriptionibus saepissimè versatur, & in hujusmodi diverticula nunquam non excurrit, raro tamen, ut debet, Opus absolvit. Jam vero, quod ad STATIUM attinet, plurima certe composuit summis Poetarum invidenda, sed, inter magnas Virtutes, maxima occurrunt Vitia. In Dictione enim Verba nimis admittit sesquipedalia, nullâque de Argumento habitâ ratione, vana numeris miscet Tonitrua; Nec minus in Descriptionibus peccat; nimio enim calori indulgens, dum totis viribus excellere conatur, ultra Finem tendit opus, & in tumorem excrescit. In utrumque hujusmodi vitium aliquando incidit CLAUDIANUS. Jam vero, quoniam de VIRGILII Aeneidis Argumento varii multa scripserunt & praeclara, pauca solummodo de STATII & LUCANI Carminibus sunt advertenda; utpote, quae Latinorum omnium sola Epica haberi debent. De LuCANO id saepe in Disputationem venit, an Historia, quâ constat Pharsalicum Poema, idoneum sit Heroici Carminis Argumentum.

Vora ideo Heroicae Poese•s Natura inquirenda est, quam, apud Librum, de Dignitate & Augmentis Scientiarum, his Verbis, optime exhibuit VERULAMIUS Nostras.

"De Poesi Narrativâ, sive eam Heroicam appellare placet (modo hoc intelligas de Materiâ, non de Versu) ea a Fundame nto prorsus nobili excitata videtur, quod ad dignitatem humanae Naturae imprimis spectat. Cum enim Mundus sensibilis sit, Animâ rationali, dignitate, inferior, videtur Poesis haec humanae Naturae largiri, quae Historia denegat; atque Animo, umbris rerum, utcunque satisfacere, cum solida haberi non possint. Si quis enim Rem acutius introspiciat, firmum ex Poesi sumitur argumentum, Magnitudinem Rerum magis illustrem, Ordinem magis perfectum, & Varietatem magis pulchram, Animae humanae complacere, quam, in Naturâ ipsâ, post Lapsum, reperire ullo modo possit. Quapropter, cum Res geftae, & Eventus, qui verae Historiae subjiciuntur, non sint ejus Amplitudinis, in quâ Anima humana sibi satisfaciat, praesto est Poesis, quae Facta magis Heroica confingat: Cum Historia vera, successus rerum, minime pro meritis Virtutum & Scelerum, narret; corrigit eam Poesis, & exitus, & fortunas, secundum merita, & ex lege Nemeseos, exhibet: Cum Historia vera, obviâ rerum satietate & similitudine, animae humanae fastidio sit; reficit eam Poesis inexpectata & varia, & vicissitudinum plena canens. Adeo ut Poesis ista, non solum ad delectationem, sed etiam ad Animi magnitudinem, & ad Mores conferat. Quare & meritò etiam Divinitatis cujuspiam particeps videri possit; quia animum erigit, & in sublime rapit: rerum simulachra ad animi desideria accommodando, non animum rebus (quod ratio facit & Historia) submittendo." Ex quo satis patet, veram Historiam cum Epico Poemate male convenire; & proinde, LUCANUM, quoad Argumentum, maxime desecisse. Quinque, in•illius Poemate, maxime emicant Heroes, CAESAR, POMPEIUS, BRUTUS, CATO, & CICERO. Omnes sane tam Vitâ insignes, quam Morte luctuosi; quorum Virtutes (quantum licuit per humanam Naturam) Perfectioni isti Heroicae, quam reliqui Poetae Ducibus suis falsò tribuerunt, proxime accesserant. LUCANUS CAESARI undique oblatrat, POMPEII Partes ambitiosè fovet, sed BRUTI & CATONIS Encomia, ob Stoicum (credo) illud Ingenium, quod cum his habuit commune, maxime celebrat: Et plurima certe, quae LUCANO objicias, Philosophiae hujuscemodi sunt referenda. Inde immodicus iste Ingenii tumor, & ambitiosa Sententiarum ostentatio, quam, cum illâ Hominum turbâ semper habet in Deliciis; inde quae magna sunt, quam quae bona sunt, maluit praeferre. Hinc etiam, in eximiâ illâ Poese•s Virtute, Passionibus excitandis, ipse (qui omnes Philosophiae Affectus tanquam illicitos existimavit) malè successerat, cujus Vitii unicum tantum (ut taceam caetera) Argumentum proferam. Postquam in Pugnâ Pharsalicâ CAESAR de POMPEIO Victoriam reportaverit, LUCANUS maximè debuit, si aliquid ab ipsâ Historiâ alienum protulisset, lugubri quodam Carmine immeritam doluisse POMPEII sortem, quippe quem, in toto Opere, summo habuit honore; vel saltem ipsum POMPEIUM (ut ingens patuit Doloris Argumentum) aut de amissâ Romae Libertate, aut de Amicorum Mortibus, aut de propriis querentem Infortunns, introduxisse oportuit. Poeta tamen ab omni hujusmodi Dolore tam longè a best, ut POMPEIUM obnixè hortaretur, postquam victus a Bello decesserat, ut CAESARIS Victoris sui commiserescat, quia nempè CAESAR non sine Scelere Victoriâ potitus est;

Nonne juvat pulsum bellis cessisse, nec istud

Prospexisse (nefas!) spumantes caede catervas?

Respice turbatos in cursu sanguinis amnes,

Et Soceri miserere tui; Quo pectore Romam

Intrabit factus campis felicior istis?

