# Monsieur Bossu's Treatise of the Epick Poem/Preface

THE
PREFACE
OF THE
TRANSLATOR.
'TIS Sir Roger L'Estrange's jocular Remark in his Preface before his English Tully's Offices, That a Man had as good go to Court without a Cravat, as appear in Print without a Preface: And therefore, because my Author has none, it may be expected I should Preface it for him. But since I undertake to personate so great a Critick as the Learned Bossu; it may to some seem requisite (let me be never so meanly qualified for such an undertaking) that I should give the World some Account of Poetry in General, and especially of the Epick Poem in Particular.
As for Poetry in General, I shall not trouble my head much about it at present; the World has had enough on that Subject already, and by much abler Pens. "That its Nature is Divine, that it owes its Original to Heaven; how from small Beginnings it rose at last to that Lustre we find it in, in ​Homer's and Virgil's days; and withal what strange Effects it always had upon the Minds of Men: These things, and much to the same purpose have been told over and over, and need not be repeated here. Not only Aristotle and Horace, but their Commentators and the Criticks, not only of our own but other Nations, have made it their Business to set forth its Excellence, and to recommend it to Mankind as the noblest Humane (I had almost said Divine) Art that is. Besides, that its true Use and End is to instruct and profit the World more than to delight and please it, has been so fully and clearly made out, by D'acier in his Preface before his Reflections on Aristotle's Poesie, and lately by our own Country-man the Learned Dr. Blackmore in his Preface before his Prince Arthur, that I think my self exempted in a great measure from that task likewise.
But however, it cannot but with a Blush be confessed, that most of our Modern Poets seem to have diverted the true Design of Poetry to one of a quite contrary Nature, whilst they study rather to please the debauch'd World in their own way, than to give them any wholesome instruction to become Wiser and Better. To such as these therefore it would be adviseable to consult Dr. Blackmore's Preface, and the third Chapter of the fourth Book in the ensuing Treatise: And they will there find how much the being a Man of Probity and Vertue is to be preferr'd, to the being a debauch'd, complaisant and temporizing Poet. They would do well to consider, that all the Reproach and Scandal which is cast upon Poetry and Themselves, is in a great measure owing to their own ill conduct. For when the unthoughtful Many see Men of debauch'd Principles Usurp to themselves the sacred Name of Poet; when they see base, servile, mercenary Souls prostitute their Pens to mean, sordid, and unbecoming Subjects, such as lewd and profane Plays, ​abusive and scurillous Farces, Lascivious Odes; and wanton Sonnets; they think they have reason to look upon Poets with contempt, and to stile them the scum of mankind. And it were well if their Censures went no farther, and only touch'd those that deserv'd them; but they go on, and conclude that Poetry it self is in all the fault, and that 'tis This that is the cause of so much extravagancy and debauchery in the World. But it does not follow, because many, that pretend to Poetry, do by their infamous practices bring a scandal upon it; and because an ill natured multitude, that has little or no relish for such sort of things, casts dirt upon it; I say it does not follow from thence, that Poetry is ever the worse. For at this rate Religion it self, though the best thing in the World, yet is vilified and scandaliz'd by too many, and would fall under the same uncharitable Censure. In spite therefore of Malice, Envy, and Detraction of its Enemies, and notwithstanding all the Contempt and Scandal cast upon it, by its pretended Friends and Votaries, it has been, and will still be accounted a Noble thing by the Wiser and the better part of Mankind.
Now whatever is said in favour of Poetry in General, may in a great measure be applied to the Epick Poem in Particular; That being the Principal and most sublime part of all Poesie, and what Rapin with a great deal of Reason affirms to be the greatest Work Humane Wit is capable of. I might here shew at large how far it does excel the other two parts of Great Poetry, Tragedy and Comedy: But this every one acknowledges, even those who are the greatest Admirers of, and pretenders to the Drama; and 'tis this that my Author sufficiently makes out in several Passages of his Treatise; so that I think my self excus'd from that invidious task. My present business shall be only to consider, how excellent it is in its own Nature; ​what a vast, Universal, and Judicious Genius it requires; what surprizing effects it has had in the World when duly perform'd; what encouragement it met with among the Ancients; and the Reasons of its declining state among the Moderns. Nor do I desire, even in this, to dictate any thing, but with all submission refer what I say to the Verdict of better Judgments.
The Excellency of the Epick Poem appears, in that, as we hinted before, 'tis the Principal, and most sublime part of all Poesie. 'Tis that on which the most Commendations, the highest Praises, and the largest, freshest Garlands are, and have been bestow'd. But this only gives us a general notion of its Greatness, we may see it in its clearest Lustre, if we would but take a particular view of its Nature and Design. And because I cannot express it better and more concisely in my own, I shall make bold to use my Author's Words. "The Epopéa, or Epick Poem (says he) is a Discourse or Story invented by Art to form Mens Manners by such Instructions as are disguis'd under the Allegory of some one Important Action, which is related in Verse after a Probable, Diverting, and surprising manner."
Here you have a short, but full and clear Idea of the Nature and Design of the Epick Poem. I shall not here spend time to explain the parts of this Definition; 'tis so fully and clearly done in the ensuing Treatise, that it needs no farther Illustration. Now what, according to this account, can be more Great and Noble? To regulate Mens manners; to purge and refine them from the Dregs, and Corruptions of Vice; to keep their Passions within due bounds, and to make them the Servants, not the Masters of right Reason, has in all Ages been esteemed a piece of the highest Prudence, and a great perfection of Humane Nature. Hence the Moralist himself deservedly derives all his Glory. But ​if he merits much, the Epick Poet merits much more. The one indeed by his plain, convincing Instructions can prevail upon those, whose minds are unprejudic'd, and whose Reason is rightly inform'd: But the other by the Charms and allurements of his Precepts breaks through all Opposition, conquers all prejudice, insinuates himself into the inmost recesses of the Soul, and makes a thorough Convert of the most obstinate Immoralist. The Epick Poet, to back all, makes use of frequent Examples, the strongest Arguments to perswade Men to be Vertuous; and his whole piece is an Imitation of such things as may probably happen. To conclude, he like a skillful Physician mixes Sweet with Bitter, that which is Pleasant with the Profitable, and gilds o'er the unsightly Pill, that so even the Nauseous but wholesome Physick might steal down the better. I know there may be some, who utterly dislike this way, and cry 'tis too Trickish, fit only to cajole Women and delude Children. But may I crave leave to tell such, that they seem not to have studied Nature sufficiently, else they would have discern'd in the most sage Tempers, some thing of the Child, that loves to be tempted and allur'd even to that which is his own Good and Happiness. This is Conspicuous to all, who are acquainted with the World a little, and have Read Men as well as Books: So that I need not stand upon proving what is so notoriously apparent. I am sensible much more might be said to shew the Excellency of the Epick Poem; but that little which has been already alledg'd in its favour, may, I presume, be enough to keep up its esteem among the more judicious part of the World: And as for others, of a more perverse principle, Though never so much were said, it would never satisfie them.
