Kitabı oku: «The Art of Poetry: an Epistle to the Pisos», sayfa 6
"III. Lastly, this judgment will deserve the greater regard, as the conduct recommended was, in fact, the practice of our great models, the Greek writers; in whose plays, it is observable, there is scarcely a single scene, which lies out of the confines of Greece.
"But, notwithstanding these reasons, the practice hath, in all times, been but little followed. The Romans, after some few attempts in this way (from whence the poet took the occasion of delivering it as a dramatic precept), soon relapsed into their old use; as appears from Seneca's, and the titles of other plays, written in, or after the Augustan age. Succeeding times continued the same attachment to Grecian, with the addition of an equal fondness for Roman, subjects. The reason in both instances hath been ever the same: that strong and early prejudice, approaching somewhat to adoration, in favour of the illustrious names of those two great states. The account of this matter is very easy; for their writings, as they furnish the business of our younger, and the amusement of our riper, years; and more especially make the study of all those, who devote themselves to poetry and the stage, insensibly infix in us an excessive veneration for all affairs in which they were concerned; insomuch, that no other subjects or events seem considerable enough, or rise, in any proportion, to our ideas of the dignity of the tragic scene, but such as time and long admiration have consecrated in the annals of their story. Our Shakespeare was, I think, the first that broke through this bondage of classical superstition. And he owed this felicity, as he did some others, to his want of what is called the advantage of a learned education. Thus uninfluenced by the weight of early prepossession, he struck at once into the road of nature and common sense: and without designing, without knowing it, hath left us in his historical plays, with all their anomalies, an exacter resemblance of the Athenian stage, than is any where to be found in its most processed admirers and copyists.
"I will only add, that, for the more successful execution of this rule of celebrating domestic acts, much will depend on the aera, from whence the subject is taken. Times too remote have almost the same inconveniences, and none of the advantages, which attend the ages of Greece and Rome. And for those of later date, they are too much familiarized to us, and have not as yet acquired that venerable cast and air, which tragedy demands, and age only can give. There is no fixing this point with precision. In the general, that aera is the fittest for the poet's purpose, which, though fresh enough in pure minds to warm and interest us in the event of the action, is yet at so great a distance from the present times, as to have lost all those mean and disparaging circumstances, which unavoidably adhere to recent deeds, and, in some measure, sink the noblest modern transactions to the level of ordinary life."
Notes on the Art of Poetry.
The author of the essay on the writings and genius of Pope elegantly forces a like opinion, and observes that Milton left a list of thirty-three subjects for Tragedy, all taken from the English Annals.
423.—_Whether the gown prescrib'd a stile more mean,
or the inwoven purple rais'd the scene.
Vel qui praetextas, vel qui docuere togatas._
The gown (Toga) being the common Roman habit, signisies Comedy; and the inwoven purple (praetexta) being appropriated to the higher orders, refers to Tragedy. Togatae was also used as a general term to denote all plays, which the habits, manners, and arguments were Roman; those, of which the customs and subjects were Graecian, like the Comedies of Terence, were called Palliatae.
429.—But you, bright heirs of the Pompilian Blood, Never the verse approve, &c.
Vos, O Pompilius Sanguis, &c.
The English commentary exhibits a very just and correct analysis of this portion of the Epistle, but neither here, nor in any other part of it, observes the earnestness with which the poet, on every new topick, addresses his discourse the Pisos; a practice, that has not passed unnoticed by other commentators.
[On this passage De Nores writes thus. Vos O Pompilius Sanguis!] Per apostrophen sermonem convertit ad pisones, eos admonens, ut sibi caveant ab bujusmodi romanorum poetarum errore videtur autem eos ad attentionem excitare dum ait, Vos O! et quae sequntur.
434.—Because DEMOCRITUS, &c.] Excludit sanos Helicone poetas Democritus.
De Nores has a comment on this passage; but the ambiguity of the Latin relative renders it uncertain, how far the Critick applies particularly to the Pisos, except by the Apostrophe taken notice of in the last note. His words are these. Nisi horum democriticorum opinionem horatius hoc in loco refutasset, frustra de poetica facultate in hac AD PISONES EPISTOLA praecepta literis tradidisset, cùm arte ipsâ repudiatâ, ab his tantummodo insaniae & furori daretur locus.