Quis tulerit Poetam tam ridiculè philosophantem? quasi vero POMPEIUS Senex, Exul, Miser, Triumphatus, ob Victorem suum quamvis scelestum Commiserationem quandam conciperet: Illum quidem maximè Stoicè sapuisse oportuerat, qui omnibus hisce Fortunae Donis spoliatus, tantum in nudâ Virtute poneret Felicitatem. Sed nullus Poetarum, nisi VIRGILIUS, hujusmodi afficiat Dolore: Alii plerunque, dum moerorem aliquem Lectoribus inducerent, in illo peccant, quod nimiâ Prolixitate sese in questus effundant, nec unquam satis Lachrymarum exhaustum esse sentiant, vel Ingenium, quod maximè possint, Versibus infundendo, faciunt, ut magis Carmina miremur, quam materiam lugeamus. De utroque cavit VIRGILIUS, qui merâ semper Simplicitate luctuosa, ut in se sunt, exhibuit; & levitèr quicquid dolet perstrinxerat: "Lamentationes enim, inquit CICERO, debent esse breves & concisae, quia Lachryma subito exarescit, & difficile est, Auditorem aut Lectorem, in summo illo animi animi affectu, tenere." Ut vero ad STATIUM redeamus, illi quidem Spiritus non rarò feliciter assurgit, cui dum temperare nequit, nescio quas projicit Ampullas, & vana Carminibus addit Numerorum Terricula menta. THEBAIDIS quidem Argumentum Ingenii sui Truculentiae, sed non Heroico Poemati satis aptum videatur: ETEOCLES enim, POLYNICES, & TYDEUS, quorum gesta hoc Carmine celebrantur, nihil habent eorum, si unicam Fortitudinem demas, quae conveniunt Heroibus: Imo, in toto Poemate, nulla nisi Scelerum, qualia sunt Parricidii, Perfidiae, Immanitatis, Odiorum, proferuntur Exemplaria; dum in omnibus ferè, quos suo Carmine induxit VIRGILIUS, praeclara• quaedam illucescunt, & in ipso AENEA summam Pietatem erga Deos, Natum, Conjugem, Amicos, & Parentem, Oculis semper habemus subjectam. Epitheta plerunque STATIANA multum sonant metaphoricè, dum inanimatis illa tribuuntur, quae Animalibus conveniunt. In Verbis tamen, nec rarò sinè maximâ Elegantiâ, Metaphoras consectatur CLAUDIANUS; VIRGILIUS in utrisque parcissimus; STATIUS plurimas rerum similitudines composuit, multum saepè de VIRGILII Ingenio referentes, in quâ arte meliùs successerat LUCANUS, si aliquid unquam mediocre admiserat; sed dum VIRGILIUS ad Apes, ad Formicas, & istiusmodi Naturae ludicra descendit, nihil unquam nisi Quercum fulminatam, Terrae Exitium, aut Mundi Conflagrationem ebuccinat LUCANUS. Et hisce tandem, quorum alii non operae Pretium duxerunt meminisse, de Heroicis Scriptoribus brevitèr perstrictis. De Satyricis restat dicendum; quorum omnium JUVENALIS & HORATIUS Palmam dubiam quidem fecerunt: Inter Literatos enim multum discrepat, utrum mordax illa Ingenii acerbitas, quâ suam armavit paginam JUVENALIS, an potius HORATII festivae Irrisiones, magis Satyrae conveniant: Ut vero de utroque rectiùs, statuatur, pauca prius sunt advertenda. Ob infamem vitae suae lasciviam, etiam nunc temporis, malè audit HORATIUS; Virtutem tamen semper rigide coluit JUVENALIS: Ille in absolutissimâ AUGUSTI Aulâ versatus est, hic in pessima DOMITIANI Tempora incidisset: Proinde, ut ad sua & Saeculi utriusque Ingenia Opera accommodarent Poetae, HORATIUS totus in ludicro exercetur Argumento, nec Morum Licentiam, sed indecoras quasdam Aulicorum Ineptias plerunque insectatur; non ideò abfuisset quin irrideretur, si, aliquâ Styli severitate, ad leviuscula hujusmodi castiganda, se accinxisset: Gravissima tamen in Temporibus suis reprehendit JUVENALIS, & de Vitiis ubique queritur, quae vel pudeat recitare, & isti sanè Materiae, summa Mentis Indignatio, Orationis Ardor, & Ingenii Acrimonia, rectissime aptari videantur. Quamvis ubi ad Jocularia Animum demittit, non rarò Satyris Festivitatem fundit HORATIANAM. Uterque ideo (modo diversum consulas Argumentum) suo quidem Genere perfectissimus emicuit; in illo Ridiculum Acri melius, in hoc Acre Ridiculo.

Reliqua certe HORATII Opera, Admiratione potius sunt digna quam Encomiis, nec majora solum Vituperatione, sed etiam Laude.

Jam vero, quod ad Dramaticos attinet, PLAUTI & TERENTII Argumenta, Sales, Elegantiae ubique adeò vulgantur, ut nihil de novo possit adjici.

De SENECA vero tam diverse sentiunt, ut alii inter summos Tragicorum, alii infra Infimum annumerent: Illi quidem Ingenium valde magnum, Oratio elegans & concisa, abundat Sententiis plerunque acutis, Stoicam semper Philosophiam, quam amplexus est, redolentibus. Unde omnibus fere, qui Artem Dramaticam parum sapiunt, semper est in Deliciis; si tamen ad hanc respicias, Tragoediae ubique plurimum laborant, & istud vitii (ut reliqua praetermittam) SENECAE peculiare videatur, ut quoscunque inducat Interlocutores, nullâ, ad Personas quas sustinet, habitâ ratione, eundem semper unicuique tribuat loquendi modum: Omnes severiora spirant Philosophiae Dogmata, & quae Stoae magis conveniant, quam Theatro. Eâdem semper Styli Magnificentiâ superbiunt Rex, & Nuncius: Imo ipsam Nutricem (plurima enim tam acute profert) Stoicorum Praeceptis non mediocritèr imbutam sentias.

