4» 'I' DUKE UNIVERSITY LIBRARY Treasure %oom / % /l 4- i> -*^^ » • .' •/ ;. ARISTOTLE S A R OF POETRY. Tranflatcd from the Orlj^jnai GretJ^, according to Mr. L':eQ \ dore Goul/ions Edition. TOGETHER, With Mr. D'A C IE R's Notes Trtrtilnict from the French. \ 'Vero nomint ^:c Non Honor eft. Ovid Aletam. /^'. '2. LONDON: I^rinted for Dan, Browne at the BUhk Snu,. without Temple Bar^ and J^VUl. Turner at the jinoel at Lincoln s-Inn Back Gate, 1*705. ^^z- ■^j:.^/ A-in AP THE PREFACE. IF I nas to fpcah here of Ariflotle*^' Afsrii- only^ the excellence of his Poetick Art, and the reafons / h^d to pitblijh itj I need dy no more than refer the Reader to that Work^ to Jherv the diforders into which the Theatre is Icn^ fince fallen^ and to let him fee^ that ai the In- juflice of Men^ gave occafion to the making of Larvs'j fo tht decay of Arts^ mid the Faults corn" mitte din them, obliged firfi to the making Kules^' md the renewing them. But in order to prevent '^ the Ohje^ions of fome^ who fcorn to be bound ta any Rules^ only that of their own fancy ^ I think it neceffary^ to prove^ not only^ that Poetry is ait ud^t^ but that 'tis known^ and its Rules fo certainly ihofe which Anitotie gives us^ thnt 'tis itnpofjlhlr to fucceed any other way. This being provd, / Pmll Examine the two Confeqiiences which naturally flow from thence : firfi, that the Rulesj and wh.it pleafesj are never contrary to one 4nother^ and thjtt you can never obtain the latter without the for" mer. Secondly^ That Poefie being an Art can ne-- A ^ -VT The P P E F A C E. ^•er hetre]udicial to Manhnd^ and that ^twas in- vented and im^rovd for their advantage only. To follow this Method^ ^tis 'riccejfary to trace Poetry from its Original^ to JJjew that 'twas the 3)a:tghter of Religion^ that at Ictjgth "'twas vitia- ted^ and dehaucWd^ cttid laflly^ brought under the Rides of jirt^ which affifled^ in Corred:ing the defaults of Nature. God touch' d with Coinpajfion for the Mifery of Men^ who were obliged to toil a?7d labour^ ordain d Feafis to give thcmfome refl • the offeringofSacri^ flees to hnnfelf^ by way of Thanksgivings for thofe Blejfings they had received by his Bounty^ This is a. Truth which the Heathens themfelves acknow- ledged :^ they not only imitated thefe Feafis^ but fpake of them as a Gift of the Gods, who having granted a time of Repofc, reqnir'd fome tokens of their grateful remembrance. The firfi Fcafls of the jlncicnts were thus. They ajfcmbied at certain times^ ejpecially in Autumn^ a^ter the gathering in their Fruits^ for to rejoyce^ and to offer the choicefl of them to God -^ and this ^tis^ which fir J} gave birth to Poetry ;. For Men^ who are naturally inclined to the imitation of Adu- fck^ employed their Talents to fing the praifes of the God they worfl]ippcdy and to celebrate his mofl re- markab'le Anions. If they had always kept to that Primitive Simpli- city^ all the Poefie weJJjould have had^ would have becn^ only Thanksgivings ^ Hymtis^ and Son^s^ a>i Aviongjt the Jews. Put 'twas very difficulty or rather iinpoffible^ that Wifdom^ and Puritj^ (Jjould reign long in the Heathen ylffemblies ^ theyfoon rj:n^rd the Praifes of Adcn^ with thofe of their (•'oci.', and tame at lafl^ to the Liccntioujnefs of filling their Pocmi with biting Satyr s^ which they Jitn^ The P R E F A C E. fnnff to one another at their driinhn Meetings ^ *Thus Poetry was entirety Corrupted^ ^.nd tToe prc-r fent fcarce retains any Marh of Religion. The Poets which followed^ and who were (proper^ ly fpeahng^) the Philofophers and Divines of thofe Times^ feeitig the dcfire the People had for thofe Feajl-s^ and Shows, and impojfibility of retrieving thefirfl Simplicity ; took another way to remedy this Difordcr^ and making an advantage of the Peoples Inclinations^ gave them lnf\;rHU:ions^ dif- gHis*d under the Charmes of Pleaftre^ as Phyfici- ansgild and fweeten the bitter Pills they ddminifier to thei"^ Patients, JJfjallnot recount allthe diferent Changes^ which have happened in Poetry^ and by what degrees it has arrived to the Perfection^ we now find tt -^ 1 havcfpoken of it already in my Commentaries on Horace'^ Art of Poetry, and {hall fay more in explaining^ what Ariftotle writes in this Trea- tife. Homer was the firfi that invented^ or finlfncd^ an Epick Poem^ for he found out the Vnity of the SiibjeH-y the Manners^ the Characters^ and the Fable. Bnt this ?oem conld only ajfccl O/fhmcs^ and was not movino- enough to Correct the P^jjiofis^ there wanted a Poem^ which by imitating our Aili^ cns^ might work in our Spirits a more rezdy a'n^* fenfible ejfeB. ^Twas this^ which gave ocCajionfo^ Tragedy, and hanifiied all Satyrs^ by this mean^ Poetry was entirely purgd from alt the difo^d^r^ its Corruption had brought it into. This is no proper place to flnw^ thai Men who are qiticklv weary ofngulatcd Pleajures^ took paifiS ^0 plunge themfcives again unto their former Lice/t- fwufnefs by the invention of Comedy. / JW/ )^iep, my felf to Tragedy, which is the moft noble A \ Im.tfrnation-k The PREFACE. Jfinltatiotr, arid prhicipal SubjeEi of this Treatife^ fJlthe-p-arts of an Efick Poem are comprized in a Tragedy. HowrvcK fliort this account may he^ ip fujfices to let ye^fee that Poefte is an Art^ for fines it has a certain End^ there rnufi neceffarily he fcmS way to arri've there : No body donbts of this confiant Truth, that in all concerns where you may be in the riokt^ or ihf wrong, there is an Art and fnre Rules to lead you to the one^ and direByoH^ how to avoid the other. The qiiejlion then id, whether the Mules qf this jirt are known, and whether they are thofe which Ariftotie gives us here ? This queflion is no lefs doubtful, than the former ^ I mitjt alfo confefs that this cannot he determined, but by the unlearned \ Toho becaufe they are the greater nifmber^ I Jhall make my Examination in their favour. To do this with fome fort of Method, there are four Things to he confidfr^d, who gives the Rules, the time when he gives them ', the manner in which he (rives them, and the effeHs they have in divers times wrought on di^erent People : For I believe ' from thefe four Cirvumflances, t can draw fuch Conclufions, that the mojt ohjlinate Jhall not be a- hie tooainfay. He who (rives theje Rules, is one of the great efi Thilofophers that ever was, his Genius was large^ und of vaf extent, the great DiJ cover ies he made in ailSt:iences; and partiadariy in the Knowledge cf A'lan, are- certain Signs., that ht had a fuffici" (pit i^ fight into our .Pajfiqns, todijcover the Rules of the Art of Poetry^ which is founded on them, liHt I Ihall fufpend my Judgment, and <^af on to ■r in which he gave thefe Rules, If The PREFACE, ■ I find that h€ was hern in the A^e In -which Tra- gedy ^rjl: affear^i^^ for he lived with the Difcifles of ifchyius, who brought it out of Coijfufion ^ and he had the fame Mafters with Sophocles, (ind Euripides, who carried it to its utmofi Per- feEhion : Be fides he was witncfs of the Opinion the moft nice and knowing People of the World had of this Poem. 'Tis therefore impoffible that Ariftotlc jhould be ignorant of the Origine^ Progrefs^ Dc- Ji(rn and Efefls of this Art \ nndconfequemly e- ven before I examine thefe Rules ^ I am wcil ajfitr'd ■upon his account who givesthem^ that they have all the Certainty^ and Authority^ that Rules can pof- fibly have. But when I come to examine the Manner in which Ariftotlc delivers them^ I find them fo evi- dent and conformable to Nature^ that I cannot br.t be fenfible they are true •, for what does Ariftotlef He gives net his Rules as LegifltOTS do their Lawsy V[>ithont any other reafon than their Wills only j he advances nothing but what ii accompanied with Reafon^ drawn from the common Sentiment of A'fanhind^ ivjomiich that the Aien themfslves bc" tome the Rule a'nd Meajiirc of what he prcfcribes. Thus without co'/ijidering that the Rules are of'al- mofl equal Date with the Art they Te/ich^ or any prejudice^ in favour of AviftotleV Name, (for 'tis the Work which ought to make the Name va- hied., and not the Name the Work ) I am forced tofubmit to all his Decijions^ the Truth of which J am convinced of in myj^elf^ an dwhofe Certainty Idifcover by Reafon and Experience^ which never yet deceiv''d any body. To this 1 [hall add^ the Effects which thefe Rules have produc'*d in all Ages^ on different fort of Pco- p/f, and I fecy that as they made the Beauty of ' ^4 4. Hoiiier 's The PREFACE. Homer'j Sophocles, and Euripides Poems itt Greece, from which they were drawn \ fo four or five Hundred Tears after^ they adorned the Poems of Virgil mnd other famous Latin Poets^ and that ftow after Two Thonfand Tears they make the hejl Tragedies we have^ in which all that pleafes, cxly does fo^ as 'tis conformable to thefe Rnles^ (a-nd thctt too without our being aware of it^) and what ii difpleafing^ is fmh^ becaufe it is contrary to them^ for good Senfe^ and right Reafon^ is of all Countries and Places^ the fame SubjeBs which CAus'd fo rnar.y Tears to be jhed in the Roman Theatre^ produce the fame Ejf?[ls in ours^ and th^ije Things which gave diflafle then^ do the fame r.ow^ from whence J am convinced^ that never any Laws had either fo much ForcCy ^uthority^ or Might. Humane Laws ex fire or Change very often after the Deaths of their -Author s^ becaufe Circumfiances Change^ and the Inter e^s of Men^ rrhom they are made to ferve^ are different \ hut thefe ftill ti^ke new "vigor^ becaufe they are the Laws of Nature^ who always a^s uniformly^ re^ news them in ceffantly^ and gives them a perpetual f.xifience> I won't pretend neverthelefs that the Rules of ihis Art,^ are fo firmly efiablijloed^ that ^tis im- fofible to add a?!y thing to them^for tho^ Tragedy h^s all its proper PartSy ^tis probal^e one of thoje may yet a^rrive to greater PerfeElien, J am per- fwaded^ that tho''we have been able to add nothing io the S^bjeSl^ or Ale an s^ yet we have added fomC' thing to^ the Manner ^ ' as you I find in the Rb" marks^ and all the new pijcoveries are fo far from deflroying tins Efiahlijhment^ that they do nothing more than confirm it j for Nature is never contrary to herfelf and one may apply to the An u., . : . " . ■ ' ■ ■ ■ • ■ • ff The PREFACE. fif Poetry^ what Hippocrates p.ys of Thyjich^ \a) Phyfick is of long ftanding, hath fnre Principles, and a certain way by which in the Courfe of many Ages, an Infinity of Things have been difcovered, of which. Experience confirms the Gdodnefs ^ All that is wanting, for the perfeiftion of this Art, will without doubt be found out, by thofe Ingenious Men, who will fcarch for it, according to the In- flrudions and Rules of the Ancients, and en^ deavour to arrive at what is unknown, by what is already plain: For whoever fliall boaft that he has obtained this Art by le- jefting the ways of the Ancients, and taking a quite different one, deceives others, and is himfelf deceived; becaufe that's abfclutely impoffible. This Truth extends it felj to all j^ns and Sciences^ ^tis no difficult matter to find a proper Example in our SnbjeEl^ there is no want of Tragedies, where the management is altogether fippofite to that of the jlncients. According to the Rules of Ariltotle, a Tragedy zV the Imitation of an Allegorical and Vniverfal Action^ which by the means of Terror^ and Compajjion^ mode- rates and correBs our Inclinations. Bnt accor- ding to theje. new Tragedies V;V an imitation of fome particular Action^ which ajfeBs no body, and is only invented to amufe the ^SpeBatorj^ by the Flot^ and unravelling a I'ain Intrigu?