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probably not elapsed between the publication of the Æneis, and the composition of this bitter invective against the corrupt taste of the Romans in poetry and eloquence.

If it be indeed true, as has been asserted by several writers, and especially by D'Alembert in a discourse which he pronounced before the French Academy, that taste, though not generally possessed, is no wise an arbitrary thing; it seems difficult to account for the short duration of those periods, which in different ages have been most distinguished for refinement, and for learning. When true notions of grandeur and of beauty have once been understood; and when mankind have once agreed in admiring the most perfect productions of art; it appears extraordinary, that the admitted standards of excellence should not longer continue the models of imitation. History and experience, however, teach us, that revolutions in taste are at least as frequent as in politics and in manners.

These fluctuations in the taste of nations may be influenced by many causes, but they seem generally to be produced by the love of that variety, to which Nature herself has habituated man. Every pleasure appears to us to be heightened by novelty and as the first emotions are the strongest, so the imagination is still most forcibly affected by change. The human mind is too restless to remain long satisfied with the contemplation of the same objects. We seek for beauty, and we recognize it under many forms: we are not always most delighted with what is most regular: we not only desire variety, but we are sometimes pleased with contrast. It cannot, therefore, be a matter of surprise, that writers should hope to succeed by attempting what is new and uncommon. It is in consulting the human mind, that they strive to please by variety; and in making this endeavour too, even where they are neither directed by judgment, nor inspired by genius, they are often flattered by temporary success, and by transient reputation.

Affectation is another cause of the rapid decline of eloquence, among nations already advanced to refinement. As the most finished works of man still fall short of that perfection, which it will ever be more easy to imagine, than to attain; so the desire of improving excellence will sometimes hurry us into extravagance, and lead us to make trials, which are beyond our strength. Injudicious writers are apt to forget, that when they are arrived at the sublime, one step further will carry them into the bombast; nor do they ever seem able to form to themselves an idea of that beauty, which is, when unadorned, adorned the most. Accordingly, in their works they go on embellishing, what was already ornamented; refining, where elegance already existed; and adding new graces, where they already abounded. They are never content with what can be done by the art of the sculptor, but, like the Roman emperor, they gild the statue.

Bad taste indeed is seldom satisfied with simplicity. Nor are authors more guilty in this re

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spect, than readers. It is the common error of bad writers, to think that their works are sublime, when

they are only bombast; and it is the common fault of bad critics not to discover the mistake.

When Persius wrote, the vice of affectation seems to have been universal. His own compositions, as Scaliger remarks, are not exempt from it. Many of his observations, however, are well worthy of our attention; for in these days we are not without our Accii in verse, or our Pedii in eloquence. We have indeed many speakers and many writers; but we have few, who seem to think with Longinus, that just judgment in speaking and writing is the last fruit of long experience.

2. I shall now direct the attention of the reader to the moral character of Persius as a writer; because this to a satirist must always be of the highest importance. Cicero has observed of how great consequence it is to an orator, that he should be esteemed a man of virtue and principle. But if a

good moral character be necessary to those, who endeavour to persuade others, it is surely no less essential to those, who presume to blame, and who attempt to reform the manners of mankind. Ability and virtue are indispensable in a satirist. We can neither bear with dullness in him who laughs at our follies, nor pardon crimes in him who censures our vices.

In order to be better enabled to appreciate the moral character of Persius, I shall make some rémarks upon the philosophy of that sect to which he belonged, whose principles he generally followed, and whose doctrines he inculcated by his precepts, and recommended by his example.

From the time the Romans began to apply themselves to Greek literature, until the establishment of the Eclectic sect, the philosophical world at Rome seems to have been chiefly divided between the systems of Zeno and of Epicurus. In vain had Cicero ridiculed the lofty maxims

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