Inter Epigrammatistas potissimùm emicuerunt MARTIALIS & CLAUDIANUS; Ille semper, in extremo Poemate, Ingenii subjecit acumen, & saepe similia insequitur Verborum Tintinnabula; Hic, per totum Epigramma, suum dispergit Salem; & venustissimâ ubique utitur Latinitatis Elegantiâ.

Caeterum tamen Poetarum Vulgus, de istiusmodi mediocribus sunt, quos nec Dii nec Homines concesserunt; & quamvis una aut altera apud affectatas CATULLI Cantatiunculas, TIBULLI aut PROPERTII inhonestam paginam, & Carmina incuriosa, illucescat Virtus, non tamen est Operae Pretium Gemmas inter Stercora eruere.

A DISSERTATION Upon the most Celebrated Roman POETS.

OF all the Nations in the World, the Romans have most excelled in the Art of Poetry, and even, among the Romans, VIRGIL has been the most deservedly celebrated; from whom the justest Rules of this Art are rather to be taken, than from the dry Precepts of the Criticks. To the End, therefore, that we may the more truly ascertain the Beauties, and Faults, which occur among the rest of the Writers of Heroic Poetry, let us compare them with the Style of VIRGIL; who, if he be in any Thing deficient, it is, when he has sometimes in his Eclogues mingled such a Purity of Style, as is not entirely agreeable with the Dialect of Shepherds; and frequently the Dignity of his Verse seems no way consonant to the Rural Pipe. In every Book of his Georgicks, he treats of Country Affairs with an inimitable Elegancy of Style; but, above all, we are most delighted with his last Book, Of the Nature of BEES; where, in a Poem on so inconsiderable a Subject, our Author purposely affects a peculiarly solemn and pompous Style. In this Piece he compares the Labours of the BEES to those of the Cyclops; and in the same lofty Numbers recounts the Skirmishes of these little Insects among themselves, as he does the Rencounters of AENEAS and TURNUS. All along, the Generals of this small Republick, the Populace, the Factions, the Customs and Forms of Government exercised within the narrow Limits of the Bee-hive, are described with an inexpressible Beauty and Magnificence. Throughout the whole Work, what mostly raises our Admiration, is, that in the Persuit of his Discourse on Planting, Grazing, and Agriculture, (waving the common Forms of Speech) he suits his Poetick Diction to so unpolite a Theme; how, seemingly depressed with the Meanness of his Subject, he never sinks into a Plebeian Style; but the Force and Energy of his Expression are so conspicuous, that many, too rashly indeed, have not scrupled to prefer the Georgicks to the Aeneid: But in a Work of this Nature, no other Parts of Poetry could be displayed, except an Elegance of Style and Description: In both these Ways VIRGIL has this, peculiar to himself, that he captivates the Soul with his wonderful Sweetness, and his Descriptions are as Lively, as if we had the Object placed before our Eyes.

In the Purity of his Style next follows LUCRETIUS, whose Diction, allowing for his Obsoleteness, and Numbers almost Prosaick, may challenge a Share of Praise, in those who have any Taste of the Roman Eloquence: For Descriptions however, the second Post of Honour is due to CLAUDIAN, who has throughout, in a most beautiful Style, interwoven his agreeable Images; faulty in this alone, that he expatiates upon his Subjects beyond all Decency, and frequently gives us the same Thoughts, diversified only in Expression. CLAUDIAN well knew what a Master he was in this Art, for on whatsoever Topick he is engaged, he diligently searches out Matter for Description, nay most of the Subjects he has wrote upon, are wholly such, as may be seen in his Prefaces, his Eclogues, his Books of the Rape of PROSERPINE, his Phoenix, his Porcupine, his Cramp-fish, and most of his EPIGRAMS.

OVID (like a true Courtier as he was) describes the Affairs of Love in neat and polite Verse. In the rest of his Works we meet with the more vulgar Way of Expression; for trusting to a good Genius, he was little soli•itous about forming a more elaborate Stile: but yet, in his Metamorphoses, he has Painted, in the greatest Perfection, the various Changes of all Creatures, and the Transformations proceed in a most easy and gradual manner.

STATIUS has frequently discharged both these Requisites of a Poet, we just now observed; LUCAN neither, whose Diction, altho' very bombast, is not enlivened either by beautiful Phrases or Epithets, but comes nearer Prose than Poetry; nay, there is in him commonly such a mean Choice of Words, as is sometimes even beneath Profe itself: And although he abounds in Descriptions, and is always making Excursions of that Kind, yet he seldom finishes his Work as he ought, or brings his Thoughts to any Justness of Conclusion.

But now, as to STATIUS, he has given us Compositions worthy of the Envy of the best Poets. But with all his Beauties, he has greater Faults; for, in his Expression, he makes too much use of Gigantick Words; and, not considering his Subject, mingles useless Thunder in his Numbers; Nor is he less faulty in his Descriptions; for, encouraging too great a Heat, while he attempts to excel, he shoots beyond his Mark, and swells unnaturally. Of both which Extreams CLAUDIAN is too often guilty.