But to go on; sit is no small Commendation to the Epick Poem, that its nature is such as requires the largest, most Universal and Judicious Genius to under​take it. None but Men of the most exalted Souls, warmest Thoughts, liveliest Fancies, and deepest Judgments, are fit for such a noble Enterprize. Every Man, we see, who has but an Ordinary Capacity, thinks himself Scholar enough to be a Physician, a Lawyer, or a Divine: But the poor Pretender is a little more modest in his pretences to Epick Poetry. Here he stands off, and keeps at as awful a distance from Parnassus, as the trembling Israelites of old did from the burning Mount. Nay the Poetasters themselves, who have ventur'd at all the lesser sorts of Poems, yet knowing their own strength, have with all reverence receeded from so high an Undertaking.
So vast a Genius does this sort of Poetry require, that if we will rely on the testimony of Rapin, one of the ablest and most impartial Criticks this Age or any other Age since Aristotle and Horace, has produced, we shall find that there have been but only two, Homer and Virgil, who have wrote in this way with any tolerable success. This Judicious Critick mentions several of the Greek Poets, such as Coluthus, who wrote of the Rape of Hellen; Tryphiodorus, who gives an account of the taking of Troy; Musæus, who wrote the History of Leander; Apollonius Rhodius, who relates the Expedition of the Argonauts; Quintus Calaber, who undertook to write the Supplement to the Iliad and Odysseis; and Nonnus, who wrote the History of the Birth, Adventures, Victories, and Apotheosis of Bacchus: He likewise mentions several of the Latin Poets, such as Lucan, Statius, Silius Italicus, Valerius Faccus, and Claudian; but withall takes Notice how far short all these fall of the Perfections of the other two. As for the Moderns, he takes notice of several among the Italians, namely Dante, Petrarch, Boccace, Boyardo, Oliviero, Ariosto, Tasso, Sannazarius and Vida; but he thinks the three first deserve not the ​very name of Heroick Poets; and as for the rest, he has observ'd so many imperfections in them, that they can stand in no manner of Competition with Homer and Virgil, whom at least they have pretended to Imitate. Among the Spaniards he only mentions Camoens a Portuguese, and says, "He only regarded to express the haughtiness of his Nation in his Poem of the Conquest of the Indies: And that he is fierce and fastuous in his Composition, but has little Discernment, and little Conduct." Nor does this Ingenuous Critick favour his own Countrymen, Dubartas and Ronsard; but taxes them with such imperfections that one may reasonably dispute with them the name of Epick Poets. If you would be satisfied more particularly in this Point, I must refer you to the Reflections, which Rapin has made upon the Epick Poets in all Ages: And there you will perceive what a vast difference he makes between Homer and Virgil, and all the rest that wrote after them. Homer (says he) animates me, Virgil heats me, and all the rest freeze me, so cold and flat they are.
He has not indeed made any Reflections on our English Poets, and this Rymer presumes proceeded from his ignorance of our Language, which he did not understand so well, as to pass a Judgment on what was writ in it. Whereupon Rymer himself has undertook to Criticise upon them. Chaucer, he will not allow for an Epick Poet, the Age he lived in not being sufficient for a great design; being an Age of Tales, Ballads and Roundelays. Spencer, whom he reckons the first of our Heroick Poets, yet falls under his Censure, and is tax'd for his want of a true Idea, for this rambling after marvellous adventures, for making no Conscience of Probability, for making his Poem a perfect Fairy-Land, and for his unlucky Choice of the Stanza, which in no wise is proper for our language. Sir William D'venant is the next Heroick ​Poet our English Critick takes notice of. He acknowledges that his Wit was well known; that in his Preface to his Gondibert, appear some strokes of an extraordinary Judgment; that he is said to have a particular Talent for the Manners; that his Thoughts are great; and lastly that there appears something roughly noble throughout this Fragment. Yet after all, he blames him, for the ill choice of his Subject; for his bad Conduct; for a Vicious Oeconomy; and for his unhappy choice of the Tetrastick. Cowley is the third and last Heroick Poet, our Author mentions, and to him he gives particular Commendations. He says, "That a more happy Genius for Heroick Poesie appears in Cowley; that he understood the Purity, the Perspicuity, the Majesty of the Stile and the Vertue of Numbers; that he could discern what was beautiful and pleasant in Nature; and could express his Thoughts without the least difficulty or constraint; that he understood to dispose of the Matters, and to manage his Digressions; and lastly that he understood Homer and Virgil, and as prudently made his advantage of them." Yet after all these high Commendations, he laments his not carrying on the Work so far as he design'd, and his not living to revise what he did leave behind him: And blames him for his ill choice of the Subject of his Poem, in that like Lucan he made choice of History, and a History where he was so strictly ty'd up to the Truth. He likewise blames him for inserting the Lyrick measure in the very body of his Poem. Thus far the Judicious Rymer goes, and it were to be wish'd he had passed his judgment on the famous Milton another of our English Poets; but since he has wav'd saying any thing about him, till some other time, I shall crave leave to insert the Opinion of Dryden, a profess'd Poet, and as a great Judge of Poetry. He tells us in his Dedication before the Translation of Juvenal, ​"That Milton had a Genius equal to Spencer's, and greater than that of Cowley; that his Thoughts are elevated, his Words sounding, and that no Man has so happily copy'd the Manner of Homer; or so copiously translated his Grecisms, and the Latin Elegancies of Virgil." But then he says likewise, "That his Subject is not that of an Heroick Poem, properly so called; it being the losing of our happiness, where the Event is not prosperous like that of other Epick Works: That his Heavenly Machines are too many in proportion to the Human Personages, which are but two: That he runs into a Flat of Thought, sometimes for a hundred Lines together: That he was transported too far in the use of Obsolete Words: And lastly that he can, by no means approve of his Choice of Blank Verse." By this short view of our English Poets, which I have abstracted from Rymer and Dryden, one may clearly perceive how far short even they as well as their Neighbours have fell of the Excellencies and Perfections of Homer and Virgil.