^ which tends only to excite and, fatisfie their C'triofity And jiir up their Pajfions^ infiead of rendering; them calm and quiet. This ps not only not the fame Art^ but can b( none at all^ face i^ tends to no goody and "'tis a pure Lye wit^hoat any ptixture of Trkth'j what advantage can be draxi;n Jrom this Faljhood? In aword^ ^tis ^lot a Fable ^ and by ccu" fco^i'.cr.ce.. ( « ) In his Ti-eauftjcf Ancieat I^vftck. * The PREFACE. fdijHeHce^ts in no volfe a, Tragedy, for a Tragedy cMmt fubfiji mthont a Fxble^ ( a ) <« ytnc mil fee clfemhere,' ' ' ,, JVe corm now to the pyfl Cmfeqiience^ bhlch tVe drai}^ from whu*: voe have EJl^blljh^ci, and Jlrall endeavour to prove^ that our Laws^ and what plea" fes^ can nevir be oppjftre^ fince the Rules xoere made only for what pleafes^ and tend only to Jhow the way ym rnnjt walk in^ to do fo. By this we Jhall deflroy the falfe ^^ixlm^ That, all that pleafes is good, and ajfert that we ou^ht on the contrary to fay, Ttoat, all that is good pleafes, or ought to pleafe. For the goodncfs of any Work whatfoever, does not proceed from this, that it gives us plea fpire, bat the plea fur e that we have proceeds from its goodnsfs, imlefs our deluded Eyes and comtpt Imaginations mlfead us, for that which caiifes our mlfiakes, is not, where if, but what is not. ... If the Rdes, and what pleafed, were things op- pofte, yoii would never arrive at the giving pled- fiirc^ but by m;er chance, which is' ah fir d : There mufl for that reafon be a cert am way, which leads thither^ and that way is tijf Rule which we ought tf learn; hut what is that R'tle ? ^Tis a Precept, which being drawn from the Pleaftnt and Profi- table, leads us to their fource. Now what is the Pleafant -«^i Profitable;? '77; that which pleafes naturally, in a'l Arts ^tis this we confdt, ^tis the moji fure and perfect Afidel we can Imitate ', in it we find perfett Vnity and Order, for it felfis Or- dery or to fpeak more pr/fperly, the effsEt of Order, And the Rde which conditcts us thither; there is hut one way to find Order, but a great many to fall into Confufon, Then C «) Chap, 1 8, ^m- %, ^€. The PREFACE. ^There would he mthing bad in the fVorld^ if aU thai pleas'd were good ^ for there is nothi'r?g fo ri-^ eUculous^ but what will have its Admirers, Ton may fay indeed^ ^tis no truer ^ that what is good fleafes^ becanfe we fee ev'ry day Difpntes about the Good and Tleafant^ that the fame Thing pleafes fome^ and difpleafes others 'y nay^it pleafes and dif-- pleafes the very fame Perfons at different times : from whence then proceeds this difference <" It comes either from an ah folia e Ignorance of the Rulc^ or that the Faffions alter it. Rightly to clear this Ti'Hth^ J believe I may lay down this Maxim^ that allfenfible ObjcBs are of two forts ^ feme may be judged of ^ by ScnfeindependantlyfromReafon. I call Senfe that Imprejfion which the animal Spirits make on the Soul^ , others can^t he judged of but by Reafon exercifed iri Science^ Things jimply agree- able^ or difagreeabUj are of the firfi Sorty all the World may judge alike of tJiefe^ for example the mofi Ignorant in Mufick^ perceives very wel/j when a Flayer on the Lute jhikesone String for ano' ther^ becaitfe he judges by his Senfe ^ and that Senfe is the Rule \ in fuch occafion*Sy we may therefore very well fay^ that all that pleafes is good^ becaufe that which is Good doth pleafe^ or that which is Evil vevcr fails to difplcafe ^ for neither the Paffi'- ons, nor Ignora/jce dull the Senfes^ on the co?nrary they fjarpen thetn. ^Tif not fa in Thi-ngs whic{: fpring from Reafon 5 Pajfion and Ignorance aU- very flrongly on it^ and oftentimes choakir^ this is the Reajon^ why we ordinarily j^dge fo ill^ and dijjerently concerning thofe Things ^ of which ^ that is the Rule and the Caufc. Why, what is Bad of- ten plcafesy and that which is Good doth not always foj ^tis not the fault of the Objelt^ ^tisthejaultof him who judges'^ but ir bat is Good wi.Ii.inja!libly pU'afc The PREFACE. pleafe thofe who can judge ^ and that's fnfficiem. By this we may fee^ that a Play^ that ]l}a!l lorwrr thofe Things which are to he judged of by Re a fan ^ within the Rtdcs^ as alfo what is to be judged of by the Senfe^ (hall never fail to pleafe^ for it will pleafe both the Learned J and Ignorant : Now this Con- formity of fajfrages is the mofi fure^ (^a.^ or ac^ cording to Ariltotle the only Mark of the Goody and Pleafant^ as he proves in the following part of his Difcourfe. Now thefe Suffrages are not ob^ tainedy hut by the obfervation of the Rules^ and confequently^ thefe Rules are the only Caufe of the Goody and Pleafant^ whether they are follow'' d Me- thodically and with Dejign^ or by Haz^ard only ^ for ^tis certain^ there are many Perfons who are entirely Ignorant of thefe Rules^ and yet don't fail to fucceed in fever al Afairs : This is far from de- ftroying the Rules^ andjerves to (hew their Bea^ty^ And proves how far th'ey are conformable to Nature y fince thofe often follow themy who know nothing of ^em. In the Remarks you (hall find many Exam^ pies of the vafi dijferencey the obfervance or neg- le^ of the Rules make in the fame Subje^y and by that be throughly convinced that they are the two only Caufe s of Goody or Bad Worksy and that there can never be any occaftony where the per feci H(ir'> many which is betrveen the Rules ^ and what pleafesy Jhou''d be broken. ^Tis true to corae ,to the lafi Confequencey that Poetry ts an Arty invented for the InfiruEtion oj Man kin dy and ca'afequently mufi be profitable : ^Tis a general Truth that ev'ry Art is a good Thin^r^ becaufe there is none whofe End is not Good : Buty Oi it ts not lefs truey that Men ordinarily abufe the be^ Things y that which was dejign^d for an wholfome Remsdyy may in time become a 'Very The PREFACE. very davgerous Toifon. I declare then thm I don't ffeeih of corrnped Tragedy, fcr "'tis net in viti- CHS and depraved Works ^ that we rrafi loek for Feafon^ and the intent of Katme^ ii.t in thofe which are found and ferfcB *, J f peak of ylncient Tragedy, that which is conform to Ariilotle j Eules^ and I dare fay^ 'tis the mojl profitable^ and mceffary of all Diver fwns. J} "'twas poffible to oblige Men to follcTO the Pre- cepts of the C'ofpel, nothing could be more happy they would find there true Teace^ folid Pleafure^ and a Remedy for all their Infirmities^ and would look on Tragedy as ufelefs and below them. Hew could they do otherwife than have this opinion ? fince thofe Pagans who apply d t hem fe Ives to the Study of Wifdome^ ccnfider^d it with the fame Genius. They themfelvcs own^ that could the Peo- ple be always brought up in the folidTruths of J'hi^ loffiphy^ the Philofophers need have no recourfe t§ fables^ te give their JnjiruElions : But as fo much Corruption was inconffient with fuch Wifdom^ they were forc''d to feek for a Remedy to the J)ifor- ders of their Pleafures *, they then invented Tra- gedy, and infpir^d them with it^ not as the bejl Employment Men could take up^ but as a means^ which was able to correal the excefs^ into which they plungd themfelves at their Feafis^ and to render thofe amufements profitable^ which Cujlom /ind their Infirmities had made ncceffary^ and their Corruption very dangerous. Men are the fame now^ they were thcn^ they have the fame Paffions^ and run with the fame Ea- gernejs after Pleafures. To endeavour to reclaim them from that Statt, by the feverity of Pre- cepts^ is attempting to put a BriMe on an unruly horjt in the miadU oj his carrier^ in the ti-.av: The PREFACE. ivhite, there is no Medium^ they ruu inPo the mofi criminal excefs^ Hi:lefs ydti Afford them rit^nlar and foher Pleajurcf. ^Tls a^rcAt Happhtejsthat their ^ remaitfif^f^ Reafm indiries fhetj: tohite l?t^ it';f-/7^\ r-' ' - -'•^rj' is Order^ an J. ShovOSy tr-' ■ - T');i-r:.' ti ■■■ •...', aiTidx am p'^i-jhad^d^' j.'^-.'-* Caai ityohl^t iis^ to'takikdvkhta^e- of^thisy^tnd nci .*;" ativ§ too much time far'^ .Del^a(ichis^i*>hich wc.i'ci^l^tfnemjh that Sfecrh '^of Reafon^ which yet Jhi/ics in-thf/v^ Thofe Piople arc difiempey'd. .md Tragedy i^ ') k Town m thel The PREFACE. A very grave H'ifldriaf7^ tn.ihs reflciilon much to ■ this pHrpoJe^ and which Je^ms to me^ no tndijfertnt one ih Politicks ; iV/ /peaking of the People of Arcadia, %e'fdys^ That thfiir Humanity, fweetnefs of Temper, tefped for Relicrjonj ia a word, the Fntity of theif Manners, itnd all their Virtues prorccded chiefly from the Love they had to AUiffck, which by its Melody, correrted thofeill Im- prefl]on>, a thick and unwholefome Airj'oyn'd to a hard, and laborious way of living, made? on their Bodies and iMinds. He fay i orithd contrary^ That the 'Cyncthians. fell into all fbf-ts of Crimes and Impieties, bccaufe they defpifcd the wife Inftltutions of their An- ceftors, and negleded this Arc, whpcit wa3 fo much the more neceiliiry fo'r them, a5 they liv'd in the coldel!: and wor/L" placef <)f Arcadia: There was fcarcelyany City in* Greece^ where wici^ednefs was fo grec?t and. frequfent as here. F Polybius fpcaks thus of Ainfck, and accitfes Ephofu'?, for having- fpc^ hen a thif/g unworthy of himfdf, when hi jaid^ That 'twas invented t&' decei '-c Mankind •,• ivhai (mght wc then to fay o/' Tragedy,- of ivhich Mnfck is only a fnnU part ;' and irhich is as much above it^ as a fVord is above an i?:-* nrticidatt Sonnd, which fignifies liothivg. This is rrhat^ according td wy Opiiliotf^- ma-^ he truly faid of Tragedy, and the A-^Cffn »r<* ought to keep, Ent to the end this may hd jitjily faid^ the Parts muB conform ihemfi'ves iniirel^ tc the Rides of Ancient J ragQdy^ that The PREFACE. IS to fay ^ which e}7deavours rather to I»Brttft tl fin Plcafe^ /and regard the ylgrccabU^ as a rntims only to r'tahr the Trofitahle more ta-^ ktKg ., they mkfl faint the Diforders of the Tafm fions^ end the inevitailc Mi/chiefs which ariji frcm thence. ^Trvas fcr this the Greek Tragc-* dians were fo much ldonoHr'*d in their own Jige^ and efieerr^d in thofe which followed. Their Theatre was a School^ where Virtue was gene' rally better Taught , than in the Schools of their Philofophers^ and at this wry Day^ the reading their Pieces will Jnfpire an Hatred to Vice^ and a hove to Virtue. To Imitate them proftahly , we fhould re-eftahijlj the Chorus , ^rhich eflahliflnng the veri-Siniilitude of the Tragedy, ^^Vf^' an Opportunity to fet forth to the People^ thofe particular Sentiments ^ yoit would infpire them with^ and to let them know, what is Vicious or Laudable^ in the Characters which are Introduced. JMr, Racine faw the r.ecejfity of this^ a^id cannot be fkjjiciently praifed^ fox. halting brought it^ into his two lasf' Pieces^ which have happily reconjciFd Tragedy to its greatest Enemies. Thofe who have fecn the efjtEls of thefe ChorUSV , catmot hut be fcnfible of their Advantage^ and by Confequence^ muB Confent to what I fay in my Remarks, After ^xamplesy and j4uthcrities of this Nature , / have no Reafc'a to fear my Arguments. But enough of this Adatter^ tis time to come to what refpiBs my felf^ and to pve fome Accovnt of this Work* / h^vf The PREFACE, I have endeavour'' d to male the Tranfia'* tion as literal as poffih/cy bcino- perfwadrd ^ that I coidd not do better^ than to fiick clfe to the Words of a Man^ who wrote vp'^th wonderful ExcMnefs , and p/zts iti no- things but what is to the pf/rpofc, ' / have veverthelefs taken the Liberty fo^}i:ii;^ies^ tq enlarge his Thoughts^ for what was ander^ flood in his time , by half" a Wtrd ^ wottld hardly be htelUglble now^ unlc/s fome Pains was taken to explain it. j4 fimple Tranjlatiofi 0/ Aridotle, would he clear cnoitgh^ and there n o^dd be no need of Commentaries^ if we were well IfisirifMed in thofe Foets , from whom he takes hif Rnles^ but as almoft all the World is Jgno- rant of them^ and tis -rieccffary to explain by Example^ what is Obfcure in the Rule. Thi^ is what I have endeavoured to do in my Remarks^ which will fecm fiort^ if you ton- fider the many large Volumes which have been wrote on this little Trciiije, Of all the Latin Comment ators^ Viftorl- jas feems to me the mofl IVife^ Knuwing^ and ExaBy but his ^^Ijfi fiance is not fufjicient^ to give us an Vndcrjlanding of Pocfe. Ths Italian Caflelvejtro, has a great deal of Wit, and Knowledge ^ if we may call that Wity which is only Fancy ^ and befraw Ofj^ much Readinff the name of Id ::■:..■ If d'^e, tf we recolietl all the Qualities of a oyJd have becn^ before it was. 'Tis Phi- lofophy that brought it firfl into play^ and confcqitentiy^ it belongs to Ploihfophy^ togive^ 4^fd expUra its Rules. . Ti'Hs is fo tnie^ that Ariftotle made not thefe Rnles as a Poet^ hut Us a Philofophcr : And if he made them ^s ftch i ^'-^y ^^y f'-f^y ^'^^ ^^ fxpuind thai way too ? And as it was not neceffary to make Dramatick Yoems , to give Rules to that Art^ fo "tis no more neceffary that they jhculd be made ^ to Explain thofe piles> i don'-'t hiow indeed^ whether he who has fyfade Pieces for the Theatre^ is fo proper to 'Explain the Rules of thii jirt^ as he that tiever dld^ for ^twould be a Aiirade if one \&as not biafs^d by felf-Lovc. when the' other h ddif-interefted Judge ^ who has no other .^'m'^ than difcoverirtg the Truth^ and ma- king it known* Mr. Gdrnellle himfelf may l.e"an EttJudple of this. A.l that he would BllahUfr: in his new Difcourfe of Drama- iick Poeiry, is iefs founded on Nature , than %is crvn proDsr interest, ft appears by his tJ^« Words, th'.t the de't'rn he had of de- Jcnd'i'^ voh.ic fh h^d vsnuired on the $tage^ 0li^-i hi.