And now, since there have been many Pieces written, and those of Note, on the Subject of VIRGIL's Aeneis, (and less notice is taken of the Poetry of STATIUS and LUCAN) to whose Productions only the Latins allow the Title of Epick Poetry. As to LUCAN, it has been often disputed, whether History, of which the Pharsalia consists, be a proper Subject for an Heroick Poem. For the Decision of this Point, we must enquire into the true Nature of Heroick Poetry, which our Countryman, the Lord BACON, has admirably described in his Treatise of The Advancement of Learning. "—[As for Narrative Poesie, or, if you please, Heroical, (so you understand it of the Matter, not of the Verse) it seems to be raised altogether from a noble Foundation, which makes much for the Dignity of Man's Nature. For, seeing this sensible World is, in Dignity, inferior to the Soul of Man, Poesie seems to endow human Nature with that which History denies; and to give Satisfaction to the Mind, with, at least, the Shadow of Things, where the Substance cannot be had. For, if the Matter be thoroughly considered, a strong Argument may be drawn from Poesie, that a more stately greatness of Things, a more perfect Order, and a more beautiful Variety delights the Soul of Man, than any Way can be found in Nature since the Fall. Wherefore, seeing the Acts and Events, which are the Subject of true History, are not of that Amplitude, as to content the Mind of Man, Poesie is ready at Hand to feign Acts more Heroical: Because True History reports the Successes of Business not proportionable to the Merit of Virtues and Vices, Poesie corrects it, and presents Events and Fortunes according to Desert, and according to the Law of Providence: Because True History, thro' the frequent Satiety and Similitude of Things, works a Distaste and Misprision in the Mind of Man; Poesie cheereth and refresheth the Soul, chaunting Things rare, and various, and full of Vicissitudes. So as Poesie serveth and conferreth to Delectation, Magnanimity, and Morality; and therefore it may seem deservedly to have some Participation of Divineness, because it accommodates its Images and Descriptions to the utmost Desire and Wish of the Soul, not subjecting the Mind to Things or Facts, as Reason and History do."] From whence it is sufficiently manifest, that History and Epick Poetry are by no means proper Companions; and therefore, that LUCAN has very much failed in his principal Subject: The five Heroes, who make the greatest Figure in his Poem, are CAESAR, POMPEY, BRUTUS, CATO, and CICERO; each of them indeed as distinguishable in their Lives, as to be lamented in their Deaths; Men, whose Virtues, allowing for the Frailties of Human Nature, came nearest to that Pitch of Heroick Perfection, which other Poets have falsely attributed to their Heroes. LUCAN every where snarls at CAESAR, and passionately espouses POMPEY's Interest; but most of all, celebrates the Characters of BRUTUS and CATO, for that Spirit of Stoicism, which he had equally imbibed with them: And, indeed, most of the Faults objected to LUCAN, are rather to be imputed to this Kind of Philosophy. From whence sprung that boundless Vein of Wit, and that peculiar Affectation of a lofty Style; which, like that Sect of Men, he always delighted in, and therefore gives the Preference rather to Great, than Good Actions. And upon this Account, in raising the Passions, (that most excellent Part of Poetry) he succeeded but ill; because, upon the Principles of his Philosophy, the Passions themselves were accounted as absolutely unlawful. To confirm this, (passing by many others) I will produce but one Instance: After CAESAR had obtained the Victory over POMFEY, in the Battle of Pharsalia, LUCAN certainly, (if he had enlarged on any Circumstance foreign to History it self) should, upon so remarkable an Occasion, have lamented the undeserved Fate of POMPEY, in the most mournful Strain; especially since he pays so high a Deference to him throughout his whole Work; or, at least, (as there was an open Field for Grief) he should have introduced POMPEY, either complaining of Rome's lost Liberty, the Death of his Friends, or his own Misfortunes. But LUCAN is so far from raising the Passions to this just Heighth, that he warmly advises POMPEY (when vanquished, he retires from the Field of Action) to commiserate the Condition of his Conqueror CAESAR, because he had not won the Day, but by unjustifiable Methods.

Don't you rejoice that your superiour Foes

Have snatch'd you from a Scene of future Woes?

That blest in Exile you escape the Sight

Of Armies bleeding in domestick Fight?

Behold each River drags her tardy Flood,

Choak'd up with Carnage and distain'd with Blood;

Your Victor-Sire with pitying Eyes survey,

Nor envy him the Fortune of the Day.

How shall he enter Rome devoid of Shame,

Who on the publick Ruins builds his Name?

Who can bear to hear the Poet Philosophizing in this ridiculous Manner? As if POMPEY, a Man in Years, an Exile, Miserable, and Vanquished, should have any Concern upon him for the Crimes of his Conqueror: He ought to have been very much stoicized indeed, who, despoiled of all the Goods of Fortune, could place the Sum of his Felicity in meer naked Virtue. But none of the Poets have touched this Passion of Grief like VIRGIL. The Generality of other Writers, when they attempt to move their Readers, offend in this Point, that they are too prolix in spinning out their Complaints, and think their Flood of Tears inexhaustible; or else, while they labour to express the Greatness of their Genius, in the Profuseness of their Verse, rather raise our Admiration at the Flowing of their Numbers, than excite our Pity in the Catastrophe of their Story. VIRGIL has carefully avoided both these Extreams, and dresses his Images of Sorrow in their Native Simplicity; and where-ever he touches upon the Pathetick, he does it with a masterly quickness: For, according to CICERO, Our expressions of Grief ought to be short and concise, because our Tears quickly dry up, and it is unnatural to detain either an Auditor or Reader in too long a Suspension of Grief.