But I must not leave Matters thus. For since my translating Bossu, and the thoughts I had of Publishing it, the World has been honour'd with an Excellent Heroick Poem in English, done by our own Country-man the Learned and Ingenious Dr. Blackmore: Which puts us Now upon thinking that the Poems of the two Ancients are not wholly unimitable. It may therefore be expected that in a Preface of this Nature, and in this part of it where we are treating of the vastness of the Genius that is requisite for Epick Poesie, something should be said on the Genius of that Author.
'Tis far from my design to set up for a Profest Critick, but that I may do some Justice to the Merits of that great Man, since no one else, as I hear of, has as yet Criticis'd publickly on the Poem, I shall venture to ​give the World a Tast of the thoughts I have conceiv'd of it in general. And a Tast it must only be, since the Limits of a Preface, and the Sense I have of my own inability in passing a Judgment upon so great an Author, do sufficiently excuse me from being more minute and particular, leaving that Task wholly to abler Judges in Poetry.
This therefore must be own'd by all, that he has made a happy Choice of his Subject and Hero, whereby he signalizes his own Country; which is more than any of our English Poets have done before him, besides the Romantick Spencer. He professes in his Preface to have imitated Virgil in his Design, and how well he has Copy'd that great Model let us now see. If we will examine things according to the Rules Bossu has laid down, his Fable will appear to be exactly the same with that of the Æneid. His Action is like that of the Latin Poet, One, Entire, Noble, Great, and Important Action, viz. The Restoration of a decay'd Church and State to its ancient splendor and Glory. The Intrigues he makes use of to hinder his Hero from accomplishing his great and good designs are of the very same make with those of Virgil. For as in the One, Juno, who had equal power both by Sea and Land, raises all the Obstacles, that lay in the way of the Trojan Hero: So in the other, Lucifer the Prince of the Air, equal in Power to Juno, raises all the Storms by Sea, and all the Disturbances by Land, that hindred the settlement of our British Hero. And as the Intrigues, so the Solution or Ʋnravelling of these Intrigues are as just, as regular, and as natural as those in the Æneid. In his Inscription or Title he has follow'd Homer in his Odysseis, and Virgil in his Æneid, who have both inscrib'd their Poems with their Hero's Name. His Proposition is as full, but withal as modest both with respect to himself and his Hero, as Horace requires, and Virgil has practis'd. His Invocation is ​much the same with that of the Æneid, and therein he has like Virgil Inserted his Hero's Character. The Narration of our English Poet (bating some few defects, which we shall mention by and by) is as exact as that of the Latin: And has in a great measure all those Qualifications which Bossu says are requisite thereto; for it is Pleasant, Probable, Moving, Marvellous, and Active. The Manners of his human Personages, their Interests, and Designs, are as regularly order'd, as those in Virgil's Poem. All the Characters are nobly drawn, and look like the Curious Strokes of a great Master; for they all tend to, and Centure in the General Character of the Poem and Hero, namely in that noble Ornament of the Soul, GENEROSITY. His Machines are very Natural, and adapted to the Genius and Notions of our times, as Virgils were to those of his Age. His Expression is noble and Majestical; his Verse Sonorous, Masculine, and Strong; his Thoughts are Sublime; his Similes natural; his Descriptions proper; and his Sentences few and regular. In a word throughout the whole he seems in a great Measure to have confin'd himself to the Rules of Aristotle and Horace, to have copy'd the best of any Man the Perfections of Virgil, and to have shewn a strength of Genius, an Heighth of Fancy, and a correctedness of Judgment, that comes but a little behind that of the two Ancient Poets.
But after all it must be said (though with some sort of reluctancy) that there are some few things which need polishing, and which after second and more deliberate thoughts, that great Master would no doubt have corrected. For one may question whether his Digressions are not too tedious, and some​times foreign to the Subject: Especially that of Prince Arthur's Speech to King Hoel, which takes up two whole Books. For what relation has this Recital of the Creation of the World; of the Fall of Man; of his Redemption; of the Resurrection; of the last Judgment, and the like with the main Action of the Poem; which is the Restoring Religion and Liberty, to the British Nation, and settling both Church and State on their Ancient Foundations of Truth and Peace? I know it may be said in favour of it, that it was necessary for the Conversion of Hoel, that such an account of things should be given him. But would not a bare Recital of a few Lines, that such a Relation was given him, have been sufficient? And would not such a Conduct have been more Conformable to the Nature of Epick Poesie, which excludes every thing that is foreign to the main purpose?