^. to. fo-f.ike Ariitotle'j- R'des^^ 4^4 (0 E'^htUlfh new onis^ which jhodd b'^ rnorQ The P R E F A C E, tHore favourable to himfelf j we JIm/I fee in the Remarks^ whether they can bear the Tefi. ^Tis therefore no ways neceffary to have made Poems^ to prefcribe Rules for Poefrc^ and yet much lefs to explain them. If it was fo ^ J wxild fay there were none^ for of all thofe which have given any^ I knew hut one that was a Poet \ Horace himfelf never made an Epick Poem or a Tragedy^ hut to prefcribe Rides for Poefie^ as alfo to explain them \ it is fnjficient to hioW the O' rigme, Mnd Scope of the jirt Treated of\ to have exnynitPd thofe Poems^ which are the Bafis and Poundarion^ to have made Reflexions on what is agreeable^ and dlf agreeable^ and rightly to difcovcr the Cnufes '-, this is the only necejfary Knowledge I have endeavour d to ac(jitire^ and Philojophy alone can lead me thither, I Jloall add dnce more^ that if we mnh a Aian more Learned^ by explaining the Rules AS a PhlUfopher^ 'tis Jmpojfible^ hut he muft attain a firer Knowledge, to fuccecd in this Art. ^Tis trne^ wc cant give a Genius, that's not done by Art^ but we can f.iciv the Path a Genius ought to Tread in^ and that ;V the only Defign of all Rules. J have not made the Apology of Com- mentators^ to praife my felf ^ for 4lthoHoh I am no Foet, it d:)es not follow that Ican^- vot be a good Phiiojopher -^ I leave it to tie Publiik^ and time^ to Judge of m\ Worh^ for I will neither Conrty nor fight their Fft- vcnrst h ^ I The I' R E F A C e: / laave ffohn 'very freely , in what I h.ive vafs'd my ^ukgrnent on , and in fo acing^ Imitated the ancicth Criticks , who fpared 'neither Dcmoflhenes, nor Thucidir des, ;7y them ^ and tec may very pro^ fcrly apply to this SnhjcQ the following f^erfe of Agathon. Art favours Fortune, Fortune favours Art. Jf Tragedy fliall fome time hence fiffcr any fort oj Etlipfe^ ^ twill he by the Lazincjs^ and Hcfle of thofe PcctSj who Write without hein^ rightly JnfiruEied, Plato //W.;/.iPhcdrus Introduces a ycitrig Poet fcekina Sophocles <^W/^ Euripides, and Acccfll-ng them thus. I can make Verfes tolerably well \ and I know- how in my Defcriptions to extend a mean Subjed, and Contraft a great one : I know how to excite Terror, and Companion, and to make pitiful things appear Dreadful and Menacing. 1 will therefore go, and W rite Trag^Jies, Siphccles and PlHripidz^ anfwer'd hirn, Don't go fo fafl, T) ^gedy is not v/hat you take it to be j 'tis a Body, compofed of many ditrticnt, and wcll- fuited Parts, of which you will make a Monfler, unlefs you know how to adjult them J you may know what is to be learu'd, before the Study of the Art of Tragedy j but you don't yet know that Art. Jf there are Poets »eip, Tchich don't hnctv f? tntich as the Tom^gMan^ of whcm Vhtojpcalsy thefe R:des can be cf no yld^ ant age to them j but thofe who art like hirn^ and tn the fame Cii cun.jhiKCfs^ neid nnly keep to thefe JRaJeSj, wbif.jf "-he PREFACE. which vrill teach them what they are Ignorant of^ an J the fourth time reftore Tragedy to its firfi Luj'i^e and Brighmefso This is the mofi profit able Prefent^ can he made them^ ^f^y Meditation at'd PraBice they will endeavour to make a right nfe of it j for Precepts alone are not fujficient to make hs Learned^ the Advan- tage^ and Profit of any Rules^ defend on our Labour andPa'.ns. Jj thefe Rules are not for them^ they will be againfi them , and their Works /hall be Jud^^d by them. 1^ O T E. NOTE. THE References in Ariftotlcs/^xr are to fome NofeSy in which the Tranjlator thinks^ he has kept nearer to the Greek than Mr. D'acier ; anJ that they are as Exprejftvey tho not fo faraphrajical^ as his. All thit is found in Italick Let- ters , in the [aid text , except pro- per frames y &c. is purely Mr, D'acier s Addition ^ there being not the leafi Word of it in the Original. So that whether you read the /aid Notes according to the References (^o- mittini what is Synonjrnoas^ cr leave out the Italick ; you will have Arifto- tles'i Senfe entire. The Corl- THE CONTENTS. Chap. L '~r'HE Dcfign of our Author. All the dif- JL fcrent Sorts of Poetry^ are only Imitati- ons. The Differences that are between them ; and the Means thcr uje to obtain their end. The Extent of the fVord Eoopoeia, the Error into tvhich fve are fallen^ in CbAvaEleriT^ing Poets, accor- ding to their Verfe. P^gC I Chap, II. The SubjcSis of Imitation ; their^ Difference, dnd what they produce in thoje who Imitate j and in their Imitation^ the different Charader of Homer, Cleophon, Hcgeiron, Nuochares, Timochcus and Philoxenus. i6 Chap. III. The manner how Imitations are made. Tht difference it puts between the Subjects it treats of. Hoof far Sophocles reprefnted Homer and Arhfophanes. The Pretences of the Dorians againji the Athenians, on account of Tragedy and Comedy. 2 2 Chap. IV!. The Caufes of Poetry. Imitation is oi N-t- tural to Men^ as Number and Harmony. T^benee it proceeds, that PiJinting gives fo much Fleafure. Tht Firfi Effays of Poetry. How it changed its Form. Bla- gy ef Homer. Pf^jat Poem hn Margites wot. Poets divided into two Claffes. Homer firfi made Drama* tick^ Imitations for Tragick, and Comick, Poetry, and •pened the way to all Poets. The Origine of Tragedy and Comedy. The encreafe of the firfi, and by what degrees, it came to the Per feclion it is now at. From Pf hence it proceeded that *twaffo long e're it obtained tjie Loftinefs which is proper to it. The firfi Ver/es The CONTENT S. fthich were made ufe ofy and the reafonjjjcx.mene af- terwards cbangd. g O Chap. V . The DifinitioH of Comedy. Wloat l^dicuk u. Why Comedy was not ciutivatcd fo foon as Tragedy. The M'^gijirates ordered the Choruses. Pf^o were thh Poets that firji formed the Subj'eBs of Comedy. The Conformity and Difference betwixt Efopoeia and Tragedy. Hoft7 long the Duration of thofe' Poems ought to be. Thofe who judge well of Trajedy, can judge welt ef an Epick, Poemjbut thofe who judge well of an Epick^ ■ Poem., are not alivayS capable of judging weS ofTragedyy and why? P^gc f4 Chap. VI. The Definition of Tragedy. Its effeB tore-' fme the Pajfims. Its Style. The fix parts which comfoje it. Manners are the Characters of Men^and the Scourct of their Anions. PVhy Tragedy is an imitation vf Ani- ons, atjdnot of Men nor their Maimers. The End Men fropofeto thcmfeheSy is always anAtlton,andnot a Qiia- iity. Tragedy can fuhfift without Manners. TVhat is of tnoji Importance and dijfculty in Tragedy. fVhat Mari- ners are^ and the Difcourfes which have or have not Man- ners. The djfertnce of the Ancient Orators^ from thofe cf ArKlorle's Age . Of the MufKk_.^and Decorations 6 9 Chip. VII. Of the Ccnfttution of the SubjeB. An Exaii Definition cf the. Three Parts, of a Perfeti^ 4nd Entire Whole./w what the Beauty 6f allBeings that have Parts doth Corififi. What the Extent of Dramaii£k^ Pieces tiight to be, and the length of their B^frefentation, Chap. VIII. TheVnityof tffe^Subj&By and in what it Confifisn'he Errors of fame Ancient Poets in that Vnity. How Homer knew it. An. Eiogy of that Poet. The 1«- tegrity of the ABion: And what ought to be the con- nexion between all its parts. J 1 9 Chap. IX. The Poet ought to follow the Truth, or vert- fmilitudc^Jbe dfjference between a Poet and <{n H^- Xim The COMTENTS. rian.The advantages Poetry has over Hijlory. I/Trajer dy may invent the Names ofaU the Perfins. An exam' fie drawn from the Tragedy of Agathon. If we wii/i always follow the Fables which are received. How a Fa- ct is Mafier of hit Sid^jeH. Whether a trite Uijiory rnay be the Sulje^ of trajedy. H^hat Epiccdick^ Fables are. And why good Poets havefonietimes becnGuiltyof that Error. Surpri:^e ts neccffary to Tragedy. Hoiv the Fahle ought to produce 'this .Surprix;e. The Hijiory of the Sta- ture of Ways. Page 1^7 Chap. X. Divifwn of Fable into Simple and Impicx. Thur Definition. The diflance of Incidents jvkich come one after another^ or are produced 07ie of aiiotixr. ICQ Cliap. XI. Of Peripette and UemembraKce. There ^re many forts of Remembrances PP^hich tsthe mifiperfett • and the Conditions it ought to have. It isfmgle^ or dou- ble, ,What Paffim is in Fable. 1 ^2, Chap. XII. The Parts of ^a^itityy of X agedy,and their Definition. 17 1 Chap. Xlil. The Chara^ers which Tragedy ought to chufc to beperfe^^ whether it ought to befimple^ or dou- ble^ and to have a Cataftrophe Happy or Fatal. The different %elijh ofthefirft Athenians, and thofe of \. An{\ot\c. J Time. From what Families tbe Subjeiis of the beft Pieces were taken. Euripides is defended a- gainji the Ancients, who accufe him of beeing too Tra- gical. The Succejs of his Pieces. The Piiblick^ Dijputes of the Poets. To be good., a Tragedy ought to have the Approbatien^ both of the Learned^ and the Ignorant. Euripides his Faults. Double Tragedies more Ccmical than Tragical. Their Origine. I S r Chap. XIV. From whence the Terrible and tJje Pitty- ful proceed. The Error of thofi who would excite them by Decorationy or bjf Monjlrous Incidents. x^d. Chap. XV. fVijat Incidents are terrible and pitiful. How ■the Poet ought to behave htmfelf,that he may not chapge the The C O N T E N T S. the commonly i eceived Fables, in what is Principal gnd mofi JjfeBir.g Three forts ^f cruel Anions, and tvbich cf them agree, beft Ofitk Tragedy. The defe^ of tbofe cruel Alliens tvhich are d. ngnedly begun, but not fini- Jhei. The B^arity of the -uojeiis o/Trajedy, and the caufe ef that l{arity . The Slavery oj the Poets, 2 40 Chap. XVI H^:at Manners are tn Trajedy, and the four ^alities they ought to have Hottf the goodnefs of the JAanners ought to be undcrjiood. Euripides'j Trangref- fions agairji the Jvl^itjr.ers i necejfty and probability tnuft be foUotved in tbe Manners, as in the Subject ; ivhat the unravellingought to be. Of Machines, andtthen they ought to be ufed. A £(uU of Arl^otles'i which is too rigorous. The Vttious unravelling of the Medea, and the Nature of f/>c Greeks. Bow Incidents without any Caufe may be permitted in Tragedy. How a Poet may and ought to k^ep the B^femblance in adorning it. Pf^en and how the Verifimilitude ought to bs preferred to the Truth. The Ingenuity o/Honier ^nd Xgathon in their Character of Achilles. The Ouiig.mon the Poets Isy under tofatisfy the two Sences .pinch are the only Judge s of Poetry. Chap. 249 Chap. XV II. The different forts of Remembrances, of thofe which are moft perfelt^ and which the Poet ought to prefer. 2.78 Chap. XVIII. M^hat the Poet ought to obferve for the right management of hisSubjeli. The bad fuccefs of a Piece of Carcinus for not following this J^le. iVhat tught to be done to form the Charaliers and the Man- ners aright. One mujl have an excellent Genius, or bt an E7nhufi.fi to fucceedin Poetry. The Fable ought to he formed, and Hames given to the Aclors before the Eftfodes arc thought of. An Example taken from Iphi- genia. The reafon cf that management. An EJJential condition of Epifodes. The difference of the Epjfodes of Tragedy and of thofe cf Epopoeia, The Subject of the . Odyl' The C O N T E N T S. Odyjfes made General and Vniverfal. 221 Cbap. XIX. Of the Plot and the unrnvellmg. Tbefiur forts tf TragcUj. The Injujhceoj the Athenians. Tra- gick^Poets excellent, in the fever al Sorts. Hotv Playr may be alike, cr different j tphether by the manage* menty or the SubjeB. Epicl{^ mixture is vitious in Tr4- gedy ; the reafin, and Proof of this Truth. Praife cf J?Sc\\y\\xz and Euripides, the reafon of the illfuccefs of fame of Agathon'j Pieces. Simple imraveOings may be Tragical and agreeable. Agathon'j faying on the vert* fimilitude. fVhatthe Chorus isy and all jt ought to do. 'lis an effential fart of Tragedy. Sophocles blamed^ and Euripidespaifid,for their Chorus's. Strange Songs tntr educed by Agathon. Hottt thofe forrcign Songs are vitious. page 511 Chap. XX. Of the Sentiments, and in what they con^ fifi. The U^afons^from tf hence the Poets ought do droits them., at the Orators do. The Difference bettfecfi thofe things, which the Orators, and thofe things tvhich the Poets treat of. Of the AHion, which comprehends the Pronunciation, and the Geflure. To whom it belongs to treat of it. A Trifling Criticifm of Protagoras on Homer. ? 4..? Chap. XXI. The Parts of DiSiionf and their exaEl De- finition. 547 Chap. XXII. Of Simple and compounded Nouns of the different forts of Metaphors, and all other Qualities of Norms. 