But to return to STATIUS, his Spirit is indeed lofty and aspiring, to which while he gives too great a Loose, he runs into Bombast, and to his Poetry often adds useless sounding Words. The Subject of his Thebais seems indeed suited to the Barbarity of his Genius, but is beneath the Dignity of an Heroick Poem. For neither ETEOCLES, POLYNICES, nor TYDEUS, whose Actions are recorded in this Poem, have any thing in them, except their Fortitude, agreeable to Heroes: Nay, throughout the whole Piece, there are no Examples produc'd, unless of Persons infamous for the most flagitious Enormities, such as Parricide, Treachery, Cruelty, and Revenge; while, on the contrary, every Thing Praise-worthy shines bright in VIRGIL's Heroes; and in the Person of AENEAS we have plac'd before our Eyes an Instance of consummate Piety towards the GOD's, his Son, his Wife, his Friends, and his Father. The Epithets of STATIUS are generally forced and very metaphorical, while such Properties are ascribed to Inanimates, as really only belong to Animals. In the Choice of his Words, and frequently in his Metaphors, he is followed by CLAUDIAN with the utmost Elegance. VIRGIL is sparing in both these Particulars; STATIUS abounds much with Similitudes, in which he seems to imitate VIRGIL; but in this Instance LUCAN had had better Success, if he had hit upon the proper Medium: But while VIRGIL stoops down to the humble Subjects of Bees, Ants, and other such like delightful Themes of Nature; on the other Hand, LUCAN bellows out nothing but Stories of Oaks split by Lightening, Earthquakes, and the World's Conflagration. Let this, in short, suffice, observable, concerning the Writers of Heroic Poetry, in itself New, and never before taken Notice of.

Something now remains to be said of the Satyrists, among whom whether JUVENAL or HORACE have most Right to the Bays, it is dfficult to determine; for it has been long a Dispute among the Learned, whether that Keenness and Bitterness of Expression with which JUVENAL has armed his Satires, or HORACE's more jocose Lampoons are most agreeable to the End of SATIRE. Now that we may give a clearer Decision on this Head, a few Things must be premised. HORACE bears, to this Day, an ill Character for the Looseness of his Conduct in Life. JUVENAL was a rigid Practiser of Virtue. The one was conversant in the most perfectly polite Court of AUGUSTUS; the other lived in the Dregs of DOMITIAN's Time; and therefore both these Poets accommodated their Writings to the Manners of the different Ages they lived in: For HORACE is intirely upon the ludicrous, and persues not so much the Licentiousness of the Times, as the ridiculous Fopperies of some particular Courtiers; for had he attempted to correct these Trifles with Severity, he had not missed of being laughed at: But JUVENAL lashes the grossest Crimes prevalent in his Time, and complains of Enormities which one would be ashamed to mention; and nothing less than the highest Resentmemt of Soul, Ardency of Expression, and Sharpness of Speech, could be an equal Match to Crimes so notorious; though whenever he descends to be jocose, we frequently meet with the Pleasantry of HORACE. Both of them, allowing for the different Manner of their Writing, are perfect Masters in their several Ways; in the one, the Ridicule appears better than the Severe, in the other, the Severe better than the Ridicule.

The rest of HORACE's Pieces are so admirable, that they exceed our highest Encomiums, and are not only beyond our Dislike, but above our Praise.

As to what concerns the Dramatic Poets, PLAUTUS and TERENCE bear away the Bell, whose Plots, Turns, and Elegancy of Style, are so well known, that nothing New can be said upon them.

As ro SENECA, Mankind have had different Opinions of him; some have ranked him with the best Tragoedians, others have sunk him below the worst. He certainly had a great Genius, an elegant and concise Way of Expression; he abounds with smart Turns, which always savour much of that Stoicism of which he was a Follower, upon which Account he has always been esteemed by those who have had little or no Taste of Dramatic Poetry; but then if we consider him as such, his Tragedies are throughout too elaborate; and this, to pass by his other Faults, seems peculiarly SENECA's, that he makes all his Actors (without any Regard to the Characters they bear) talk in the same Strain; all of them inculcate rigid philosophical Dogmata, and such Morality as is rather fit for the Schools of the Stoicks, than the Roman Theatre: For with him the King and the Slave strut in the same Buskin; nay, you may perceive the Nurse herself deeply tinged with the Principles of Stoicism.

Among the Epigrammatists, MARTIAL and CLAUDIAN have bore the greatest Reputaion; the first, for the severe Point in the Close of his Epigrams, and the peculiar Jingle of his Words. The other, for dispersing the Poignancy of his Wit throughout his Epigrams, and that in the most beautiful Latin Phrase.

The rest of the lower Class of the Latin Poets creep so low in their Numbers, that they are beneath the Notice either of GODS or Men: And tho' we may now and then discover in the affected Songs and Sonnets of CATULLUS, and the obscene POETRY of TIBULLUS and PROPERTIUS, some not disagreeable Pieces, yet it is not worth our while to rake the Dunghills for the sake of the JEWELS.

TENTAMEN De POETIS Romanis ELEGIACIS.