They who think to salve this by saying, that this Speech is in Imitation of Æneas's Speech to Dido, will be owned by all that have Read and compar'd both, to be egregiously mistaken, and the Author himself has no reason to thank them for making such a ridiculous Comparison. There is no manner of likeness between these two Speeches. The one, namely that of Æneas, is a story of whatever had happen'd to him for six Years together since the taking of Troy, and 'tis from that time the Action of the Poem begins: But the Narration of Prince Arthur is a Relation of things, wherein he had no more Interest than any other ordinary Man and Christian; and were we to reckon the Duration of the Action, from the time whereby the Poet begins this Speech, as all Criticks have done that of the Æneid, it would not be the Action of six or seven Years, but of six times as many Ages. There is no Comparison then to be made between these two Speeches; but that of our English ​Poet is wholly a Digression, and the other necessary and essential to the Æneid. That which our Author design'd to answer the Speech of Æneas to Dido, is doubtless the Speech of one of Prince Arthur's Attendants, Lucius, to King Hoel: As appears if we compare the Beginning of this Speech to the beginning of that in the Æneid. Lucius begins thus:
How sad a task do your Commands impose That must renew unsufferable Woes? That must our Grief with sad Affliction feed, And make your generous Heart with pity bleed. Whilst I the dismal Scenes of ills disclose, And bleeding Albion's ghastly wounds expose. The Cruel Foes in telling would relent, And with their Tears, the Spoils, they caus'd lament. Pity would Picts and Saxon Breasts invade, And make them mourn, o'er the dire Wounds they made. But since you're pleas'd to hear our Countries fate, I'll pay Obedience, and our Woes relate.
Now all this is an exact Copy of the Beginning of Æneas's Speech to Dido, which runs thus:
Infandum, Regina, jubes renovare dolorem: Trojanas ut opes & lamentabite regnum Eruerint Danai, quæque ipse miserrima vidi, Et quorum pars magna fui. Quis talla fando, Myrmidonum, Dolopûmve, aut duri miles Ʋlyssel, Temperet à Lacrymis? Et jam nox humida coelo Præcipitat, suadentque cadentia Sydera somnos. Sed si tantus amor casus cognoscere nostros, Et breviter Trojæ supremum audire laborem, Quanquam animus meminisse horret, luctuque refugit: Incipiam.
​In this Speech Blackmore, in my opinion, is more lucky in the Choice of his Speaker than Virgil was; For doubtless 'tis more for the Honour of the Hero, at least more agreable to the Notions and Religion of our times, and greater advantages might be drawn from another person's telling his Adventures, than if he himself were the Relater of them. But even in this Speech our English Poet seems not to be so regular as is requisite. Lucius begins too high in his Narration.Æneas begins his recital at the building of the Wooden Horse, and the taking of Troy; this is regular, and answers exactly to what Dido had desir'd of him. But Lucius, though Hoel only desir'd him to relate Prince Arthur's Story, and King Ʋter's Fate, tells him of the Decay of old Rome; of the Britains shaking off the Roman Yoke; how they were invaded by the Scots and Picts; that at last they were forc'd to send to the Saxons for their Assistance, who instead of Friends became their Masters; and then he comes to relate what was requir'd. Now all that is said before the account of King Ʋter's fighting with the Saxons and his overthrow, is, preliminary and wholy foreign to the main Action. For if we will compute the Duration of the Action of Prince Arthur, according to the Rules by which we compute the Duration of the Action of the Æneid, we must reckon, that it lasted from the Death of King Ʋter, and the overthrow of his Army, which put Prince Arthur upon travelling into Neustria; untill the Death of Tollo, which wholly made way for the resettlement of Prince Arthur. These are my thoughts, but perhaps the Author had other designs in his head, particularly that of preaching Morality and Religion to an Immoral and Irreligious Age; which seems in a great measure to excuse his long Digressions.
​Again one may question whether most of his Descriptions are not too long, and whether if our English Poet had bestow'd as much pains, and spent as much time about his Poem, as Virgil did about his Æneid, he would not have shortn'd his Descriptions, avoided. Repetitions of the same things, and been more correct throughout the whole.
Lastly it is urg'd by some, that he has but a few Episodes in Comparison to Virgil, and it seems probable to me, that this Thinness of Episodes has oblig'd him to be so long and tedious in his Descriptions and Digressions; else his Poem would have taken up but a little Compass. These are all the faults that I think are worth taking notice of; there are indeed other little slips, which touch not the Essence and Bottom of the Fable and Poem, therefore I shall not mention them. Nor are those I have mention'd such as cast any great discredit upon our English Poet: For notwithstanding all that has been said, spight of Ill-nature, Envy, and Detraction, he may justly be reckon'd the Next to, though not an Equal with Homer and Virgil.
Having thus taken a short View of the Poets of all Ages, and of almost all the polite Countries in the World, and having found how far short all of them, even Blackmore himself, fall of the Perfections and Excellencies of the other Two, it may seem necessary to decide a Controversie that has arose among the Learned whether Homer or Virgil had the greater Genius, and which of them deserv'd the greater Applause. We find them divided into Parties about it, some declaring in favour of the One, some in favour of the Other. But without detracting from either, we may venture to say that each of them had their peculiar Excellencies, which the other had not. If Homer was the first Model of this way, yet Virgil was under such Circumstances as gave him not only the Glory of well copying so great a Pattern, but even of a primary In​vention. If the First had more Flame, the Last had more Phlegm, and tho the Poems of the one had more Spirit in them, yet the Æneid of the other was more Correct. On the other hand, if we do not meet with those perfect Hero's, and those noble Ideas of Vertue in Homer, as are to be seen in Virgil, 'tis to be attributed more to the unhappiness and Imperfections of the times the Greek Poet liv'd in, than to any want of Judgment and skill. In a word they are both excellent in their kind, and if Homer seems better than Virgil, 'tis because it was his fortune to be born first: As on the contrary, if any one thinks the Latin Poet to be best, 'tis because he had so excellent a Model to imitate. However the case is, yet 'tis evident they both had large Genius's, and such as no others, as we know of, could stand in Competition with.