443.—Which no vile CUTBERD'S razor'd hands profane. Tonfori LYCINO.]
Lycinus was not only, as appears from Horace, an eminent Barber; but said, by some, to have been created a Senator by Augustus, on account of his enmity to Pompey.
466.—ON NATURE'S PATTERN TOO I'LL BID HIM LOOK, AND COPY MANNERS FROM HER LIVING BOOK.]
Respicere examplar vitae, morumque jubebo doctum imitatorem, & veras hinc ducere voces.
This precept seeming, at first sight, liable to be interpreted as recommending personal imitations, De Nores, Dacier, and the Author of the English Commentary, all concur to inculcate the principles of Plato, Aristotle, and Cicero, shewing that the truth of representation (verae voces) must be derived from an imitation of general nature, not from copying individuals. Mankind, however, being a mere collection of individuals, it is impossible for the Poet, not to found his observations on particular objects; and his chief skill seems to consist in the happy address, with which he is able to generalize his ideas, and to sink the likeness of the individual in the resemblance of universal nature. A great Poet, and a great Painter, have each illustrated this doctrine most happily; and with their observations I shall conclude this note.
Chacun peint avec art dans ce nouveau miroir,
S'y vit avec plaisir, ou crut ne s'y point voir.
L'Avare des premiers rit du tableau fidele
D'un Avare, souvent tracé sur son modéle;
Et mille fois un Fat, finement exprimé,
Méconnut le portrait, sur lui-méme formé.
BOILEAU, L'Art Poet. ch. iii.
"Nothing in the art requires more attention and judgment, or more of that power of discrimination, which may not improperly be called Genius, than the steering between general ideas and individuality; for tho' the body of the whole must certainly be composed by the first, in order to communicate a character of grandeur to the whole, yet a dash of the latter is sometimes necessary to give an interest. An individual model, copied with scrupulous exactness, makes a mean stile like the Dutch; and the neglect of an actual model, and the method of proceeding solely from idea, has a tendency to make the Painter degenerate into a mannerist.
"It is necessary to keep the mind in repair, to replace and refreshen those impressions of nature, which are continually wearing away.
"A circumstance mentioned in the life of Guido, is well worth the attention of Artists: He was asked from whence he borrowed his idea of beauty, which is acknowledged superior to that of every other Painter; he said he would shew all the models he used, and ordered a common Porter to sit before him, from whom he drew a beautiful countenance; this was intended by Guido as an exaggeration of his conduct; but his intention was to shew that he thought it necessary to have some model of nature before you, however you deviate from it, and correct it from the idea which you have formed in your mind of perfect beauty.
"In Painting it is far better to have a model even to depart from, than to have nothing fixed and certain to determine the idea: There is something then to proceed on, something to be corrected; so that even supposing that no part is taken, the model has still been not without use.
"Such habits of intercourse with nature, will at least create that variety which will prevent any one's prognosticating what manner of work is to be produced, on knowing the subject, which is the most disagreeable character an Artist can have."
Sir Joshua Reynolds's Notes on Fresnoy.
480.—ALBIN'S HOPEFUL.] Filius ALBINI
Albinus was said to be a rich Usurer. All that is necessary to explain this passage to the English reader, is to observe, that the Roman Pound consisted of Twelve Ounces.
487.—_Worthy the _Cedar and the Cypress.]
The antients, for the better preservation of their manuscripts, rubbed them with the juice of Cedar, and kept them in cases of Cypress.
496.—Shall Lamia in our sight her sons devour,
and give them back alive the self-same hour?]
Neu pranse Lamiae vivum puerum extrabat alvo.
Alluding most probably to some Drama of the time, exhibiting so monstrous and horrible an incident.
503.—The Sosii] Roman booksellers.
523.—Chaerilus.] A wretched poet, who celebrated the actions, and was distinguished by the patronage, of Alexander.
527.—If Homer seem to nod, or chance to dream.]
It may not be disagreeable to the reader to see what two poets of our own country have said on this subject.