5^9 Chap. XXIII. ff'^jat *tis that renders the exprejjions clear and noble: Of Barbarifms andEnigms, H^hat ^tis that properly makes an Enigm. The Frivolous Criticifm cfthe Ancient Euclid on Homer. The g>catefl Orna- ments of Speech are Vitious,if they are ifed too often* The Advantage of figured Words^ beyond th ofe which are proper. A Verfe of iEfchylus, made Noble by Addi- tion of A fVordm Euripides. The ridiculous Crittctfrn § The CONTENTS. •/T Arlphrades en the TragickPoets. Th Divijwn ofaU ■ the Ornaments of Difcourfe, and to what fPorkj each vft/jcrn duet ^ui tivxJm (j ^'^^^'%- 37^ Chap. XXIV. The Application of the I{ules ofTragedy .. to Efick. Poem, The Difference of this Poem from Hif- _, tpry. The Art ma- ■;^-^ tij SuhjeHs (f Trajedjf the lltad and the Odyffe scan fur ~ ^^\rufj, and hotv many have been taken from the little .\ Iliad. 590 Chap. XXV. The different forts of EpickPoem^ the Parts •■ of it, the fame as thofe of Tragedy. The Character of the Iliadf andOdyffes. The hounds of the length of an J&picl{_ Feenij and Ufhy it may be longer than a Trage- i dj. Wijat Verfe is mofl proper for it. What fort of Voem Cheremon'j Centaur is. Elogy of Homer. He ■.^ bath introduced nothirta^ that has not Manners. The ;,}'Vonderful of an Epick^Poenit goes as far as - ExtfaviTgancCy and why it does : An Example taken from Homer, how th at Poet taught the others to /^o- ■ jnance as they aught to do. A Paralogifm which he U" . fed. The Impoffible in Jome Cafes ^ ought to be preferred . So the Poffible. All the Incidents of a Poem, ought to have their Caufes and ^eafons^ and what mu/i be done^ if that be impoff.ble. Sophocles'; Fault in his Ele(ft- . ra, and the Play of the Myfians.Horr an Alfurdity way be admitted. Homer difguifes his Abfurdities admirably well. The meancfl Parts require all the Or- naments of Diciion. Place where thefe Ornaments of Diihon are ufikfi and vicious. P^gc 4^3 Chap. XXVI ObjeEitom which are rnade to the Poets ^ . and Anfwers to thofe Objections. PVhy tve mufi not Judge of Poetry, as we do of Politicks, and other Arts. The Dsfetis in Poetry arc of two Sorts i thofe which may and thofe which may not be excufed. The difference of (he Hsvces of Sophocles, and thofe of Euripides. Hott^ m The CONTENTS. ftfe may falve what Homer has faid of the Gods, A Maxim of Xenophanes. What is cuflomary and of common ufe, mufl not be condctnned' A Maxim cfMo- rality applied to Criticifm. purification offiveral Pla- ces of Homer ithe trnjufi prejudice of thoje ttho cenfure him. The Manner of Zcuxis. yin Inexcvfdie fn:^ ^ Euripides in his Medea, andinUs Orefte«. '/p,±, Chap. XXVil. ff^/c/j Imitation is mod perfeEi^ Tra- gedy, or Epicl{ Poem. PPI^y Epicl{_ Poem is compitTedtw the Excellent Players on the' Flute, and good AElori^ (ind Tragedy to the bad. The Difference betfveen.the- Ancient Comedians^and thofi of Arillotle'j Tmie. I(aph-< fodies, their I^citations^and Songs, t(idiculcui and Laf- civious Gcflures condemned. The Care of the firfl PxifU to direB the Gefiures, and Motions of the Aclors. Thc' indifputable Advantages of Tragedy over Epicl^ Poem'^, ■-'- ffi ■ f J 'i-jfl r.i TJie End, o- ... 2 ■ i ERRATA PAge 9. Line 21. read c-ppLop'mt and dJwjfs t»ith i» Afpirate. i2. 32. KAMsui^\i(m.Ji6. 6. Nichocarcs. 41. 13. Sketches. 44. 12. pepulere. 59.33. ;tAS8- fjLAX"* <^4* H* coji. 16. ke'.. ^6^. 2^6. RepAtidiroftrum. 386. 21. Miferos. 424. 18. x^ym■, 427. 22, &c- Pkeoces. 429. 9. being. 434. i. Chap. xxvi. 440. 6. two thirds paft. 451. 21. did, rather. 454. 20. oaitf. /i. 22. J'oKo. 460. 3 ?• tranllated. 466. i. r^uihoi. ib. ^.\^oi* ib, <,. £i,i!. \6j.i2. dele zxiA. 47?. 14. of^j'/. 47')« ?4» iL^tt^v<. 478. 10. 'H/M^-ap p* TrtTBf. 501. S.Jrecite. 505. :d. that i[ anciently had. The Reader is defircd to Correal thofe littcral Faultf ke Ihall meet with,' C«] ARISTOTLEs ART O F POETRY. CHAP. I. The Defign of the Author, All the different Sorts •f Poetry J are only Imitatiom. The Differences that are between them ; and, the Means they ufe to obtain their end. The Extent of the ^^r^ Epopoeia, the Er- ror into which rve are fallen^ in Qhara^eri- zing FoetSy according to their Verfe, HA V I N G a Dellgn» to treat of Poefie in general, its different Sorts, and the Ef- feds of each of them in particular •, to explain the Number and Quality of all its Parts, and to Ihew in what manner a {a) Subject oughtto I I II . __ ^ (a) Fdb!e, B be 2 Ariftotle'i Art of Poetry, be Conftituted, to make a good Poem^ (t), and to forget nothing which concerns that Art •, I fhall Imitate Nature, and begin with the firft Strokes. 2. The Epopccia arid (^a) Tragedy^ CfimeJyy and (^) Dithyrambkks^ mofl part of the Airs for the Flutfi^ and Le£bns for the Harp^ &c. are only pure Imitations. Neverthelefs^ (c) there are ellential Differences betwixt thefe three Arts. The (d) firfl regards the Means, the (e) fecond the Subjed_, and the (f) third the Manner. For as (g) Painters imitate moft things .with Figures and G)lour$, (b) either by the affiftance. of Art, or Cuftom only, or by joyning both together ; (i) fo the Mailers in' all the Arts I am about to treat of, make their imitation with Number, Difcourfe, and Harmony^ either joyntly or fepa- rately. %. The Playing on the Flntc, the Harp, and If there be any other of the fame nature, as the Pipe, do all employ Number, and Harmony. 4: Dancers makeufe of Number only,,(«) for by the means of Numbers, or figur'd Cadences^ they imitate Manners^ Paflions, and Aftions. 5. The Efopxia makes ufe of Difcourfe, either in Profe or Verfe, whether it mixes divers forts ■,{I^) Cf hove many and what parts it confijh, ' ' '' "^'^'■ la) The Pccfie of Tragedy, (t) Diihyrambopma, (c) They differ in three things, (d) That they imitated with things of difftreni forts. (c:) Jha tboje things are diffrcm. (f) Arid not ^fer thi fame wai:- her, {g ) Many ihings are imitated, (h) Tv ma^e item lil(e, (4^ So in thejaid Arts ail of "them wl(e their Imitation,, (a) ^ Vitbout Harmony. AriftptleV Art of Toetry. 3 of Verfes, 'or is content with one only, as it has hitherto been. 6» 1 give to the Word Epoposia-y a I'ery large /z^- nification^ for otherwife we fhould have no genfe- ral Term, which would comprehend the Farces of Sopbron and Xenarchus -, the Dialogues of Ss^ crates^ and all other Imitations, which may be made in lambick, Elcgaick, or atiy other fort of Verfe. 'Tis true, Men ordinarily dillinguini Poets, by the difference of their Verfe only, in calling fome Elegiack Poets, others Epick or He- roick Poets, without having any regard to the Natureof their Imitation. Nay^ they give the Name of an Epick, or Heroick Poer, to him who treats of Natural Philofophy, or Phyfick, in Hexameters. Howbeit, there is nothing com- mon to Hower^ and Empedodes^ but the Verfe ; -for which reafon, 'twould be more juH, to call the firfl a Poet, and the fccond a Philofojjhet (a) in effed, if any one fhould think it advifcable, to make a {b) Poem of all the different forts qf Verfe, as cJjeremon made his (r) Centaur^ yoU Y^ould be oblig'd, not to give him the Name of a Poet, (d) but enough of this. 7. Vtthjrawbkh^ Numes^ Tragedy and Comedy^ employ equally thofe three Means I have fpoken of, -viz,. Number, Difcourfe and Harmony ^ that is to fay, Mufick^ with this difference, thgiC fome ufe them together, and others feparately. (a) So much for the Means, thefe Arts ufe, to make their Imitation. (a) Rather than a Feet. Lil(cwife {h} an Imitation, (c) Hippoceri' taur. (c) But this in vhnt is ncceffary to explain that Vfht:h is jaid, (a) And thefe I call the Diffcrenets of the Arts in thofe things bj Ifhieh they make their Imitation. B 1 REMARKS 4 Ariftotle^ Jrt of foetry, * R E M A R K S on Chap, i . Dacier. I. Having a Defign to treat of Pocfie iyi genernl7\ Arijlotle never puts at the Head of his DidaHick, Works, which he calls a.K^it'iK^ii Aoyvi, any other Pre- face, than a fimplc Explanation of his Defign ; he re- ferv'd his Exordiums, for thofe Books which he called i^ai']«e/«K'J. i. e. Foreign j becaufe they were wrote for all the World, and more for Oftentation and Pomp^ than for Inftrudlion ; whereas the Acroaticl^yjtto. made for the particular InftrucStion of his Difciples. Cicero in the 1 6th Letter of his Fifth Book to Atticus, Quoni- am in Jingulis libris, utor Proemiis, ut Ariftoteles in iiSy quos Exotericos vocnt. Becaufe I ufe Proems in all my Bookj, as Ariftotle does in thofe he calls Exoteric^. What he does in this Book of the Art of Poetry, he does alfo in his Morals, Dialecfticks, Phyficks, and in his Rhe- torick J and confequcntly all thofe Books are Acroatick, and not Foreign. 1. Of Poefic in general."} It is in the Greeks, Of the Pcctick_ It felf. There is a Difference between Poem, Poefie, and Poetick ; Poem is the Work, Poefie is the Art, and Poetick is that which ex- plains and gives Rules to the Art. In the Title this Word contains both the Manner and Art ; and when yfr//?o;/e fays here, Poetick^ in it felf 'tis as much as to fay, Poetick^ in general y he puts Poeticl{_f or Poefie ^ for in his Rhetorick, he quotes thefe Books of Poetick, under the Denomination of the Books of Poefie, m 7o''> ^sf! 'Koimieoi. Poefie is then the Genus. The Matter is comprifed uuder the Species, for the Efojxria, Tragedy, znd Corned)!, are fo many different S/^cc/w, which Con- ftitute the Matter of Poefie j but this defcrves no fur- ther Confidcration. 3. And the EffeBs of each of them.'} The G)7?e/j. fays. And the force which each of them has ; that is to lay, The Effeds which they ought to produce in our Minds. Ariftotle'i Art of foetry. j Minds. Eor Example, Tragedy ought to refine the Paflions, by the Means of Terror and Pity. Force doth fignifie in this place, Inftrument or Menns : Thefe are comprifed under the Name of P/ir/J, in what follows. 4. To exflnin the "Number and Quality of all its PartsJ^ As well the Parts of Quantity as Quality, for ev'ry fort of Poefie is compos'd of a certain Number of Parts, which are different, and diitinguifh'd from the reft. The Means which evry Poem ufes to arrive at its Aim, are contained under the parts of Quality. 5. Tojhevf in what manner a SuhjeR muji he confiitU' ted to make a good Poem.'} That is the Principal, and alfo the moft Difficult. 6. To forget nothing which concerns this Art-} The Greeks has it thus. Of all that vehich is of this Method. Method has often been ufed for Art, and with reafon ; for he that fpeaks of Method, fpeaics of efta- blifti'd Rules, and away mark'd out, whereby we may certainly arrive at what we feek for, and this is, what we call Art, 7. I Jhall imitate Nature, and begin with the firji ftrokps.'] For Nature always begins with that which is the foundation of the reft, and poftponcs EfTeiSls to their Caufes. 8. Efofocia and Tragedy.'] According to the Plan he lays down, he firft explains what Poefie is in general ; that 'tis an Imitation. This is the Genus, which con- tains all the Sjpecics of what fort foever they be. 9. Dithyrambickj!} None can doubt that an Epick. Poem, Tragedy and Comedy, arc only pure Imita- tions. But what can be the reafon that Arijlotle takes in alfo Dithyrambick^ Poefie .- Is it to Ccnrra- did: Plato, who aflures us, in his 1 hird Book of i^ Com.mon-wealth, That Dithyrambickj are wirhou5 R ? IiTiitatiom, 6 Ariftotle' s Art of foetryl ImiraticH, becaufe *cis la fitnple Repetition of what the Poet fang, in Honour of Bacchus ? What Expe- dient is there to reconcile thefe two difFeriiig Ppi«- nions ? The Expedient is not fo very difficult to be /ound. Pinto fpeaks of an exad: and ftrid: Imita^ tion, which fets forth, and expofes to the Eyes of the Spediators, the Subjcd: which is treated of. For Ex-- ample : AH that Homer makes Chryfes fpeak,in the Firft Book of his J/;W/, is an exa<5t Imitation, becaufe he lays afide the Perfon of the Poet, and puts on that of an AAor, which he imitates, when he Adls and Speaks, But if inftcad of making Chryfes appear, he had been pleafed to relate only his Words, and tell us. That Chryfes defird the Atrides to fend bnck^his D/iughter^Scc. It had been a fimple Narration, without that exa£fc Imitation, which is the Life of Tragedy. Notwith- .ftanding, attho* this be a Narration, yet we fail not to iind Imitation in it, fince every Narration has always fome Objedl in view, which it propofes to Imitate, .