Now it is not to be wonder'd at, if by the great performances of such an extraordinary Genius as animated Homer and Virgil, many great, extraordinary and almost miraculous Effects were produc'd. Love, Admiration, and Esteem were the common Tributes which the Vulgar paid to the Venerable Name of Poet. They were so charm'd with the sweetness of all Poetical Composures, that they look'd upon what the Poet said as Divine, and gave the same credit to it, as to an Oracle. Hence it came to pass that all the Poets Writings were among the Heathen reckon'd as so many Lessons or Sermons of Morality, which polish'd the Manners, smooth'd the Temper, and civiliz'd the Disposition of the most Barbarous Nations. Nor is it unreasonable to Imagine that even the Refinedness of Athens was owing more to the Poets, than to the Philosophers instructions. Of all that has been said in favour of the Poets, Homer may claim a great share, since if we will believe Horace in the Case, hisWritings were more instructive and useful, ​for the Conduct of human Life, than the Precepts of even the best Moral Philosophers. 'Tis to be confessed, we are in the dark, as to what Effects his two Poems had in the Age he liv'd in: But this we know, that in after Ages they have been had in universal esteem, and will always be admir'd as long as Learning and Good-Manners have any repute in the World. The same may be said of Virgil. For the more any Age increases in Sound Knowledge, and Ingenious Literature, the more to be sure will his Poem be had in Admiration. Besides it seems to have had a strange and peculiar Effect in the Age, and upon the State he liv'd under. For 'tis more than Probable that the publishing of his Æneid conduc'd very much to the settling Augustus on the Imperial Throne. We know what a strange A version the Romans had to the very name of Monarchy, and 'tis not likely they would so soon have exchang'd their belov'd Democracy for that which they so much hated, had they not been work'd over to it by the Instructions of Virgil: who informs them, "That when Heaven decrees to settle a State upon such or such a Foundation, 'tis Atheism and Irreligion to oppose its designs; and such an Affront to the divine Majesty and Wisdom as should certainly meet with speedy, and condign Punishment."
Let us now see what Encouragement the Epick Poets have met with. As for Homer, the Times he liv'd in are so obscure, that we can gather nothing of Certainty from History about him. But 'tis by most concluded that he was as Poor as he was Ingenious: And that though many Cities after his Death claim'd him for their own; yet none of them gave the blind Bard, that encouragement he merited whilst alive. 'Tis likely he was admir'd and esteem'd by all, but receiv'd no other reward that we know of, for his Deserts, but what our poor Spencer did, namely a Courtiers Smile; insignificant Promises, and a few fawning. Compli​ments. Virgil had the luck to live in better times, for he met with a Maecenas, who honour'd him with his favour, encourag'd him with his Gifts, and introduc'd him into the Esteem of Augustus himself. This indeed was something more than the empty Breath of popular Applause; and Parnassus at that time was not such a starving, barren Soil, as before and afterwards it prov'd. Then Poets were had in admiration, and every one receiv'd that recompence, which was their due. This was the Poets Golden Age, and all other Polite Learning met with such ample Encouragement, as made it flourish more under the Reign of Augustus, than in after Ages, even to the Honour and Admiration of those, and to the disgrace and reproach of succeeding times. There have been indeed some intervals since, wherein Poets have met with their due Rewards. Aristo and Tasso are said to have met with their Patrons, who accepted of their Pieces, and recompenc'd their Labours And in France, Richlieu was a great and never-failing Friend to the Muses and their Votaries, But at other times the poor Bards have been left to feed upon the empty Air of Vulgar Fame. For a proof of this, we need only have recourse to the Poets of our own Nation, who whilst living have most of them met with the same fate as their fore-Father Homer; tho' when Dead they have like him been even Idoliz'd. But this Posthumous Fame is but a poor Subsistence for a living Poet: And this gives us a just occasion to enquire in to the Reasons of the declining State of Epick Poetry among the Moderns, especially in our own Nation.
One would wonder how it comes to pass, that in such an Age as this, wherein all manner of Polite Learning shines with as great a Lustre, as it did in the Reign of Augustus, Epick Poetry should be the only slighted and neglected thing. But for all our Wonder, Experience shews us, that 'tis so far disregarded by the Learned World, that few or none, tho' duly qualified, will ven​ture upon such an Undertaking; and there are but a few likewise that understand the true nature and design of an Epick Poem.
There have been many Reasons brought to prove it next to impossible for one of our Modern Poets to write a true Heroick Poem, such a one as Homer and Virgil have wrote. Some of these Reasons I shall just mention, and prove them to be only pretences at the best; and then I shall make bold to propose some other Reasons of the declining State of Heroick Poetry in our times, which perhaps may seem to the unprejudic'd Reader to be of more weight and consequence, than any that have as yet been alledg'd.
First of all 'tis objected by some, That we want due Matter for an Heroick Poem:. That is, the History of our Nation is not able to furnish us with an Action or an Hero that is fit for such a Poem. Were we indeed to judge of this by the Practice of Sir William D'Avenant and Mr. Cowley, who have each of them made choice of a Subject and Hero, that has nothing to do with the English Nation, we might then be inclin'd to suppose it was for want of due and just Matter in our own Annals. But I think they had no need of searching into Foreign History for their Actions and Hero's, since they might with more Credit to themselves and with more Honor to their Country, have met with both nigher Home. 'Tis certain our own History could have furnish'd them with as just a Subject for Heroick Poetry, as any other Experience has shown us since, by the happy Choice Dr. Blackmore has made of Prince Arthur, that our Annals are not so barren of Great and Noble Actions and Heros as some would pretend. It argues then great Ignorance, or at least great Negligence in the search of our Records to say, That we want due Matter for an Heroick Poem.
Again 'tis objected by others, That we want a Genius for such an Undertaking. This indeed is a weightier ​Reason than the former, and if true, would silence all our pretences to Epick Poetry. Sir William Temple in his Essay of Ancient and Modern Learning, presses this Argument very strongly against the Modern Poets. But without any offence to that great Man, it may be justly affirm'd, That this last Age has produc'd as many great and noble Genius's, as any other Age before it: So that had they been inclin'd to Epick Poetry, and received any encouragement that way, they might no question have come off with the same success as they have in the Drama. Sir William will not allow our Moderns to be any more than Dwarfs in Learning, when compar'd to the Ancients; and then, by a pretty sort of Allegory, he goes about to prove, that they with all the Advantages of writing after the Ancients, cannot make so great a Progress in Learning as those did. I shall not trouble my self with refuting his Assertion, since that is done already by Mr. Wootton in his Reflections upon Ancient and Modern Learning, wherein he sufficiently proves the Moderns to be as tall in Learning, if not taller than Sir William's Giants were; and that 'tis not want of Genius, but some Accidental Circumstances, which make the Men of this Age come behind those of former times in Oratory and Poetry.