SAepe Mecum ipse mirari soleo, Ex tot tantisque viris in Antiquâ classicorum Poetarum paginâ Transferendâ, vel operosè, vel commodè Jucundèque Versatis, tam paucos Extitisse, Qui Elegiarum Scriptores, vel dignos operâ sua Judicaverint, vel quidem suo otio dignos. Haud Ego quidem possum credere, quin Hi in propriâ scribendi Normâ perinde feliciter Successerint, atque alii; ac proinde cum non minori Emolumento, quam cum voluptate Legantur. Ad me quod Attinet, Affirmare possum, Eam fuisse semper animi temperationem mei, ut Eandem vel casui protervè fortuito vel Difficultati rerum procaciter obliquae Stomachantem, Longe facilius Lenire me, atque mulcere potuisse Senserim, Dulcem optando Comitem Tibullum, quam vel Philosophorum Lectiones vel praecepta Theologorum Consulendo. Quicquid enim est solenne valde, id omne, aliquam, nescio quam, prohibitoriam Coactionis faciem, prae se ferre atque ostentare videtur. Adeoque est paene semper inauspicata aut Discentis cujuslibet aut Docentis Indoles, Ut, Ex quovis severioris disciplinae Genere, nostrae potius poena voluntatis, quam mentis Emendatio Nascatur. Verbis Enim ita strenue contendere, ut, munus esse rectae rationis, hoc vel illud agere, mens hominum convicta fateatur, non est res duri forsitan plena Negotii: At vero, ad illud idem munus obeundum, aliquem fortiter & Suaviter Impellere, Hic est plane operosus flexanimae Orationis Labor, Hoc summum Artis Misterium. Digna quidem Haec Horatii Sententia, quae altâ mente reposta maneat.

Virtus est Vitium fugere, & sapientia prima

Stultitiâ Caruisse.

Annon Eodem prorsus Jure dicere possimus, E voluntariâ quadam Erumnarum nostrarum Oblivione primum Surgere ad felicitatem gradum. Quem quidem Si assequi Optume Volumus, non debere nos cogitabundam nimis, sollicitamque illam, quae nobis est Insita, particulam Exuscitare; tumultuantes autem rerum ideas Mulcere, & motos animi fluctus Componere, multomagis opportere Confido.

Donec Nostra hujusmodi Corpuscula, Misera illa quidem & vacillantia navigiola, incertum hujus vitae cursum tenent, & in prope medium usque oceanum immani & feroci ventorum vi pelluntur, Longe ab aspectu Littoris hospitibus Mansueti; Certo Certius est, Navigantes in illis animas Nostras, Gaudia permagna Intùs Oborientia Sentire, Quando ab Ingruenti extrinsecùs procellâ ipsae sese quasi furtim Retrahentes, & Laevatius affectantes iter, Leniter natant voluptatis aquas, placidâque fruuntur passionis aurâ Secundo (ut ita dicam) teneritatis flumini Conjunctâ.

Occulta quaedam Inest Carminibus Incantatio, quae nunquam non solet benè formatum pectus gratâ dulcedine afficere; atque Ego quidem Opinor, in Probae illius atque Ingenuae Classis Poetarum, Catulli nempe, Tibulli, Propertii, & Ovidii versibus, aliquid, nescio quid, singulare atque valde patheticum Existere. Certum Est, inter illa Elegiaci ordinis carmina, Catulli perpauca esse aptè Judicatòque numeranda. At, quandocunque teneriora humanitatis argumenta tractat, Minervae suavem afflant odorem sententiae omnes, proprietatem prietatem vel accuratissimam sapiunt, Summamque redolent Elegantiae amaenitatem. Ac proinde nihil aliud agere potui, quam ut Insigne ipsius nomen in sociorum eâdem studiorum ratione valentium numerum referrem. Eminebant Hi Quatuor, in Patriâ suâ, clari Natalibus, &, ut tum erant tempora, re plusquam mediocri Fruebantur. Ad voluptatem traxit sua quemque Indoles; singuli vero, rectâ usi ratione, eò sapientiae processerunt, ut, & publici pravitatem negotii, & caducam prorsus Elati fastus incertique honoris Exploraverint inanitatem. Tres Priores Jure merito dicantur Triumviratum perinde Illustrem constituisse, atque ulla unquam protulit Aeta•; Siquidem vivendi modum splendidè otiosum spectemus. Perpolitis ornati moribus, Rerum copia affluentes, bene succedentes in amoribus, summâ cum familiaritate sibi Invicem beatè conjuncti, Quamdiu vixerunt, tamdiu usque viguere humani Generis deliciae; & tandem cum a vivorum regionibus discesserunt, eas utique omnes discessum Lugentes Reliquere. Quantum ad Ovidium attinet, erat ille quidem omnibus illis Apprimè ornatus & morum & ingenii dotibus, quae ad absolutè fingendum hominem planè generosum conducere posse videantur. Quippe Iratus illi Augustus, vel quod Insperatò istius imperatoris occultae Lasciviae testis aderat fortuitus, vel quod proprios a mores (utilli speciosè vertebatur Crimini) impudicè nimis describebat, Eundem Annum habentem Quinquagesimum Ex Italia in Exilium mittebat. Exul reliquum miseriae vitae tempus Languidè valdè consumens inter sauromatas in Civitate (cui nomen recens Temeswaer, uti putant Nonnulli) Extremum obiit Diem. Hujusmodi Suppliciorum Exempla non nisi Bina in omnibus Historiarum Monumentis Esse credo reperienda, ubi, quod est punitum (si malum quam durissimè appellemus) illud inconsideratè solummodo atque temerè factum vocare possumus; Alterum Ovidii Personae sorte Contigit, Rabutini alterum. Horum quidem Principes, pari certè, illoque supremo dominandi Jure Gaudebant, Sapientiâ fruebantur Pari, paribus Suspicionibus angebantur.