^and make known ; and confequently is an Imitation in- directly indeed, bun 'tis an Imitation, and this way are Dvhyrtr,mbicks contain'd under this Kind. Such was Plato's Opinion as well as Artjiotle's, for they both agreed in this, That all Mens Atflions were Imita« lions, 1 o, 7i4oft of the Airs for the Flute^ /ind Lejfons for the Hrt-^pr] Arijlctle has not only promis'd to treat of Poe- fe, and its different forts j but is engaged alfo, to fpeak cf whatever tjas relation to that Art; andbyconfe- qucncc, as Flutes and the Harp were ufed in Come- dies, Tragedies, Odes, ^c. they naturally fall under that Subjed-. Again, Mufick is a Species of Poetry, as Poetry is a fort of Mufick, and 'twas for this very Reafon, that the Term Mufick^, was a general one among the Greckj, which comprehended not only Elo- quence and Poetry, but Mufick too. But this is not the chief Difficulty of this Paffage. That coniifts, in finding the Reafon, why Ariftotle faid, Mcft cf the Airs for the Flut^mid Unrf P "VVas it becaufe all the Airs for ihefe InflrurRepts were not Imitations ? No, without doul?r. Arlftotle'^ Artoffoetry. 7 doubt. The Players on the Fiute and Harp, play of- Itn on thofe Inftniments, without Imitating any thing ; that is to fay, without Imitating any Aeftionor Pairion, as in Preludes ; for their Notes arc then rambling, and indeterminate Sounds, which can no more be called Imitations, than an inarticulate Voice, by which you can Undcrftand nothing. 11. Are oydy -pure Jmitntions.'] Whatever employs means, to fliew and reprefent any Subjedl, as natu- rally as may be, whether it does really exift, or no, is call'd Imitation. To the end therefore, that a thing may be call'd Imitation, 'tis neceffary, that at the fame time thefe four following things be feen : That which Imitates : that which is Imitated : tite Inftrument or Means which is made ufe of : and the Manner in which they arc employ 'd. 'Tis evident by this, that there is no Art or Trade whatfoever, which is not Imitation, fince in all of them thefe foup^ things are plainly diftinguifli'd. This may fufficc, for the undcrftanding Ariflotles meaning, into which I have feen many learned and Ingenious Men, who were not able to penetrate. Thofe who have read Pinto's So- fhifty and his Third Book of a l^epul/lick_, will eafily comprehend, how all the A(51:ions, Paifions, and Dif- courfes of Men, are only Imitations, and learn the Difference, that Philofophcr makes between the true , and the falfe ones. But that is not our Bufinefs, 1 2. ThefirJ} regards the Meayis."} For all Arts don\; employ the famp Means and Inftrumcnc?, to make their Imitation : They Imitate, as Arijlotle fays, with things of different forts. 13. The fecond the Subj'eS}.'] For one Imira res one thing, and another another, f ■ 1 4. The third the Manner.'] EvVy Art has its uiflc- rent manner of Imitating, they dont all Imitate after the fame jr.anncr. 8 Arlftotle^ Jrt of foetry. iere }>e atiy other of the fame Nature, as the Pife.'] Ari- flotlc would not put the Pipe in the fame Rank, with the Flute and Harp, becaufe 'tis not fo Noble : *Tis for this Reafon he uies this Modification ; And if there be any other, of the fame Nature as the Pipe. So Plato makes no mention of it, when he fpcaks of Imi- tation with the Flute and Harp, and Longinus has fol- lowed his Example in his 3 id Chapter. 19. Of tJje fame Nature.^ That Is to fay, which hath the fime Energy, and produces almoft the fame Eifed:s ; for as Longinus obfervcs, all the different Sounds in the World, have almoft the fame Effcd, tho' they fignifie nothing in themfelves. 20. D I o Aiiftotle'^ Art of J^oetry. 2c. Da/ill employ Number and Harmon^^ 57hat Ariftotfe here calls Number arid Harmony ^ ft?9/>t»'x; «.luovUy Longinus calls,.. ffe6//(i^, v^ )WfcA«, f^umber zti^ Song ; according to }'/ato, who ronieam'es ules fibi^o?, ^ /xeA®-, and iometimes piTSwcj tya^iiov'tat as in that fine Paflage of the i i,th Bcok^ of Ltivos, where he blames the Poets, and accufes the Clowniihnefs of , thofe who make Vcrfes without" Mufick, and ufe Mu- Cck without Verfes, in playing on the Flute and Lyre, yQ^¥-ov fnh' >y ^y)iJ.a]a. fx'i^ci xuea hiya •^ihxieii ^6x^9'. rt- ti/la ' ^£^^ ./9«t- ei|« 78 ^ ttvhr.txei -^^a^iivoi. They employ, fays he, ,Numb^f and Figures without Mujick.y voho fut'Prcfe en- •,ly into Verfe ; on the contrary ihey ufe Mufick^ and Num- . ber vciihout Words ^ vf ho flay on the Flute and Lyre. He adds, That 'tis very difficult to diftinguifli the l^umber .and Harmony^ which arc in Tunes without "Words, to comprehend what they fignifie, and whether they Imi- tate any thing that's worth the troubleto imitate. Plato condemns thcfe Tunes without Words, for they leave the Underftanding without Ad:ion, and 'tis to that the Poets ought to fpeak, to inftru(51:, and reform it ; for 'tis the Underftanding alone, can comprehend Truth, or Regulate the Manners. II. Dancers makf ufe of Number only^ For a Dance is properly Steps and Motions. Heinfius pre- tends, that inftead of reading ei tm o^x^)<;avj Dan- cers^ it fhould be ei '?rohhot tuv of >:«rS>', the chiefeft fart of Dancers, without doubt, becaufc there were thofe which Danc'd to the Sound of Inftruments, or the Voice, and by Confequence, made ufe of Number and Harmony ; which made Plato fay, That a Dance was a Compofirion of Tune and Motion ; but this Learned Man did not take Ariflotle\ Thought right, who confiders Dancers by themfelves ; for when Mu- lick and Dancing are found together, they are two dif- ferent Arts, two different Imitations, and as Dancing doth not make a Mulician, fo Mufick will nor make a Dancer. IZ. Efopoci^ Ariftotlc'5 Jrt of foetry. 1 1 21. Epopceia makfS ufe of this Difcourfe, either in Proje or VerJe.^AW the Efforts which have hitherto been made, to prove that 'It^^oi aot/-), Plain Difcourjes, does not fig- riifie plain Profe, but Verfe depriv'd of its Number and Harmony, are wholly in vain : Thefe two Words are never ufed together by Arijiotle or PUto, in any other Sence. A&the Word "Etcx, fignifics no Icfs Profe than Verfe, Arifiotle could, very properly comprehend under the Name of ^Epopceia, or Epick_Poet7j, Difcourfes in Profe, fince they might in reality, be Epick, Poems. Are not our Romances fuch ? Arijiotle proceeds to ex- plain himfelf, and to tell us, why he wasoblig'dtoufe ;r thus, 13, Oris content with one only, /ts it has hitherto hen.2 Hexameter, or Heroick_ Verfes, have been fo much devoted to Epopain, that from Homer down to Arifto- tlcy and from him, down to us, there has not been any Poet, who has endeavoured to mix any other fort with it. In the mean while, Arijiotle very well obferves, that fuch a Mixture would not deftroy, the Epick^ Poem, for it is the Invention and Imitation, and not the Verfe which makes the Poem. 24. I give to the word Epopcciit^ a very large Sigm mificdtion ; for otherwife we Jhould have no gcncrt.t Term, which would comprehend, SccJ] This is, what oblig'd Ariftotle to comprehend under the general Name of Epopori^^ all forts of Poems, whether in Profe or Verfe ; and fince all of them are only the fame Imitations, 'tis proper tO" give them one and the ■fame Name, by which you may know their Nature, and that is what no other Name can ever do. This l^cafoning is very Juft, but 'twas not underftood. 15. Comprehend the Farces of Sophron and Xenar- chus.]] Are Farces then dcclar'd to be Epick Poems ? There is nothing ftrange in this, if wecondder the Com- pofition and Nature of this Poem, for 'tis an Imitation compounded of Narration and Adinn, and if wp wculd 1 2 Ariftotle*j Art of Poetry. would rank this Sfecies under its Genus, there is none will agree to it, but the general Name of Efofceia. a 6. Of Sophron.] This Poet liv'd in the time of Xerxes and Eun fides ; he made Farces of Men and "Women : Of which Pinto was fo fond, that he was always reading them, and at Night laid them under his Pillow. Suidas writes that they were in Profe, but the Critickj know, that either Suidns is miftaken, or there is a fault in his Text ; for the Fragments which are in Demetrius, and, Atheneus manifeftly prove, that they were in Verfe, and AriStotle himfeif calls them tf/abg^f /o^Kf, Me/ifur'd Sjieeches. 27. Xenarchus.] A Comick Poet often quoted by the Ancients : I don't know in what time he liv'd. i8. The Dialogues of Socrates.] 'ZaK^tx.ii >,oy\iu Thofe who pretend, that 4mo' ajq/o/, cannot be un- dcrftood of Profe, and that Plato fpeaks here only of Works in Verfe, perfift in the fame Error, by taking thcfe Dialogues of Socrates for fome of JEfofs Fables, which a little before his Death, he put in- to Verfe. This Opinion can never be maintain'd. Arislotle certainly fpeaks here, of the Dialogues of Plato, which he calls Socratick^ Difcourfes, becaufe it is Socrates's DoArine, which is there cxplain'd ; and So- crates is introduc'd almnft cvVy where. Horace hatli mention'd Sorratica Cbarta j but you may ask. Why AriBctle did not write "EaK^^QiKi; J^idAoyei, the Dia- logues f/SoTatcs, rather then 2a'X£a'*/K.»; a'ivkj, the Dif- courfes cf Socrates ? Was "^cyoi Difcourfe, never yet ufcd to fignifie Dialogue r It is very plain, in a Paffage of this fame Ariilctlr, who in his Book of Poets has it thus! i'iv ^<^' ?wi/t7oyi r^i ;t(*\'-.|t- it'.i S,&ff:fi3< wj,^af, oh^e^uzv tiv&> Koyv.i '/y uimvrH'^ti tb< AK^.^t/u^fiit n Ttii\f T«< Tpcyrsf yffsr.^ireti rav '2.a>^fef^i>(-iJv J'ldKoyvv : Shall we not then call the Farces cf Sophron, which are in Verfe, Difcourfes and Imitations, as vpeh as the Dialogues ^/Alexamenes of Teos, -vokich are the fir ft Socratick Dialogues Ariftotle 5 Art of foetry.' i ? Dialogues ^/j4f were wrote : On which Atheneus Com- ments thus. Ariftotle informs us by thefe iVords, That Alexaftienes of Teos, made thofc Dialogues before Plato, andthathexoasthelnventerof'em. There can be no further doubt then, but that thcfe Dialogues were m Profe : That is without difpute. But may it not be objedied. That thefe Dialogues are more like a Dra- tnatick, than an Epick Poem? No furely ; for accord- ing to Arinotles Dodrine, JEfo-paia, or Epick Poem, imitates by Difcourfe j bur Dramatick by Number, Difcourfe and Harmony ; and 'tis for this rcafon, the Ancients never compar'd PUto with Sophocles^iior Eu- ripides with Homer. Z9. Jnlambick,, Elegiack^ or any ether fort of Verfes.'] For once again, 'tis the Imitation, and not the Verfe which makes the Poem. 30. 'Tis true. Men oft in difiinguifh Poets by the diffe- rence of their Verfe only:\ '1 his Paffage has always appcar'd very difficult, but I hope 'twill not be found lb. Ariftotle makes this Objccftion, as from thofe who would blame his Method, in comprehending under the general Name of Epopaia, Farces, and the Dialogues of Socrates. What necelFity was there of rur.aing to the general Term ? Might not Poets be diftinguifli'd then, as they are now, by the Na- ture of their Verfe. and fome call'd Elegiack_ PoetSy 'Others lambicK, ? cr, and thofe who write Hexameters, Epick^OT HeroickPocts ? Ari.ifotlecin{wers this Objedion very well, and flicws how ridiculous it is. 31. Nay, they give the Name of an Rpick.or Heroick^ Poet, to him who treats of Natural Philofophy, or Phy- fick_, in Hexameters:}^ This is the Inconvenience into which they muft neccffarily fall, who will diftinguifti and charaderize Poets by their Verfes. They muft be oblig'dro give the fame Name to Empedocles znd Homer, to Lucretius and Virgil ; and certainly this Inconveni- ence is greater, than that which follows, by diftin- guifliing them according to rhc Kinds of their Imira- tion. 3i- Hcwbeit 14 Ariftotle'i Art ofToetry, 32. Howheh there is nothing common to Homer anJ. EBipedocles, but the Ver/e.2 Emfcdocles was a Sicir linn Poet, a great Naturalift and Phyfjcian. Hd wrote in Heroick. Verfe a Courfe of Natural Philolo- phy, a Treatife of Phyfick, and fome B.opks of Ex- piations, in which he imitated Homers Stile. He was Contemporary with Sophocles ; fince therefore there is nothing but the Verfe common to Homer and Empedecles, Ari^otle had reafon to fay, That the latter ought rather to be called a Phyfician or Natu- ralift, than a Poet ; and by confequence, whoever will ChlRderize aPoetby the Verfe, and not Imitati- on, fliall always be miftaken, nothing can be more clear than this reafoning ; of which Plutarch underftood the force, when he writ in his Treatife, Hove we ought to rend the Poets : That they e is no Poem, where there is no Fnble : 'Tis for this reafon, that the Vcrfes o/Empedo- cles, Parmenides, thofe of the Biting of Venemous Beajis, the Remedies of Nicander, the Sentences of Theognis, ^re only Difcourfes which have borrowed the Noblenefs of Stile, and Me.ifiire of Syllables from Poetry, as a means t& avoid the Bnfenefs of Prcfc. 