Another Objection is, our defect of Numbers, and that our Language is not proper for Heroick Poetry. This is what Wootton himself urges in his Reflections, when he will not allow the former Reason to hold good. He tells us there, "That the Greek was so smooth, soft, and ductile, that Homer had great encouragement even from his Language, to set about an Heroick Poem: That the Latin was majestical and stately, but withal so rough, that Virgil had much ado to run it down to Verse: But that our Modern Languages are all so harsh and unmalleable, that the Poets have no encouragement to form any thing that is great out of them." This, if I mistake not his sense, is the force of his Ob​jection. But it may be reply'd, That tho' our Language is not so smooth and sonorous as the Greek, yet it comes the next to it of any Language. 'Tis well known how it has been refining ever since Waller's and Cowley's time, and it seems at present to be almost arriv'd to its Purity and Perfection.Dryden calls it a Noble Language, and is only sorry we have not a more certain measure of it, as they have in France, where they have an Academy erected for that purpose, and endowed with large Privileges by the present King. Rapin himself acknowledges the Majesty of our Language, which, he says, is proper for great Expressions: Rymer compares the Spanish, the Italian, the French, and the German, to our Language, and prefers the English to all the rest; which, he says, has a weight, fullness, vigour, force, gravity, and fitness for Heroick Poesie, above all other Languages. How true this is, appears from the daily Writings of our Poets, and especially from some of Dryden's Poems, and Blackmore's Prince Arthur, where their Expression is lofty and Majestical, the Verse smooth and strong, and the Numbers truly harmonious, and befitting their respective designs. I shall only add the Opinion of Roscommon in the Case, who speaking in Commendation of the English Language, makes it by much to be Superiour to the French. His words are these:
​Lastly, 'tis Objected, "That we want the Benefit of Machines; which the Heathen Poets made so great use of, and with which their Poems were full from one end to the other: That the Notions and Religion of our times exclude all manner of Miracles, and the extraordinary presence of the Heathen Gods from having any thing to do in the ordinary Course of humane Affairs, which we believe now to be govern'd only by one common Providence; and that upon this account it seems altogether unpracticable for any of our Modern Poets to write an Heroick Poem like to those of Homer and Virgil." This Objection is duly stated, and fully answer'd by Mr. Dryden in his Dedication before the Translation of Juvenal. There he tells us, That our Religion does indeed debar the Poet from making use of Jupiter, Juno, Minerva, Venus, or any others of the Heathen Deities: But that this is made up to the Poet another way; that 'tis not contrary to Christianity to believe that there are good and bad Spirits which have some sort of influence over humane Affairs: And that the Poet may form as just Machines out of these, as the Ancients did out of their Divinities. This is what Blackmore has done even to Admiration, and his Practice and Conduct has put it beyond all dispute, that we may very safely and regularly make use of Machines, provided they are such as are suited to the Notions and Religion of our times.
These are the principal Objections I thought fit to mention, which are not such solid Reasons as some may imagine: I shall now according to my promise propose some others, which I think to be more substantial; but withal I must reserve to my self my first Caution, namely, that I design to dictate nothing herein, but to lay down my Thoughts as plainly and as clearly as possible, and to refer all to the Verdict of better Judgments.
First then I say, that one great Reason of that general Disesteem which Epick Poetry lies under, and of its ​declining state among the Moderns, seems to be the Degeneracy of the present Age. We are fall'n at last into such unhappy times, wherein Men are as averse to the Precepts of Morality, which the Epick Poet writes, as they are to the Lessons of Divinity, which the Preacher every Day inculcates. We do indeed read Homer and Virgil, but then 'tis not with a design, like the Bee, to suck the Honey out of them, but in imitation of more sordid Creatures, to extract all the Venom we can, in order to corrupt our Manners, and give a Gust to our Debaucheries. We are glad to find any passage in them that may seem to favour our Licentiousness, and even those that are design'd to be our Physick, we like Men of a Sick Stomach, turn all into rank Poyson. Now no wonder if when our Palates are thus vitiated we have no Relish for the wholesome Instructions of Epick Poetry. Poets then, to please the Humour of the Age, are forced to write in their way, especially such of them as have not Souls great enough to stem the Torrent of so universal a Vice. Hence it comes to pass that we have so many vile Plays Acted on the Stage, wherein Vice is set off with all the Lustre, and recommended with all the Endearments that a corrupted Poet's Wit can invent, or the most loose Debauché could have desir'd. Thus both Poets and Audience, by an unheard of Complaisance, contribute to the Ruine and Corruption of each others Manners.
Another great Reason of the declining State of Epick Poetry, and of the Degeneracy of all other sorts of Poetry, is the want of due Encouragement. This is the true Ground of all our Grievances, and till this be provided against, 'tis to be fear'd nothing that is Great, Noble, Vertuous, and truly Good, will ever be produc'd by our Modern Poets. Athens and Rome made their Poets the Pensioners of their State, and maintain'd them honourably out of the Publick Treasury. Hence it was they never ventur'd, at least not in the ​most Primitive times of Poetry, to write any thing which might reflect upon the Government they liv'd under, or upon the Gods they Worship'd. But now with us the Poet meets with no Encouragement, and only One Lawreat is maintain'd at the publick Charge. Upon this account it is that Men of Large Souls, who cannot condescend to humour the Vulgar in their Licentiousness, turn the bent of their Studies another way, and fly Parnassus as they would the most dangerous Contagion. Others of a more pliable Temper take up with the Stage, and that they may receive some Profit themselves, study not to profit, so much as they do to please their Audience, and that in their lewd way too. But is it not a burning shame that such a Noble Genius as Dryden and others, that seem to be made for greater designs, should be forc'd to a fatal Dilemma, either to truckle to a Playhouse for the uncertain Profit of a third Day, or to starve for want of other reasonable Encouragement? But 'tis hop'd on all hands, that under the Reign of one that may truly be term'd another Augustus, and under the Patronage of one that may as justly be stil'd a Second Mecœnas, Poetry will regain its ancient Privileges, and Epick Poets receive that publick and due Encouragement they really deserve.