—foul descriptions are offensive still,
either for being like, or being ill.
For who, without a qualm, hath ever look'd
on holy garbage, tho' by Homer cook'd?
Whose railing heroes, and whose wounded Gods,
make some suspect he snores, as well as nods.
But I offend—Virgil begins to frown,
And Horace looks with indignation down:
My blushing Muse with conscious fear retires,
and whom they like, implicitly admires.
—Roscommon's Essay on Translated Verse.
A prudent chief not always must display
Her pow'rs in equal ranks, and fair array:
But with th' occasion and the place comply,
Conceal his force, nay seem sometimes to fly.
Those oft are stratagems, which errors seem,
Nor is it Homer nods, but we that dream.
POPE'S Essay on Criticism.
530.—POEMS AND PICTURES ARE ADJUDC'D ALIKE.]
Ut pictura poesis.
Here ends, in my opinion, the didactick part of this Epistle; and it is remarkable that it concludes, as it begun, with a reference to the Analogy between Poetry and Painting. The arts are indeed congenial, and the same general principles govern both. Artists might collect many useful hints from this Epistle. The Lectures of the President of the Royal Academy are not rarely accommodated to the study of Painters; but Poets may refine their taste, and derive the most valuable instruction, from the perusal of those judicious and elegant discourses.
535.—O THOU, MY PISO'S ELDER HOPE AND PRIDE!]
O MAJOR JUVENUM!
We are now arrived at that portion of the Epistle, which I must confess I am surprised, that any Commentator ever past, without observing the peculiar language and conduct of the Poet. There is a kind of awful affection in his manner, wonderfully calculated to move our feelings and excite our attention. The Didactick and the Epistolary stile were never more happily blended. The Poet assumes the air of a father advising his son, rather than of a teacher instructing his pupils. Many Criticks have thrown out a cursory observation or two, as it were extorted from them by the pointed expressions of the Poet: but none of them, that I have consulted, have attempted to assign any reason, why Horace, having closed his particular precepts, addresses all the remainder of his Epistle, on the nature and expediency of Poetical pursuits, to _the Elder Piso only. I have endeavoured to give the most natural reason for this conduct; a reason which, if I am not deceived, readers the whole of the Epistle interesting, as well as clear and consistent; a reason which I am the more inclined to think substantial, as it confirms in great measure the system of the Author of the English Commentary, only shewing _the reflections on the drama in _this Epistle, as well as in the Epistle to Augustus, to be incidental, rather than the principal subject, and main design, of the Poet,
Jason De Nores, in this instance, as in most others, has paid more attention to his Author, than the rest of the Commentators. His note is as follows.
[O major juvenum!] _Per apostrophen _ad majorem natu __ex pisonibus convertis orationem, reddit rationem quare summum, ac perfectissimum poema esse debeat utitur autem proaemio quasi quodam ad _benevolentiam & attentionem _comparandum sumit autem _benevolentiam à patris & filii laudibus: attentionem_, dum ait, "hoc tibi dictum tolle memor!" quasi dicat, per asseverationem,_firmum _omninò et _verum.
543.—_Boasts not MESSALA'S PLEADINGS, nor is deem'd AULUS IN JURISPRUDENCE.]
The Poet, with great delicacy, throws in a compliment to these distinguished characters of his time, for their several eminence in their profession. Messala is more than once mentioned as the friend and patron of Horace.
562.—Forty thousand sesterces a year.]
The pecuniary qualification for the Equestrian Order. Census equestrem summam nummorum.
565.—Nothing, IN SPITE OF GENIUS, YOU'LL commence]
Tu nihil, invitâ dices faciesve Minervâ.
Horace, says Dacier, here addresses the Elder Piso, as a man of mature years and understanding; and be begins with panegyrick, rather than advice, in order to soften the precepts he is about to lay down to him.
The explication of De Nores is much to the same effect, as well as that of many other Commentators.
567.—But grant you should hereafter write. Si quid tamen olim scripseris.]
"This," says Dacier, "was some time afterwards actually the case, if we may believe the old Scholiast, who writes that _this _PISO composed Tragedies."