33. In ejfeSi, if any one Jhould think, it advifcahle tg ^fnake a Poem of nil the different forts of Verfe, SccJ} -He is not fatisfy'd to expofe the Ridiculoufnefs of thofe who would diftinguifli and Name Poets accord- ing to their Verfe, but fliows, that it may fo happen, that it cannot be done at all : For what Name can be given to that Poet, who mingles all forts of Verie in his Poem ; he is neither an Heroick^, Elegaick^, nor lam^ bick Poet, he muft: then be no Poet j and this is what can be maintain'd. 34. As Cheremon made his Centaur. j] Cheremon, was a Tragicli_ Poet, and Socrates's Difciple. Th« Ancients cite many of his Pieces, as his Alfhefi' heus, Bacchus, Thyftes, lo, Elyjfeia, Ocnues, BUffias, and Centaur. Athen,eus calls this h% J'^-i^a. ■^'ohv Ariftocle'5 Jrt of To^try. t r Uilesh A PUy of divers forts ofVerfes : *Twas a Trage- dy, which he made on the ^Centaur Nejfus, he mix'd feveral forts of Verfc, thinking perhaps, by fucha Poe- tick Medley, he fliould the more Hvehly reprefent the Centaur's double Nature, who was both Man and Horfe. I fhall fpeak again of this Piece in the 15 th Chapter. 35. Dithyramhicks, Nomcs."} He joyns Dithyram^ Itckj and Nomes, becaiifc they were both J^yitins, fang in the rfonour of the Gods: The Nom^ were for ^po/lo ; and the Ditbyrambicks for Bacchus. Nome properly fignifies, a Mode, or manner of Singing, ac- cording to a certain Law, and Rule, which ought never to be tranfgrefs'd. There's this difference be- twixt ithe Nomcs and Dithyrnmbickj, thcfe were un- ruly and bold, and fang with the Phrygian Tone, thofe fweet and eafie, and fang after the Lyditin manner. 36. t0th this difference^ thy fbmeufe tbei/h all toge- therj} As Dithyramhlcks aiiH \ldmes, whofe Vcrfcs were always accompanied with Ringing and Dancing. 37. And others fefnrately.'] As Tragedy and'Co- "inedy, which cniploy'd only Vcrfein the yiks ; Dan- cing and Singing with the Verfe in the Chonti, as you'li fee in what follows. C H A P. 1 6 Ariftotle'^ Jrt of Toetry. C ft A P. 11. The Suhjecis of Imitation ; their Difference, and what they produce in thofe who Imitate ; 4nd in their Imitation, the different Cha- racter of Homer, Cleophon, Hegemon, Nkochares, Timotheus and Philoxenus. (") A ^ ^^^ ^^°^^ ^^^ Imitate, Imitate (b) A- XJl ^ions, and 'tis (c) impoflfible but (/) Anions muft be either good, or bad, for as Man- ners cannot be 'diftinguifh'd, but by thefe two Qualities^ and Men differ among themfelves on- ly (e)as they are Vertuous or Vicious, itnecefla- rily follows, that Poets in their Imitations muft reprefent Men in refped to us, either better or worfe, or juft as we are. (/) 'Tis the fame of Painters. Thus Tolygmtm painted Men better, Taufon worfe, and Dionyftus as they were : And it is evident, that thefe Differences are without fail, to be found in every one of the Imitations, of which we have fpoke ; which are different, as (g) the Subjeds of which they treat are fo (h). 2. The fame Differences are alfo to be found in Dances, in the Airs for the Flute, Leflbns for the Harp and all other Infl:ruments, and in all Works whether in Profe or Verfe. For Exam- (a) Forafmucb. (h) Thofe who AS. (c) Necejjhry. {d) Thefe, (e) By Virtue and Vice, {f) At Painters, (g) Becaufe. (h) After ttis manner, pie: Ariftotle'i Jn of foetry. i y pic t Uower has made Men better, Cleophon has made them fuch as they are, and Hegemon of Tha- fosy who invented Varodiesy And Nicochare the Author of the Deliad^ have made them worfe. It is the fame with thofe Voets^ "who have com^ofed Dithyrambicks and Nomes. Thus it is that 77- fmtheus and Fhiloxmui have imitated the Ferftans and Cyclops^ in .the Pieces^ "which bear thofe Names, And 'tis this, which makes the Difference be- tween Tragedy and Gomedy ^ for the firlt (a) reprefents them better and the latter (b) worfe. {a) Endeavours to rcprcfent. (t) Then they arc in thofe Times, REMARKS <^;?Chap.IL I. As all thofe who imitnte ^ Jriiltnte AHicns^ Art- Jfotle lays down this as an undoubted Principle ; and indeed it is fo, tor there is nothing elfe but AClions which can be in:ntated. ^, For "hinnndrs cnmiot be dift'mguifloiij hut by thefe two Qualities^ The Philofopher exprefles himfelf more Pathetically, in the Original ; for lays he, Mnnneys arc not found but in thofe that arc fuch : which is as much as to fay> that properly fpeaking, there are no Manners, in any , but thofe v/ho are good , or bad. If there were any, that kept a Medium between both , we could not properly fay of them that they had manners,; *t leaft they would not be perceptible, and confe- quently, could not be the Subjedt of an imitation ; but true Philofophy proves, that all is Virtue, or Vicej fo that this Medium can't be found. C 3. In I S Ariftode'x Jrt of Poetry. 3. In refpeci to us, either better, or worfc, or jujl as rae are.'] 'Tis impolfible to Conceive any other Quali- fications, than thcfe three. If Poets keep to an exa(5t imitation, of the Ages in which they live, they make Men like themfelves, that is, fuch as they really are j if they add any thing to their Virtue, they make them better, that is greater, more Virtuous and Heroick ; if they retrench any thing, or aggravate their Faults, they make them more wicked. Becaufe thg fecond Imita- tion is Capable of giving a Noble Emulation to Man- kind, and to lead them to Virtue. The Tbehans made a Law, which oblig'd Poets, and Painters, to rcprefcnt Men better, than they were; and thofe who made them worfe, were feverely fin'd. 4. Polygnctus feinted Men better."] j£lidn Confirms the Judgment of Arijioth ; for he fays that Po/jgnotus always painted Noble Subje6ts, and that he hit the fea- tures to Perfcdrion ; and that Dionyfius imitated him in ev'ry thing but the fize. 'ttkvv tis />t£>s6«f. Polygnotus was of the Ifle of Thafos, and Dionyfius of Qtlophon, they both liv'd in the Ninetieth Olymfmd, in the times of Xerxes, Soj^hoc/es, and Socrates. Polygnotus painted,- in the Gallery called Poikjle, the Battle of Marathon, gain'd by Miltiadcs, over the Medes and Perfians. 5 . Paufcn worfe.~\ Perhaps this is the fame, which Pliny calls Paufias ; he was of Sicyonia, and the firft, that painted Ceilings, Lncunaria. JElinn calls him Taufon, as Ariftotle does, and tells this Story of him. A certam Man, would have him draw aPidhire of an Horfe, wallowing, and rowling, on the Ground, he drew one running full fpeed ; and when the Man, for whom the Picflure was drawn , refus'd to have it, becaufe, he would have had an Horfe rowling and not running ; Paufon faid to him. Do but turn the Pi^ure upjidc-doven, and the Horfe which is novo running will then be rowling. The Ancients uic to Compare Socrates ."Writings, to this Painting of Paufon s, for to find what yoa Ariftocle'j Art of foetry, ip you lodk for, you muft not take them, as he gives em, but turn, and take them the Contrary way. ^lian Book the xiv. Chap. xv. 6. Thejanie differences /ire nlfo to Ic fouttJ; in Dances] in the Ayresfor the Ylute^ nnd LcJJons for the H/irj)^8cc.'2 For Dancers, and Players on Inftruments, muft reprc- fent Men, either, better, or worfe, or alike ; having t\o other qualities which they can make the SubjecJt^ of their Imitation. 7. And in nllPVorhj whether in Prcfe or Verfe."] The Greeks fays in Difcourfes, Tnel 7^< aoj «<, alluding, td the Socrntick_ Dialogues, of which we have already fpoken J nnd in Pfylometry , that is , in thofe Works, which are pure Verfe 5 and where there is neither Dancej nor Song, as in an Efick^ Pociii. The Inter- preters cbntinue here in the fame fault which they^ were in befote. 8. Tor Example ^ Homer »Mi/e men better!^ For nd Man is fo Brave as Achilles , fo Prudent as VlyJJes, &c. and fomebody Ipake very aptly, to this purpofe, when he jfaid. That Homer made Gods of His Men, and Men of his Gods. 9. Cleophon has tnade themfuch ds they are.'] CleO' fhon the Atheninn Poet. Suidas has preferved the Names of a great many Tragedies which he v^^rit ; as A8eony Achilles^ Telephus ^ Bacchantes, 8one, Pelops, Galatea, 1 he Marriage of Hercules, Her- cules Choragus , The Cretians , The Lacedemonians, The Lcmnians, The Ceiuaurs. The Delicd which Ari- jiotle quotes here, feems to have been a fort of Bur- leCjue Ariftotle^ Jrt of foetrj. 2 1 Jef^ue Poem, in which he ridicul'd the Manners of the Delinns. 13. It K the fame vpith thofe PoctT^ vpho hnve Comfofed Dithyrambicks rtwiNomes.j Since Dithyramhickj were Poems in Honour of Br.cchus , and Nomci in that of ApoHOf how could it poifibly be , that a Poet {houl4 reprefent, Men better or worfe. Tho* this difficulty feems Confiderable, yet it will foon vanifh, when we are inform'd, That in them were fung the Adions of thofe whom they would praife, or blame. 1 4. Thus it is that Timothcus, And Philoxenus, have imitated the Perfians and Cyclops.] Timotheus of M/- letum, a great Poet • He compofed Eighteen Books of NomeSy Abundance of Dithyrnmbickj, and a great m,Zf ny other Works. He added two Strings to the Harp, the Eleventh and the Twelfth, and improv'd the An- cient Mufick, He liv'd in the time of Euripides. In fome of his 'Names , he lung the Vicftory, which the Atheninns obtain'd over the Perfians, and to heighten the value of it, he made the Perfians much more Va- liant, than really they were. This is the reafon why Arijlotlc fays, that in Komes Men may be dcfcrib'd co be better than they are. The Ancients quote Timo-9 them's Cyclop alfo. 15. Philoxemis.'] Is the Famous Dithymmhick. Poer, who liv'd in Pinto's time, and Diojiyfim the Tyrant, againft whom he made his Cyclop, or under the feign'd Names of Polyphemus and Gnlatea defcribed the Amours of that Prince. Atheneus quotes one place of the Cyclops, and finds fault , ih^t Polyphemus, in prailing G/7//zAf/z*S Beauty, takes no notice of her Eyes, which is the Part Lovers, generally, and moft voluntarily praife 3 he fays 'tis a hlind Prnifc. I believe that Polyphemus, faid nothing of Galatea's Eyes ; becaufc without doubt he thought it a Deformity to have two Eyes, and that "twas better to have but one, as we have but one Mouth : As for what remains, Arifiotlc proves, that C 3 this 51 AriftotleV Art of Poetry, ^his Poem of PhiloxenuSf^yNZS a Piece of THthyrnrnhkhli and not a Comedy. 16. And 'tK this which mnkei the dijference nhvh is between Tragedy nnd Comedy r\ Since he comes fodi- redtly to Tragedy and Comedy, 'tis to me a clear Proof, that they are deceiv'd, who take the Cyclops and Perfians (of which we have fpoke) for Pieces of the Theatre, 17. For thcfirjl reprcfents Men better} For Tragedy, is the imitation, of great Perfons Actions, and whofe Adtions it reprefents, ftill greater than they are, making them, however^ fomewhat >like, as.fiiail be esplain'd clfewhere. . j- o'j . . •J ".'ft' . ' 18. And the latter veorfer^ This agrees only to the old, and Mean Comedy, which reprefented Men worfe, fcr the New endeavour'd to make them like. Me- nn7ider and Terence^ have drawn Men very Naturally. Our Comedies have in many things Chofen the Man- ner of the two firft. C H A P, Ariftotle'i Artoffoetry. i\ CHAP. III. The Manner how Imitations are made. The difftrence it pits between the Subjects it treats of, Horv far Sophocles reprefented Homer, a^id Arillophanes. The Pretences of the Dorians againft the Athenians, O'/i Accou/Jt of Tragedy and Comedj. I. 'T''HE Third Difference (a) coufills in the JL manner, in which thefe Imitations are made •, for the fame Subjcfts, may be imitated with the fame things, and yet be renda'd very different^ by the manner of doing it *, either in making a Narration, or afting fome other Per- fon, as Hor/!er has fuccejsfully Praftis'd ^ either -without ^nftins: the Verfon, and remaining ftill the fame, or (^) by always making thofe ad, which y/e imitate. 2. All That, which is cali'd Imitation^ is Ca- pable of thofe three (» toJ*>', 'Jhe Goats Song ; Becaufe as Horace fays in his Art p/ Poetry, that was the Prize of Tragedy. Carmine qui Tragico vilem certavit oh Hircttm, Who ftrove in Tragedy, for a vile Goat. Ariftotle'jp Art of Toetry* 1 9 Or from i^vym toi'}^ The Vintage Song ; becaufe they were invented at that time : Or from T^Cy^i dJ'li, the Song of Lees ^ becaufe the A^ors befmear'd their Faces with the Lees of Wine. Horace, Siui Canerent, agerentqi ferunEli facibus ora. Who Ad-, and Sing, with Faces all befmear'd. With Lees of Wine. 16. This fuffices for the Differences of Imitation, their tiumber, and Nature.