Haec Geniorum, quibus Hi Erant praediti, perexigua sanè delineatio, Nos abundè doceat rectè Judicare, quantum Scientiae lumen, quamque dulce & Elegans Emolumentum, Compositissima quaeque Horum Poetarum themata, mentibus afferant benè atque nitidè preparatis. Ac Revera, Quam in amicitia fidem inviolatam, Quos teneros in amore Impulsus, Quam in propinquos Benevolentiam assiduam, Quae tandem omnium virtutum Moralium Monumenta intuemur? Quae videmus Exemplaria? Quae, quaeso Utique, non videmus? Ut mille Ingenii ornamenta Omittam, ut praeteream miram illam Dulcedinem & felices musicae numeros poeticae tenerè Cadentes, Ut taceam denique Genuinas illas & quasi Iammodo Spirantes vitae Imagines, quae quidem Efficiunt, ut vix, primâ facie, opinemur, Scenam Earandem in saeculo perinde remoto fuisse repraesentatam, atque nobiscum magis ipsi cogitantes revera sentimus.

Una Porro objectio non est silentio praetereunda: Quippe Crimini in universo paenè orbe Christiano Ducitur Hisce Poetis, nimiam in inhonestis rerum ideis Excogitandis Licentiam, nimiamque in eisdem exprimendis obscenitatem Affectasse.

Sed tamen est certum quid respondeam. Siquando, parva Blanditiarum suarum quasi stratagemata Explicantes, tali verborum usi sint delectu, qualem Religiosa dedignaretur morum simplicitas, ortam indé tamen vitiosam oblectationem omnem, non singulari cuidam turpitudini ab his unicè affectatae, sed Communi potissimum atque Effrenatae illius, in quâ viguere, aetatis Licentiae attribuere nos debere contendo. Siquidem ejusdem reum criminis Agimus Horatium; Habere certe debemus confitentem reum. Porro autem ipse Virgilius, cujus ad Coelos usque tollitur Modestia, Multa in Bucolicis scripsit, quae, apud nos, Lasciva atque ab honestate remota ponuntur. Ne plura, totum argumentum Haec Unica Consideratio Determinat. Qui animum bonis & Intaminatis vitae Institutis retinet Imbutum, ille cum hisce Authoribus versari facillimè potest, Omnis Expers periculi contagionis. Atque Quantum ad eos spectat, Quorum Improbitas superat Ingenium (Execrabilius autem accidere fatuo nihil potest) illi Proprii & insensati quidem vitii tempestate abrepti, aras focosque & res omnes quam maxumè sacras, Nequissimi cujusque facinoris perpetrandi gratâi, prosternent. At, Quandoquidem Omnia horum poetarum Carmina, uti erant primitùs & Latinè scripta, tute & sine labe Legi queant; singula tamen, salvâ morum pietate, anglicè reddi posse, Minimè Contendo. Sed, quum multa possint; Dolendum videtur, Linguam Anglicanam non perfrui pluribus, quippe quae Ditiorem redderent Sermonem nostrum, atque pleniorem Dulcium varietate Imaginum, quae aequè sunt innocuae, atque sunt suaves.

Qui vero hujusce operis provinciam in se Susceperint, illi profecto desudabunt, Cum novos passim invenient Labores Ex crebris clausulis ad ritualem Religionis cultum & superstitiosa quaelibet Dogmata altè respicientibus Oriundos. Hisce Exemplis abundant Ea Carmina, in quibus Reperitur maxima vis Libidinis: Nempe Lasciviae Lenocinari Superstitio Jugitèr solet. Quantum autem ad illa attinet, quae non indecora Tralatione digna sunt, Eaquidem Omnia, paucis illustrata Commentariis, non solum Erunt Intellectu facilia, verum Etiam Lectoribus merè Anglicanis magnam afferent Voluptatem.

AN ESSAY UPON THE Roman ELEGIAC POETS.

I Have often wondered, that, among so Many, who have Busied or Diverted Themselves in Translating the Ancient Classick POETS, so Few have thought the Writers of ELEGY Worthy their Pains, or Amusement. I cannot but Believe that, These have succeeded as happily in their Way, as the Others, and that They may be Read with no less Advantage than Pleasure. For my own Part, I can affirm, that when at any time my Mind hath been ruffled by some peevish Accident or Disappointment, I have always found my temper sooner Composed by taking a Turn with TIBULLUS in my Hand, than by having recourse to the Lessons of PHILOSOPHY, or the Precepts of DIVINES. Whatever is very solemn, carrieth with it, I don't know how, somewhat of Constraint: And it frequently happens by an unlucky Disposition either in the Pupil, or the Preacher, that Those severer Kinds of Discipline (I speak not This with the least Irreverence) serve rather to Punish, than Reform Us. It is perhaps no Difficult Matter to Convince One of the Reasonableness of This or That Action, but the Secret lies in Engaging One in the Practice. It is a Memorable Sentence of a Celebrated MORALIST This,

Virtus est vitium fugere, & Sapientia prima

Stultitiâ caruisse.—Horat.

"It is the Beginning of VIRTUE to Depart from VICE; and the First Step towards WISDOM is to Forsake our FOLLY." May it not as justly be said, The First Step towards HAPPINESS is to Forget our MISERY? The best Method to bring That about is not, I presume, by Alarming the THINKING FACULTY, but by Soothing and Lulling to Rest our too Active and Unquiet REFLECTIONS.

WHILST Our poor tottering BARK continues in This Uncertain Voyage of Life, and is so often kept out at Sea in rough and stormy Weather, far from the sight of any Hospitable Shoar, the SOUL, its PASSENGER, cannot sure but feel a mighty Satisfaction arising within, when she finds Herself afterwads Stealing, as it were, away under smoother Courses, and born gently down the Tide of TENDERNESS in soft and easie Gales of PASSION.