568.—Metius.] A great Critick; and said to be appointed by Augustus as a Judge, to appreciate the merit of literary performances. His name and office are, on other occasions, mentioned and recognized by Horace.
570.—Weigh the work well, AND KEEP IT BACK NINE YEARS! nonumque prematur in annum!]
This precept, which, like many others in the Epistle, is rather retailed, than invented, by Horace, has been thought by some Criticks rather extravagant; but it acquires in this place, as addressed to the elder Piso, a concealed archness, very agreeable to the Poet's stile and manner. Pope has applied the precept with much humour, but with more open raillery than need the writer's purpose in this Epistle.
I drop at last, but in unwilling ears,
This wholesome counsel–KEEP YOUR PIECE NINE YEARS!
Vida, in his Poeticks, after the strongest censure of carelessness and precipitation, concludes with a caution against too excessive an attention to correctness, too frequent revisals, and too long delay of publication. The passage is as elegant as judicious.
Verùm esto hic etiam modus: huic imponere curae
Nescivere aliqui finem, medicasque secandis
Morbis abstinulsse manus, & parcere tandem
Immites, donec macie confectus et aeger
Aruit exhausto velut omni sanguine foetus,
Nativumque decus posuit, dum plurima ubique
Deformat sectos artus inhonesta cicatrix.
Tuque ideo vitae usque memor brevioris, ubi annos
Post aliquot (neque enim numerum, neque temporar pono
certa tibi) addideris decoris satis, atque nitoris,
Rumpe moras, opus ingentem dimitte per orbem,
Perque manus, perque ora virûm permitte vagari.
POETIC. lib 3.
592.—AND ON THE SACRED TABLET GRAVE THE LAW. LEGES INCIDERE LIGNO.]
Laws were originally written in verse, and graved on wood. The Roman laws were engraved on copper. DACIER.
595.—TYRTAEUS.] An ancient Poet, who is said to have been given to the Spartans as a General by the Oracle, and to have animated the Troops by his Verses to such a degree, as to be the means of their triumph over the Messenians, after two defeats: to which Roscommon alludes in his Essay on translated Verse.
When by impulse from Heav'n, Tyrtaeus sung,
In drooping soldiers a new courage sprung;
Reviving Sparta now the fight maintain'd,
And what two Gen'rals lost, a Poet gain'd.
Some fragments of his works are still extant. They are written in the Elegiac measure; yet the sense is not, as in other Poets, always bound in by the Couplet; but often breaks out into the succeeding verse: a practice, that certainly gives variety and animation to the measure; and which has been successfully imitated in the rhime of our own language by Dryden, and other good writers.
604.—_Deem then with rev'rence, &c]
Ne forte pudori Sit tibi MUSA, Lyrae solers, & Cantor Apollo.
The author of the English Commentary agrees, that this noble encomium on Poetry is addressed to the Pisos. All other Commentators apply it, as surely the text warrants, to the ELDER PISO. In a long controversial note on this passage, the learned Critick abovementioned also explains the text thus. "In fact, this whole passage [from et vitae, &c. to cantor Apollo] obliquely glances at the two sorts of poetry, peculiarly cultivated by himself, and is an indirect apology for his own choice of them. For 1. vitae monstrata via est, is the character of his Sermones. And 2. all the rest of his Odes"—"I must add, the very terms of the Apology so expressly define and characterize Lyrick Poetry, that it is something strange, it should have escaped vulgar notice." There is much ingenuity in this interpretation, and it is supported, with much learning and ability; yet I cannot think that Horace meant to conclude this fine encomium, on the dignity and excellence of the Art or Poetry, by a partial reference to the two particular species of it, that had been the objects of his own attention. The Muse, and Apollo, were the avowed patrons and inspirers of Poetry in general, whether Epick, Dramatick, Civil, Moral, or Religious; all of which are enumerated by Horace in the course of his panegyrick, and referred to in the conclusion of it, that Piso might not for a moment think himself degraded by his attention to Poetry.
In hoc epilago reddit breviter rationem, quare utilitates à poetis mortalium vitae allatas resenfuerit: ne scilicet Pisones, ex nobilissimd Calpurniorum familiâ ortos, Musarum & Artis Poeticae quam profitebantur, aliquando paniteret.
