Semis. An haec animos aerugo et cura peculî 330 COMMENTARY. low and illiberal education of the Roman youth; who, while the Greeks were taught to open all their mind to glory, were cramped in their genius by the rust of gain, and, by the early infusion of such sordid principles, became unable to project a great design, or with any care and mastery to complete it. III. A third impediment to their success in poetry [from 1. 333 to 346] was their inattention to the entire scope and purpose of it, while they contented themselves with the attainment of one only of the two great ends, which are proposed by it. For the double design of poetry being to instruct and please, the full aim and glory of the art cannot be attained without uniting them both: that is, instructing so as to please, and pleasing so as to instruct. Under either head of instruction and entertainment the poet, with great address, insinuates the main art of each kind of writing, which consists, 1. in instructive or didactic poetry [from v. 335 to 338] in the conciseness of the precept: and, 2. in works of fancy and entertainment Centuriae seniorum agitant expertia frugis: 341 Hic meret aera liber Sosiis, hic et mare transit, 345 Et longum noto scriptori prorogat aevum. Sunt delicta tamen, quibus ignovisse velimus: Nam neque chorda sonum reddit, quem volt manus et mens; Poscentique gravem persaepe remittit acutum: 349 Nec semper feriet, quodcumque minabitur, arcus. Verum ubi plura nitent in carmine, non ego paucis Offendar maculis, quas aut incuria fudit, Aut humana parum cavit natura. quid ergo est? Ut scriptor si peccat idem librarius usque, Quamvis est monitus, venia caret ; ut citharoedus COMMENTARY. [1. 338 to 341] in probability of fiction. But both these [1. 341 to 347] must concur in a just piece. But here the bad poet objects the difficulty of the terms, imposed upon him, and that, if the critic looked for all these requisites, and exacted them with rigour, it would be impossible to satisfy him at least it was more likely to discourage, than quicken, as he proposed, the diligence of writers. To this the reply is [from I. 347 to 360] that he was not so severe, as to exact a faultless and perfect piece: that some inaccuracies and faults of less moment would escape the most cautious and guarded writer; and that, as he should contemn a piece, that was generally bad, notwithstanding a few beauties, he could, 356 360 Ridetur, chorda qui semper oberrat eadem : COMMENTARY. Nay, he goes on favour of writers, on the contrary, admire a work, that was generally good, notwithstanding a few faults. [from 1. 360 to 366] to observe in against their too rigorous censurers, that what were often called faults, were really not so: that some parts of a poem ought to be less shining, or less finished, than others; according to the light, they were placed in, or the distance, from which they were viewed; and that, serving only to connect and lead to others of greater consequence, it was sufficient if they pleased once, or did not displease, provided that those others would please on every review. All this is said agreeably to nature, which does not allow every part of a subject, to be equally susceptible of ornament; and to the end of poetry, which cannot so well be attained, without an inequality. The allusions to painting, which the poet uses, give this truth the happiest illustration. Having thus made all the reasonable allowances, which a writer could expect, he goes on to inforce the general instruction of this part, viz. a diligence in writing, O major juvenum, quamvis et voce paterna 366 370 Fingeris ad rectum, et per te sapis; hoc tibi dictum Et crassum unguentum, et Sardo cum melle pa paver 375 Offendunt; poterat duci quia coena sine istis : Sic animis natum inventumque poëma juvandis, Si paulum summo decessit, vergit ad imum. Ludere qui nescit, campestribus abstinet armis ; Indoctusque pilae, discive, trochive, quiescit; 380 COMMENTARY. by shewing [from 1. 366 to 379] that a mediocrity, however tolerable, or even commendable, it might be in other arts, would never be allowed in this: for which he assigns this very obvious and just reason; that, as the main end of poetry is to please, if it did not reach that point (which it could not do by stopping ever so little on this side excellence) it was, like indifferent music, indifferent perfumes, or any other indifferent thing, which we can do without, and whose end should be to please, offensive and disagreeable, and for want of being very good, absolutely and insufferably bad. This reflexion leads him with great advantage [from l. 379 to 391] to the general conclusion in view, viz. that as Ne spissae risum tollant inpune coronae: 385 num, Membranis intus positis. Delere licebit Sic honor et nomen divinis vatibus atque COMMENTARY. 390 395 400 none but excellent poetry will be allowed, it should be a warning to writers, how they engage in it without abilities; or publish without severe aud frequent correction. But to stimulate the poet, who, notwithstanding the allowances already made, might be something struck with this last reflexion, he flings out [from 1. 391 to 408] into a fine encomium, on the dignity and |