^ This is the Summary, of all which Arijlotle has faid, in the three firft Chapters ; he explains the Effential Differences, Number, and Nature, which are to be found , in whatever is cill'd Imitation. C H A P, 'jo AriftotleV An offoetry'i C HA P. IV. Tfje Cdufes of Poetry. Imitation is as natural to Merij as Number and Harmony, Whence iP proceeds t that Painting gives fo much Pie afire. The Firft Effays of Poetry. Horv it changd its Form. Elooy of Flomer. What Poem his Margites was. Poets divi* ded into two Claffes. Homer firft made Dramaiick Imitations for Tragick and Co- mick Poetry^ and opened the way to all Poets. The Origine of Tragedy and Comedy, The encreafe of the frfly and by what degrees, it came to the Perfection it is now at* Front whence it proceeded that '*twas fo long e'er it chained the Loftinefs which is proper to it. The fir Ji Verfes which were made ufe of and the reafon they were afterwards changd. THERE are two Principal Caiifes, and both- very natural, which feem to have produ- ced Poetry : {a) The firft is Imitation, a quality born with Men, for they differ from other Crea- tures, by the great Q>) defire they have for Imi- tation, and 'tis by its means, that they learn the iirfl Elements of Sciences, and (c) that all their Imitations give them a peculiar Pleafure ^ As we may fee ev^r^ day^ when we view Pidures : Some Originals,, as tenible B^afls, dead, or dying Men, which we hardly dare look on, as they naturally ■ ; I i ' I .1 " ' \ {a) For to imitate is Ns^tural to Men fr«m. their Childhood, {b) Apt' mtfs. (c) Thej are pleafed with Imitations, Ariftotle'i Jrt of Toetry. ^ i are, or at Icafl not without Fear, and Horror, we behold very agreeably in Paintings, and we fee them, with fomuch the more Pleafiire, as they refcmble their Originals. The reafon of this is. That not only Philofophers, have a de- flreto learn, but the lame Pailion, is equally na- tural, to all Men ^ tho' all cannot be Equally in- form'd. 'Tis this which makes them behold Pi- ctures with fo much Satisfadion^becaufe they are capable of reafoning, and being inform'dj by looking on them. For Example, fFhen they fee a Pi&ure of a Man they kno-)!) ,t\\Qy fay, ^tis fucb an one ; and if 'tis the Pourtrait of one, they never faw, the Pleafure they then have ^ does not proceed from tloe Exa&nefs of the Imitation, but from the Art, or the Mixture and Vivacity of the Colours, or from fomething elfe "which draws their Eyes and Attention. 2. It Imitation is Natural to us, Number and Harmony are not lefs fo ; under Number I com- prehend Verfe alfo, which is evidently one part of it : and thefe are the two Canfes which have produced Poetry, {a) For thofe who had the greatelt Genius for thefe, gave it Birth by de- grees •, by fomc Extempore Ellays : But it foon (Ji) chang'd its form , according to the feveral Inclinations of Poets ^ for thofe who had the mofl Sublime Genius, Sang the Adions of Great Per- fons. (c) Thofe who had a meaner, made the Ad- 'ventures of the worft of Men the SubjeBs of their Songs^ ofvjhom they made (^) provoking Raille- ries, as the firfl made Tanegy ricks, and Hymns. {a) Extempore, (f) vat diflroAfd oi: d\y\d&l. (c) Andibeir Fortunes. {d) Xtpreaches. 3. There 3 1 AriftotleV Jrt of foetry. 3. There remains («) no Poem of this SorCj before Homers, the' there is a great deal of PrOi bability that there were many. But we have feme of his time, for Example, his Mar^ites, and {h) many others of the fame Species, m which lambick Verfes were made ufe of, as the moll proper for Raillery and Reproach , for this reafon thofc Poems are now called lambick Poems, from the name of the Verfe , which is nothing elfe but con- tinual Invedives. (c) Thus the firft Poets, were divided, into fwo SeBs, for one made Heroick l^erfes^ and the other lambick. And thus Homer^ without ContradiCfion^ deferves the firfl place in the He^ roick, and Tragick kind i for he alone deferves the Name of a Poet,, not only becaufe he ha& wrote well ; but alfo, becaufe he has made Dra* matick Imitations ^ He was alio the firft, who pave us as it were the Sketches of Comedy, by Converting into Plcafantry, the biting reproa- ches of former Poets. And truly his Margites,, has the fame (d) relation to Comedy, as hi^ llias and Odyfles have to Tragedy. The Poets ■whg came after him, were naturally carried to one or other of thefe forts of Poetry, and accord- ing as they had more, or lefs Inclination, fome fet themfelves to make Comedies , inftead of lambicks ^ while others left Heroicks to give us Tragedies : Thofe two forts of Work , ap- pearing more Noble , and worthy of their Labour. 4. Tis not proper to examine in this place, whether Tragedy be now in its Perfedion, and (ayWecanNjme. ih)SiKbliie, {c) A£ain/( (me mother, id) Aiia' ^' whether Ariftocle'^ Art of Toetry, ^j whether it has received, that form, which isa- grceable, both to it felf, and to the Theatre. 5. Tragedy t-hen^and Comedy, being thus pro- duc'd Extempore, as 1 have jaul\ for the firft ow'd its Origine to the Dithyramincki , fung in Praifc of Bacchus, and the other to («) Ohfcene SoftgSj which are now at this time Sung in fe- veral Towns, being authoriz'd by CuHow, and the Laws , both one and t'other, encreafed by I'ttle and little, ev 17 one adding fomewliat to their Beauty, as they difcover'd (^) j what was azreeabk to their CharaUcr, 6. After Tragedy had received a great many Changes, and acquir'd all which was proper for it, it ftopt. {a) ty£(chylus was the fklt who brought two Aftors on the Stage, for before him there was only oie ; he Ihorten'd the SOngsof th&^ Chorus, and invented the Idea of the Principal Charaifler. Sophocles (^) added a third Ador, to fty£jehyluss trco^ and adorned the Scenes with fiae Decorations. In fhort, 'twas late, e'er it re- ceived, that Gravity and Grandeur, which art CoH'venient for it , for hwas not eaftly rul , of (c) thofe infignificant Subjefts, (r/) Burlefque Stile, which it retain'd of thofe Satyrical Pieces, from whence it came. 7. The Trimeter lambicks Tucceeded the Te- trameter, which were always us'd, becaufe they were Satyrical, and full of Motion and Dances. But after the Didion, that was proper for it, (a) PhaUica. 0) it. («) Mfchyhi firft made ttpo ASorSt infteadof one, {t) Madethreef €»/, &c. (c) Ckitnoed, {,d) Little Stories, D was ^4 Ariftotle'x Jrt of Poetry. was (a) eflablifb'd. That fort of Verfc which was moft agreeable, was found out Naturally, and •without any trouble ^ for lainbicks are of all Ibrts of Verfc, the moft proper for Converfation ^ this is a certain Sign of it, that -we often make lambicks, in talking to one another, and very rarely Hexameters, ivhich almofi never come frj>in us^ but v/hen we (J?) pafs the bounds of ordi- nary Difcourfe, and change the Harmony and Tone. 8. The Number of Epifodes, encreafed alfowitb t'lme^ as all the other beauties of Tragedy {a) did, fucceffively, and by degrees. But it may fuffice to have fpoken of them in General ^ for it would be too difficult and tedious an Under* taking, to treat of ev'ry one in particular. /^) FowxA out. (/') Pafs the Harmony ofDifcsmfe. (ii) \Xereadorn''d, REiMARKS 0^ Chap. IV. I . There are two different C^ufes, r.nd both very Na- turnly which feem to have froduc'd Poetry f\ 'Tis not^ fufficient, for us to have been tanghr, that Poetry is an Imitation, but we muft learn what it is, which gave occalion to this Imitation, and how it was produc'd ; this is what Arijiotle does here, whofe Modefty we fliall do '.veil to take notice of; for he afTerts nothing, ancf is content to fay, that It feems, for he had been rafb, to afcertain a true Origine of a thing fo Ancient, and which can only be known by fimple Conjediures, which however true they may feem, don't always lead :o the truth. This Philofopher has had the Mif- fortune, not to be underftood, tho' he has exprcfs'd hisnfelf very clearly in this Chapter j for People have comprc- AriftotleV Art of foetry. ^ y comprehended only, the firft of thefe two Caufes, and been very much deceiv'd in the latter, %. For they differ from other Creatures hj the great defire they have for Lmtation.'} The Greek fays in that, they are very imitatifig ; and Arijhtle ufes the Superlative, becaufe, there are other Crcacures, wWch are naturally inclin'd to Imitation, as Dawes, Mun- kcys, (3c. but chat Imitation is only Superficial, Parti- cular, and Cafual, when that of Men, is Solid, Ge- neral, and has fure Principles. 3. And 'tis by its Mennt that they learn thefirjl Ele^ tnents of Sciences.^ 'Tis by imitation only, that Chil- dren learn any thing, as to Walk, Speak, (3e. and 'tis for this reafon Horace fays, Reddere qui voces Jaift (cit Puer. The Child who has already learn d to tnll(. But I believe thar Arijiotle (peaks here of Fable, in particular, with which the Greel^s began the Educa- tion of their Children : There is a very fine paflage of this in the Firft Book of Strabo. Firjl of nil, fays he, The Poets arc not the only Peofle, who have received Fa» hies, for Cities and Legijlators did it a long time before them, by reafon of the Advantage vehich nrofc front them, and Conformity to the natural Inclination of a reafonit* hie Creature. For Man loves to learn, and Fable openi the Way : And 'tis by this Way that Child'-en, begin t9 lifien to what is fa id to them, and to take notice of it. The reafon of it is this, Fable is a new Story, not of what ii really, but offotnewhat quite different, now nothing » fo agreeable what is new, and unknown ; and this is the reafon too, why v>e love Sciences. If to Fable, we add the Wonderful, and Prodigious, it infinitely increafes the Pleafme ; which is the o?tly Charm] that makes us deji- rous to hear it. It is neccffary to vfe this Artifice at firft, t9 allure Children: when they are advanced in Age, and their reafon grows Stronger , and there is no further D X (fceajlop ^6 Ariftotle 5 Art of Pottry, eccajion to C/irefs^ and Flatter thenty than x»e ttiuji tn^ traduce them into the true Sciences^ 4nd let them kptvf things as they are, &C. 4. j^fid that all their Tmitatlons, give them a feculiai Pleafure.'} The mod learned Interpreters of Arifiotle^ have ccnimittcd a very coriiderable Fault here , in taking thefe words, for an Explication, of the Second Caufe, which he gives of Poetry ; as if Arijlotle had faid : And the Second, that all their Imitations , give them a peculiar Pleafure. Ariftotle vC^as not Capable of Saying fuch a Nonfenfical thing , and to attribute to one Etfed, two Caufes, which are one an:d the fame. It is as if we fliould fay, there are two Cauics which make a Plant grovv, that a Gardiner has fet 5 one the wat 'ring it, and the other the Pieafure he takes in wa- t 'ring it ; Sure this muft appear abfurd to ev'ry body. This Philofopher fays then, that the firfi Caufe of Foejy is Imitation, to rohich Men are naturally carried ; and as that Inclination , however Natural it is, would be ufelefs to Men, unlefs they had the Pieafure of exer- ciling it ; he adds, and in yphich they take a peculiar Delight, But ftill this makes only one, and the fame Cauie ; the Second fhall be explain'd in the Ninth Remark, 5. Some Original Sy as terrible Beajis, Dead, or Dying Men, rvhich we hardly dare look. 0^ ^^ they Naturally are, y:tatleaji, not without fear, and horror, vpe behold very 4f^reeably in Paintings.'} There is nothing fo ugly, or fq horrible, but looks pleafant in a Pidure ; 'tis not that the thing is fine in it felf, for what is ugly, can- not be fine ; but it is, becaufe there is nothing fo agree- able as Imitation. "lis on this account, that the Poets in all times, have chofen, what was moft Horrible, for the Subjedts of their Dcfcriptions; Nicomachus rcpre- fented Medea killing her Children, and Theon painted Orcjles murd'ring Clytemneflra. We have feme Pieces of Modern Painters, on thefe frightful Subjeds ; we look on them witli Deliipht, but don't by that, praife rhe Adions which they imitate j but the Art, which knew Ariftotle'i JrtofToetryl ^^ Jcncw how to imitate thefe Adions fo happily. It is dje fame of Poetry. We are pleafed to fje the Defcnp- tions of thofe things, that we could nor look on as they are in Nature. If VbiloEletes fnould appear to us in the Conditi jn Sophocles reprefents him, we flio ild endeavour to avoid him j but the Imitation he ir.akes, actrads and charms us. 6. The reafon of this is, that mt only Philofofhcrs have 4 dejire to learn, but the fame Pnjfion is equnUy "Natural to all Men."