The third and last Reason I shall mention for the declining State of Epick Poetry among the Moderns is, their notorious neglect of following the Rules which Aristotle and Horace have prescrib'd: This, and not want of Genius, has been the true Cause why several of our English Epick Poets have succeeded so ill in their Designs. Rymer urges this very strongly against Spencer himself, whom at the same time he acknowledges to have had a large Soul, a sharp Judgment, and a Genius for Heroick Poesie, perhaps above any that ever writ since Virgil. For no question but his following an unfaithful Guide, his Rambling after Marvellous Adventures, his making no conscience of Probability, and almost all his other faults ​proceeded from one and the same Cause, namely, his neglect of following the Rules of Poetry. The same may be said of Sir William D' Avenant, and Mr. Cowley: For all the Defects Rymer charges them with, are wholly owing to the same Cause. 'Tis likewise upon this very account that the Pieces of our Dramatick Poets, which are reckon'd to be the best performances of the present Age, can scarce any of them stand the Test of a Judicious Eye: And a Man of sense that knows the Art of Poetry, and has read the Performances of former Ages, cannot but pity the conceited Ignorance and perverse Pride of our Modern Poets, who scorn to be confin'd to the Rules of Art. They have been told of this often and often, but they think their own Wit is the best Judge in the Case; and as long as 'tis so there is no hopes of any Amendment, or of any great Productions in Poetry. I know they bring several Objections against Writing according to the Rules, but they are so trifling that I think it not worth while to examine them here: Besides, all their Objections, at least the weightiest of them, have been stated, examin'd, and refuted in the Preface before the last Translation of Terence's Comedies; so that I am sufficiently excus'd from that needless Task.
I shall shut up all that has been said on Epick Poetry, with giving you the Thoughts of a very eminent Person of Quality of this present Age and Nation; who seems to have comprehended all that has been said on this Subject in these few Verses.
After what has been said in favour of Epick Poetry, it may be expected I should say something in behalf of my Author, and give the World some account of the Reasons that induc'd me to Translate it: But before I do either, I must beg leave to premise a word or two, which to the more Judicious may not seem to be a Digression.
To Criticise upon any Author, is no such easie matter as some may imagine: But to pass a true and impartial Judgment upon the Writings of the Poets, may be justly reckon'd one of the hardest parts of Criticism. Every little Pretender is not fit for such an Undertaking. It requires a large but regulated Fancy, a sound, solid, and penetrating Judgment, deep, piercing, and steady Thoughts, a long and obstinate Course of Study, much and certain Experience, a clear and perfect insight into Poetry and all its parts; but above all, the utmost stretch of Humanity and good Nature. Every one that reads Homer and Virgil, cannot be presum'd to understand them perfectly: Nor are all that understand these Authors to be admitted as competent Judges of ​their Excellencies and Failures. They must first be Masters of the foremention'd Qualities, and then they may begin to Criticise and Reflect upon what they read and thorowly understand. Then they will be able to separate the Dross from the Or, to discern the false glittering of the Tinsel from the true Lustre of the Jewel, and to know what is praise-worthy and what is not.
How Synonymous soever the words may seem at first hearing, yet unquestionably there is as much difference between Censuring and Criticising, as there is between a corrupted, ill-natur'd, and a fair impartial Judge. A little Wit, arm'd with a great deal of Malice, will go a great way towards the composing a Censurer: Such a one, I mean, that Carps at ev'ry thing he meets with, that would find faults where there are none, and take some sort of Complacency and Delight in magnifying the smallest slips of an Author. But now the true Critick is quite another thing; he brings all he reads and reflects on to the Criterion of right Reason, and to the Standard of Truth. What is excellent and beautiful, he not only acquits, but highly applauds and commends: What is weak he does all he can in justice to conceal or defend; and like a compassionate Judge, 'tis with some sort of Reluctance and Regret that he is forc'd at last to pass a Black Sentence upon the most Criminal Pieces. Such a Critick as this is of vast use to the Commonwealth of Learning, not only for encouraging and countenancing the Good, but likewise for discouraing and deterring the Bad Writers: Since the Excellencies of the one will be sure to meet with a due esteem; and the Faults of the other will in spite of the Criticks good Nature, fall under a just and severe Censure. This is that Notion I have of a true and accomplish'd Critick: All others may be term'd Censurers, Carpers, Momus's, or by what other Name of ignominy you please to give them, but are by no means to be ​allow'd competent Judges of any Author's Writings.
This sort of Learning was in no small esteem among the Ancients; as is manifest from the many Curious Reflections and useful Criticisms, which Aristotle and Longinus among the Greeks, Horace and Petronius among the Latins (not to mention any more) have left behind them. Of latter date the Italians and Spaniards have set up for great Criticks; but those among them that have prov'd best, are such as have follow'd the Rules and Precepts of Aristotle and Horace, and other great Masters of Antiquity; whilst others that have invented any thing of their own, have come off with less Judgment and Applause. Among the English, there have been but few that merit the Name of Critick, in that Sense I take the Word. Most of them are only Criticks in the worst Sense; that is, such as expose the Faults, but take no notice of the Excellencies of Authors. The Judicious Rymer, who seems to have a particular Talent for Criticising, yet in my Opinion falls short of being a true Critick: And if he will still dispute that Title with the World, yet he must be contented with being reckon'd one of the meaner sort; since 'tis more difficult and honourable to discern and commend the Excellencies, than 'tis to find out and expose the Failings of Shakespear, Fletcher, or any other Author. At present the French, since the great encouragement they at first receiv'd from the Learned Richlieu, seem to be uppermost in this sort of Learning: And how dull and insipid soever they are said to be in other parts, yet in Criticisms they are full of curious Thoughts, and refin'd Reflections. Rapin, in all the Reflections he has made, comes off with universal Applause; but those on Aristotle's Poesie seem the most Correct of any. He has reflected on all the parts of Poetry, and descends to the more minute and lesser pieces of it; which is something more than Aristotle himself has left us.
