320 Interdum speciosa locis, morataque recte COMMENTARY. 325 the man of the world without principles. United they supply each other's defects; while the man of the world borrows so much of the philosopher, as to be able to adjust the several sentiments with precision and exactness; and the philosopher so much of the man of the world as to copy the manners of life (which we can only do by experience) with truth and spirit. Both together furnish a thorough and complete comprehension of human life; which manifesting itself in the just, and affecting, forins that exquisite degree of perfection in the character of the dramatic poet; the want of which no warmth of genius can atone for, or excuse. Nay such is the force of this nice adjustment of manners [from 1. 319 to 323] that, where it has remarkably prevailed, the success of a play hath sometimes been secured by it, without one single excellence or recommendation besides. II. He shews [from 1. 323 to 333] another cause of their incorrectness and want of success, in any degree, answering to that of the Greek writers, to have been the ? 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 Sunt delicta tamen, quibus ignovisse velimus: Nam neque chorda sonum reddit, quem volt manus et mens; Poscentique gravem persaepe remittit acutum: 349 Aut humana parum cavit natura. quid ergo est? 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 l. 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 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 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 l. 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 |