THERE is a Charm in VERSE that never fails agreeably to Affect a Heart that is rightly plac'd: And there is, in my Opinion, something peculiarly moving in the VERSES of That Good-natured Class of POETS CATULLUS, TIBULLUS, PROPERTIUS, and OVID. There are but Few Pieces of CATULLUS, it is true, that can strictly be ranked among Those of the ELEGIAC ORDER: But whenever HE doth Touch upon the softer Subjects of HUMANITY, his Sentiments have the utmost Propriety and Delicacy; and therefore I could not but mention HIM among His Companions. They were, All Four, Men of Family and Condition in their Country. Their Inclinations led Them naturally to PLEASURE, and Their Good Sense to a Discovery of the Knavery of BUSINESS, and the Vanity of AMBITION. The Three Former may be said to have Been as Extraordinary a TRIUMVIRATE, as, perhaps, any Age hath Produced, I mean in an Idle Way of Life: Polite in their MANNERS; Easie in Their FORTUNES; Successful in Their AMOURS; Happy in each Other's ACQUAINTANCE; Beloved, in general, while they LIVED; and Universally Lamented, when They DIED. As for OVID, He was certainly Master of all the fine Qualities and Accomplishments that could be desired in a GENTLEMAN. But having Offended AUGUSTUS, either by Happening to be an Unexpected Witness of that EMPEROR's Love-Intrigues, or else by too lasciviously Describing His Own (which was the Crime Pretended) He was Banished from ITALY in his Fiftieth Year; and Languished out the Remainder of His Days at TAMOS (the Modern TEMESWAER as some think) There are I believe but two Instances in Story of a Punishment like This for What, at the worst, could be called only an Indiscretion: One in the Person of OVID, The Other in That of RABUTIN. Their Masters were equally Absolute, equally Wise, and equally Jealous.

FROM this Little Draught of Their Characters, One may judge how Edifying any of Their Compositions must needs be to an Elegant Understanding. And, indeed, What Sincerity in FRIENDSHIP, What Fondness in LOVE, What Kindness to RELATIONS, What Instances of all the Social VIRTUES do We not meet with in Their Writings? Not to mention a thousand Ornaments of Wit, a wonderful Sweetness, and easy Cadence in their Numbers, and so True a Picture of Life, that one can scarce Fancy the Scene to lye at the Distance it is placed.

THERE is One Objection, which I must not pass over, and that is generally charged upon These POETS: Imean, Their too great License, and Obscenity in Their Ideas and Language,

To This I would Reply, That if upon some Occasions, They seem not to have been very Scrupulous about the Terms They made use of in Communicating their Amorous Adventers, it ought not to be imputed to a Scandalous Singularity in THEM, but to the Common Indulgence of the AGE in which They Flourished. HORACE must Plead Guilty to the same Indictment. Nay, VIRGIL Himself, as Applauded as HE is for Modesty, hath left many Expressions in his ECLOGUES that might be Argued of Wantonness. After All, the whole Matter will turn upon this Single Point. A Person whose Principles are Uncorrupted may freely Converse with These AUTHORS without Danger of Infection: And for Such who have more Wickedness than Wit (the greatest Curse that can befal a FOOL) their sensless Vice will tempt Them to Pervert even the most Sacred Things to the vilest Purposes. However, though All their POEMS may be Read in the Originals with Safety, I do not pretend to say They can All be Translated with Decency. But since Many of Them may, it is Pity, I think, We have not More of Them in ENGLISH, to Enrich our Language with a Variety of Pleasing Images that are as Innocent, as they are Delightful.

THERE is One Difficulty that will still lye upon the Hands of Any who shall Undertake this Work, and This ariseth from their frequent Allusions to the Ceremonies ând Notions of Their RELIGION. Instances of This abound even in Those Copies of their Verses that are writ the most in the Spirit of LEWDNESS: (As SUEPRSTITION hath ever been an Especial Bawd to LUST) But for All such as are Proper to be Translated, they may be Rendered by a few Explanatory Notes not only Intelligible, but very Entertaining, to a mere ENGLISH Reader.

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Mr. Addison's dissertation upon the most celebrated Roman poets: Also an essay upon the Roman elegiac poets. By Major Pack. The third edition. To which is added, an essay upon Mr. Addison's writings. By R. Young, Esq;.

Addison, Joseph, 1672-1719.

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1106022807

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9781106022806

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— Mr. Addison's dissertation upon the most celebrated Roman poets: Also an essay upon the Roman elegiac poets. By Major Pack. The third edition. To which is added, an essay upon Mr. Addison's writings. By R. Young, Esq;., Addison, Joseph, 1672-1719.. [2],75,[1];51,[5]p.,plate ; 12⁰. London :: printed for E. Curll,. 1721.. [Includes: 'Tentamen de scriptis Addisonianis. Authore R. Young, Armig.' with separate pagination and register.] [Also issued as part of: 'Miscellanies, in verse and prose. Written by the Right Honourable Joseph Addison Esq;' London: printed for E. Curll, 1725.] [With two final advertisement leaves.] [Reproduction of original from the British Library.] [English Short Title Catalog, ESTCT143098.] [Electronic data. Farmington Hills, Mich. : Thomson Gale, 2003. Page image (PNG). Digitized image of the microfilm version produced in Woodbridge, CT by Research Publications, 1982-2002 (later known as Primary Source Microfilm, an imprint of the Gale Group).]

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