DE NORES.
Haec, inquit, eo recensui, ut quam olim res arduas poetica tractaverit, cognoscas, & ne Musas coutemnas, atque in Poetarum referri numerum, erubescas.
NANNIUS.
Ne forte, pudori. Haec dixi, O Piso, ne te pudeat Poetam esse.
SCHREVELIUS.
608.–WHETHER GOOD VERSE or NATURE is THE FRUIT,
OR RAIS'D BY ART, HAS LONG BEEN IN DISPUTE.]
In writing precepts for poetry to young persons, this question could not be forgotten. Horace therefore, to prevent the Pisos from falling into a fatal error, by too much confidence in their Genius, asserts most decidedly, that Nature and Art must both conspire to form a Poet. DACIER.
The Duke of Buckingham has taken up this subject very happily.
Number and Rhyme, and that harmonious found,
Which never does the ear with harshness wound,
Are necessary, yet but vulgar arts;
For all in vain these superficial parts
Contribute to the structure of the whole,
Without a GENIUS too; for that's the Soul!
A spirit, which inspires the work throughout,
As that of Nature moves the world about.
As all is dullness, where the Fancy's bad,
So without Judgement, Fancy is but mad:
And Judgement has a boundless influence,
Not only in the choice of words, or sense,
But on the world, on manners, and on men;
Fancy is but the feather of the pen:
Reason is that substantial useful part,
Which gains the head, while t'other wins the heart.
Essay on Poetry.
626.–As the fly hawker, &t. Various Commentator concur in marking the personal application of this passage.
Faithful friends are necessary, to apprise a Poet of his errors: but such friends are rare, and difficult to be distinguished by rich and powerful Poets, like the Pisos. DACIER.
Pisonem admonet, ut minime hoc genus divitum poetarum imitetur, neminemque vel jam pranfum, aut donatum, ad fuorum carminum emendationem admittat neque enim poterit ille non vehementer laudare, etiamsi vituperanda videantur. DE NORES.
In what sense Roscommon, the Translator of this Epistle, understood this passage, the following lines from another of his works will testify.
I pity from my foul unhappy men,
Compell'd by want to prostitute their pen:
Who must, like lawyers, either starve or plead,
And follow, right or wrong, where guineas lead:
But you, POMPILIAN, wealthy, pamper'd Heirs,
Who to your country owe your swords and cares,
Let no vain hope your easy mind seduce!
For rich ill poets are without excuse.
"Tis very dang'rous, tamp'ring with a Muse;
The profit's small, and you have much to lose:
For tho' true wit adorns your birth, or place,
Degenerate lines degrade th' attainted race."
Essay on Translated Verse.
630.—But if he keeps a table, &c.—Si vero est unctum, &c.
"Here (says Dacier) the Poet pays, en passant, a very natural and delicate compliment to the Pisos." The drift of the Poet is evident, but I cannot discover the compliment.
636.—Is there a man, to whom you've given ought, Or mean to give?
TU, seu donaris, &c.
Here the Poet advises the Elder Piso never to read his verses to a man, to whom he has made a promise, or a present: a venal friend cannot be a good Critick; he will not speak his mind freely to his patron; but, like a corrupt judge, betray truth and justice for the sake of interest. DACIER.
643.—Kings have been said to ply repeated bowls, &c.
Reges dicuntur, &c.
Regum exemplo Pisones admonet; ut neminem admittant ad suorum carminum emendationem, nisi prius optimè cognitum, atque perspectum. DE NORES.
654.—QUINTILIUS.] The Poet Quintilius Varus, the relation and intimate friend of Virgil and Horace; of whom the latter lamented his death in a pathetick and beautiful Ode, still extant in his works. Quintilius appears to have been some time dead, at the time of our Poet's writing this Epistle. DACIER.
[QUINTILIUS.] Descriptis adulatorum moribus & consuetudine, assert optimi & sapientissimi judicis exemplum: Quintilii soilicet, qui tantae erat authoritatis apud Romanos, ut ei Virgilii opera Augustus tradiderit emendanda.