​As for my Author, whom D'Acier in his Notes upon Aristotle's Poesie calls the Ingenious and Judicious Bossu; he, I say, has enlarg'd himself upon only one part of Poesie, to wit, the Epick. And herein he ties himself strictly to a Method, which he as strictly pursues. He professes at the very first, to have follow'd the Rules and Precepts of Aristotle and Horace, and the Practice of Homer and Virgil. Upon such sure grounds as these he builds all his Notions; and having such Masters and Patterns to go by, Who can doubt of his Success? What he takes from Aristotle and Horace, he explains, improves, and refines: What is his own, though never so judicious and rational, he lays down not in a Dogmatical Magisterial way, but by way of Problem: And what he asserts with an Air of Confidence, though not his Masters Thoughts, yet seem to be natural Deductions from what they have wrote about it. 'Tis not to be question'd, but in many Things he dissents from most Mens Opinions; but 'tis to be hop'd, no judicious Person will condemn him till he has seriously weigh'd his Reasons, and consider'd the Arguments he uses to maintain his Cause: and then if our Critick can be convinc'd of any Error, he is too modest not to submit to the Suffrage of better Judgments. But if, on the other hand, he has Reason on his side, it may with Justice be expected, that he will be a means of opening the Eyes of a great many unprejudic'd Persons.
His main Design of writing these Reflexions was, as he tells us himself, for the sake of those that read Virgil; and to such I dare affirm, that this Treatise will be of more Use than all the Notes and Comments they have hitherto seen. They are usually stuff'd with idle and unprofitable Remarks upon meer Words; but this full of ingenious Criticisms upon the most weighty and important Things. How well he has discharg'd himself, those who carefully read over this Tract of ​his, will no doubt discover; and they will without doubt from thence form a nobler Idea of Virgil, and his Design, than hitherto they have conceiv'd. If he seems, like his Country-men, to be too Verbose, 'tis only upon the account of his studying to make all things as plain and as intelligible as may be; and whether that be a real Fault, I leave others to judge. Beside the useful Reflexions he makes upon the Conduct of Virgil in particular, you will find many others of no less use upon the Practice of Homer, and upon Epick Poetry in general; and now and then some that will give you no small Light into the other two Parts of Great Poetry, Tragedy and Comedy. In a word, he has throughout the whole acquitted himself like a true, judicious, and impartial Critick. He commends the Excellencies of the Good, and censures the Failings of the Worst Poets with such a Justness and Moderation, as deserves a particular Esteem and Admiration. Tho Statius, Claudian, Lucan, Seneca, and others, fall under his Lash, yet he meddles with their Faults no farther than his Subject requires, and upon occasion he gives them their full Commendations: And on the contrary, tho he bestows on Homer and his admir'd Virgil very high and large Encomiums, yet they are no more than the most invidious part of the World have allow'd them; and he often blames both when he cannot in Justice excuse their Failings.
'Tis now high time I should give you some Account of the Reasons that induc'd me to the Translating this Author. One, and not the least, is the Excellency and Usefulness of these Reflexions, which are too good to be confin'd to a Foreign Language. 'Tis true, French is now become fashionable and common, and seems to be as universally studied, as Latin was formerly; and ev'ry Pretender to Gallantry and good Breeding, pretends at least to be a perfect Master and Judge of this Language. But however, I believe the ​Language is not so familiar, but by a modest Computation it may be affirm'd, That a tenth part of those that read Homer and Virgil, understand but very little of it. To such as these, this Translation may be of some Use; and perhaps others who think they already understand the French Tongue, may be glad to see so beneficial a Treatise in a more familiar and intelligible Language.
Another Reason that inclin'd me to this Undertaking is, the Notice I receiv'd that Virgil was now ready to be Translated into English by an eminent hand. Before therefore that that Translation came out into the World, I could not but think it proper and useful to usher it in by the Reflections of so able a Critick. And perhaps it may be of some Use to the Understanding Virgil, when read in our Mother-Tongue. Besides, it has the Fortune to come out just after Dr. Blackmore's Poem, and may be of great Use to those who have an Inclination to Poetry; for by it they will be able to judge of this English Poet.
As for the Translation, you must not expect a verbal one; for to that I neither think my self nor any body else oblig'd. I have kept as nigh my Author's Sence as possible; and perhaps some may think I have follow'd him too close. However, I did all I could to render him with all the Perspicuity which a Didactick Stile requir'd: and if that be granted me, I have all I aimed at. Some Terms of Art which Bossu borrow'd from the Greek, I was oblig'd to retain as I found them: but doubtless, whoever attentively reads what he has said about them, will soon find them to be no Mystery. The Citations in the Margent (as many as I thought good to make use of) are all left in their Original Languages: but such as are in the Text, I thought would appear best in English, unless when the Subject requir'd the contrary. For this purpose, some I made bold to borrow from the Translations that were ready ​done to my hands by several Wits of the Age: Of the rest, some I Translated my self; and others more difficult, I got an ingenious Friend of mine to turn for me.
This is all the Account I think fit to give you of my Reasons for Translating Bossu, and of the Method I have taken therein. Whatever Pains and Precaution I have us'd, I do not expect I shall please every body, and 'tis a Wonder if I should. Some will censure the Author, others the Translation, and a third sort perhaps, stirr'd up with a generous kind of Envy call'd Emulation, will either endeavour to Translate it better themselves, or else vent some new Notions of their own. However it happen, the World will be the better for it, and my Author and I shall have this Satisfaction, That the Commonwealth of Learning will be then engag'd to thank us not only for our own mean, but even for their more elaborate Productions.
* ↑ The Generous Briton
* ↑ Which may be one great Argument to prove that the writing according to the Rules of Aristotle and Horace is no such Clog to a Poet's Fancy as some pretend.
* ↑ Fracti bello, satisq; repulsi Ductores Danaum, tot jam labentibus annis, Instarmontis equum. &c. Æn. 2.
* ↑ Plenius ac melius Chrysippo aut Crantore dicit. Ep. ad Loll.
* ↑ Dryd. Dedic. to the E. of Orrery before the Rival Ladies.
Layout 2