} Men being endow'd with Reafon, and naturally loving Arts, take a finguJar Delight, in fee,- ing any thing that is made by Art and Reafon, Both one and t'other are found in Imitation. And therefore 'tis, that it has the advantage over Truth it felf, which appears fimpie, ordinary and common, when Subtilty and Induftry, are joyned to Truth, in an exacSt and iu«y Imitation. Tis that which gives to the Mind an occafion of reafoning , and making reflexions , info^ much that it always apprehends fomething new , as Arifioth himfelf teaches , in the 1 1 th Chapter of his Rhetorick, where he fliows, that the plcafure wc have in feeing a Curjou? Imitation, dpth nor arife from the Ij^auty of the Original, wiiich iij imitated; but froni this, that the Mind thci-eby, finds means, to Confidcr, •and inform it fclf 'Twas from this truth alfo, that the Cyrenaick^ Philofophcrs, drew this Argument , to Convince the Epicureans, that the Plcafure we rake in any Obje(5l, does not proceed from the Seeing, oc H^^aring, but from the Underftanding whi?h Appre- hends, ^nd Judge?, 7. Tho all cannot he equally Ivfnrm'd^ Thefe v/ords are difficult to be undcrftood, tho' I believe this is the fenle of ihem , «' aa' 6t/ ^.-cf.yv K':ivKv^riv dvit, altho^ they fartakf liitle of it, that is, altho\ they are not r.ll equally proper to bek inform d, for fome learn bcrtci; than otiiers, in proportion to the Ingenuity they hayo. ^'!^e Wili i? equal in all, but the Power is not h» e^ 8. Th Tl^ J 8 Ariftotlc 5 Art of foetry. S. The Pleflfare they have does not froceed from the exaQnefs of the Imitation, but from the Arty orthemix' ture, and vivacity of the Colours."} For none Can judge of the Exadnefs of an Imitation, who knows not the Original, which is imitated. But as Arijiotle fays, the Pleafure we then have, proceeds from the Beauty of the Piece, or from the Vivacity, and Ivlixture of the Colours, or from the Choice of the A<5tion, or from the Pofture of the Perfons, or fomething elfe, which in Uttrading the Eyes, exercifes and inftrud:s the Mind whilit it diverts it. 9. If Imitntion is 'Natural to us, Numher and Har' mony is not lefsfo."} After having explain'd the firft Caufe of Poetry , he Comes to the fecond , which is Number and Harmony; for whatever Inclination, Men may have had to Imitation, yet they had never in- vented Poefy, if they had not been as much Inclin'd, to what Arijiotle here calls 'Number and Harmony ^ that is. Cadence, and Song, this is very plain. 10. Vnder Number] I Comprehend Verfe alfo, "which n evidently one fart of it."} For tnuly, there is no Verfe without number; but there are Numbers, or Rythms, without Verfe. 1 1 . For -thrfe vcho had the greateft Genius for thefe.} For thefe two Caufes, (vi:(.) for Imitation, and Num» ber and Harmony ; Imitation, without Number and Harmony, Could never have produced Poetry , any more than Number and Harmony, without Imitation. 1 2. Gave it birth by degrees jhyfome extempore EJfays!} For Poefy being produc'd, in the AflTemblies which the firft Men, (who were either Shepheards, or Labourers,) had in Honour of the Gods, after their Vintage , it was not the effedt of Study ; but Nature excited with Joy and Wine. In a v^orJ, the firft rough Draughts of Poetry, were extempore ; you may fee what has been remark'd, on the 144th Verfe of the Firft Epiftie, of the I ith Book of Horace, 1 3. ^ut Ariftode'i M offoetry. J9 13. But it foon changed its forniy according to thsfe^ Vfrnl Inclinations of the Poets.'\ Ariftbtle explains the origine, and progrefs of Poetry, in an admirable Me- thod. 'Twas at firft, fome grofs Extempore-pieces, where Satyr and Panegyrick were mixt ; but it was fbon divided into two Se^s , if I may ufe that word. Thofe who had the largeft Capacities, Sang the Prai- es of the Gods, and Heroes ; thofe who had lefs, amu- fed themfelves in making Satyrical Pieces. We may take notice, En f/ijfant, of this Judgment of W.iy?o^/ej, who clearly determines that there is rcqnir'd a greater Genius to Praifc, than to Slander j and for this rcafon calls thofe who fpend their time in making Hymns and Panegyricks e/7.3 This Encomium which Arh- fiotle here gives is Ui^ moft Nice, and Judicious Cri- ricifm, that ever was , 'tis very remarkable, th*t he allows Homer, to have written perfcdJy well, which was never ConteftccJ by any body yet. There are fome flight Faults found in his Works, but none ever fiid that be did not write welL On the Contrary, all agree, that he wrote better than Other Poets, and that his Stile is more animated, and fprightly, •* •' ' '' Ariftotle'5 Jrt of foetry. 4 1 21, But r.lfo becaufe he made Drnmntick^ImitntionsT^ The Illas, and Odyfles may pafs , for true Tragedies, by reafon of the Acftion, the Difpofition, and the Ma- pagement of the Subjedb , the admirable mixture of Efifodesy the Nature of the CatAfirofhc and the liveli- nefs of the Paifions , for all thel'e , are eminently in thofe Poems, as well as in Tragedy ; for which reafoii Vl/ito was not Content, to call Epcl{_ Poems Tragedies, but fays, that Howcr was not only the greateft, but the firft of Tragick Poets. In his Thenitet : and in the Tenth Book of his Republick. ll. He xvas aJfo the firjl voho gnve us m it voere the Skshh^ of Comedy , by Converting i7ito Pleafcntry the bitivg reproaches cf for trier Poets.~\ Homers Genius was as plcafant, and agreeable, as it was lofty, and capable pf Succeeding, in great Subjecfls, which lead him to difcover the Idea of Comedy. He only chang'd the bitter Invcdlivcs of thofe fccond Poems, we fpake off, into Raillery .ind Joke, for he was Incapable of imi^ tating any grofs or brutal Obfccnicy. Plato writes in the Third Book of his Commonwealth. That tho* a Man may be able, to make two different Imitations, yet he cannot do it fo eafily, in two things which nearly approach one another, as Tragedy and Come- dy. Nevcrthelefs, H^Twe/- overcame that difficulty, by inventing the Ideas of both; but Plato fpeaks only of thcfe two Poems when they are entire and perfctfl, and Informs us that from Homer down to his time, there were no Poets, who would make Tragedy and Comedy both, were ever happy in their Imatations. Tf we f!:iould run thro' all the Ages fincc Pinto down to pur time?, wc faould find none that have luccecdcd better. Tis very difficult, not to fay impoflible, and our greateft Poets are very fcnfible of it. 23. Jlnd truly his Margites has the fame relation to Comedy, as his Ilias and Odyjfes have to Tragedy.'} I admire, that after this Judgment of ^r//?o/-/(?, nny Cii- Ejcks fliould write, that the Ilias was a Model of Tra- 42 AriftotleV Art of Poetry. gedy, and the Odyfles of Comedy, for nothing can be lefs true. The Ilins and Odyjjes, both for the Sub- ject, and Manner, are the fame fort of Poem ; one ^ngs Achilles s Anger, and the ether Vlyjfes's Prudence, they both employ the fame nieans, and after the fame manner. The moft the Odyjjes could do was to give an Idea of Satyr, &s of Euripides his Cyclops, but be- iides its being only an Epifbde , and not the principal A<5t:ion , it was a tmely Tragical Piece , as I have prov'd in my Remarks on Horace his Art of Poetry. 24. The Poets who cnme after him, were naturally carriedy to one, or ether of thefe Sorts of Poetry, as they had more or lefs Inclination^ This pafTage is ^remark- able ; Arijlotle fays, that the Poets who came' after Homer, would not have had the ingenuity to invent the Idea of Tragedy, and Comedy, but fatisfy'd them- felvcs with the two firft forts of Poetry that is, fome would have made Panegyricks and Hymns, and other Songs ftuS"t with Obfcenity and Reviling, according as they had more or lefs impulle^ and vigor. But when Homer, had difcovered to them thefe two different Beauties ; they were fo charm'd, that they forgot all their former Inclinations, and apply'd,themfelves wholly to thefe two. This is a great Commendation of Hor mer, and 'tis not without reafon, that Plato calls himj the Father of Tragedy. Sophocles knew this well enough, for he ftudy'd Homer only, and by imitating him, became himfelf, fo very difficult to imitate. 2,5. Jvflead of lamhichj^ Inftead of obfcene and (ilthy Songs. ^6^ Left their Heroicl^s.^ That is Panegyricks, and Hymns. ^ 17. Thnfe two forts of work^ appearing more Noble."} Tragedy appear'd more noble, than Panegyricks arid Hymns j and Comedy than filly Songs , a^d this is frue. 28. 'Jh Ariftotle'x Jrt of foetry. 4 ^ 18. *Tis not ftofer to examine in this fl/tce whether Tragedy hat received the Form which is agreeable to it^ After krifiotle has explain'd die origine, of Tragedy and Comedy, he prevents the impatient defire wc na- turally have to know, whether Tragedy, which is a more perfect Poem than Comedy, has yet all that is proper for it, and be arriv'd to its laft perfedion ; but as this is a queftion very difficult, and would take up a great deal of time to refblve, he referves it for ano- ther Place : Truely, to do that, 'tis not fufficicnt to have fpoken of its origine only ; but of its Progrefs, and the relation all it's Parrs have, one to another. 29. Both to it felf, and to the Theatre."] For Trage- dy, muft be examin'd, in thefe two different refpedls. In rcfpedb to it fclf , to know, whether that which properly Conftitutes its Eflence, be perfectly good, as the Fable, the Manners, the DiAion and the Plot. In rcfpedt to the 1 heatre , to know, if no new Beauties can be added to the Decoration, and Mufick, and what is of more importance, whether the Reprefcn- tation anfwers fo exactly to the A(5tion, that nothing is wanting to render the Imitation more perfect:. This is in my Opinion , what Arijlotle means ; ViBorius thinks, that to the Theatre, ought to be undcrftood nf the Spcvftators ; but Arifiotle could not mean that, for the Confiderations of the vSpe*5tacors , ought rather to be referr'd to the Firft than to this. 30. Trrgfdy thai and Corned)', being thus froducd extempore^ as I have faid."] Arifiotle makes here, a fort of Recapitulation, in explaining more particularly what he had faid of Tragedy and Comedy, and re- lating the principal changes which have happen'd in them. 31. And the other to Obfcene Songs 7\ Arifiotle calls thefe Song!? PhttlHcti ; a word wh'/:h denotes that they were full of all Filthincfs, and Impurity. 31, Pfbich 44 AriftotleV Jrt of Poetry. 51. Which nre novo at this time Sung in fevitMl Towns, being authorised by Cufiom and the Laws."^ The Complaint, which Arijiotle makes, that thcfe obfcene Songs continu'd till his time, and were by Order of the Magiftrates , Sung in fev^ral Places, is very like that , Horace made , a long time after j Concerning the Subjeds, of the firft Satyrs. Of Exo- dia, which retain'd much Obfcenity, and Fefcennine Verfes, which laftcd a long time after the Eftablifji- inent of Comedy. Er grave Virus Mundiciae pg^ulere. Sed in longum tamen aevum Manferunt, hodieq; manent veftigia ruris. Politenefs did at l^fi, Poe7n:S obfcene ^xpel ; tho a long time they did remain, A7id fiill do mnrkj of Clovonijhnefs retain, Epift. I ft. of the 1 1 th Book. The People are always the fame, and obftinately retain, the mcft licentious^ and obfcene things- j efpecially, when they are unfor^ tunately joyn'd to Religion. However 'tis the pro- perty of mdenefs, to give place, to what is pplit?^ with n^uch difficulty. 33. Every one adding fomexQhat to their Beauty, ai they difcover'd what was. agreeable to their CharaEler.'^ This is the Senfe of thefe words, r/r^octyovrav oc-cv e>i- >579 (i>u.viej)v efviTx, which have hitherto remain'd in obfcurity. The Change? which Tragedy and Come- dy underwent were by little and little ; for 'twas im- pofTible to difcovcr what was proper for them all at; once ; and new Graces were added to! them^ as the, Nature of thefe two Poems was underftood. 34, After-Tragedy had received a great many Chan^ ges.'\ 'lis in tho Greek, when it had. ak that was of its own Nature. But what fliall we fay .> Since Ari^ y?a^/ff aflures us, that Fragcdy made no ftop, till it had, received all which was proper for it ; he dec&rniines.^ Ariftotle'5 Jrt of ^oetrjl 45 tiiat it was m its Perfedion, and voids the Qiieftiort ivhich he would not refolve, but referv'd to another time ; however we fliould be deceived, if we reafon'd in this manner. For Tragedy may have all that is proper for it, without being in its Perfedion ; becaufe tis not impoflible, that what is proper to it, may ftill have occafion to be further polifli'd and pcrfeded. 36. jEfchylus was thefirjl who brought two AElors m the Stage, for before hint there was only onc.~\ Arijlotle does not explain here, rh'e firft Changes which were made in Tragedy j be take-s it in the State Thefph left it ; for before that Poet, 'twas only Song and Chorus- Thcfpis was the firft who thought of introducing an Adtor into the Chorus, who to let them reft and take Breath, fiiould recite the Adventures of fome famous Man ; and this is what Horace means in his Art of Poetry. Ignotum Tragica genus in'VemJfe Camcena DicituTy (3 PlauJhrK vexijfe Poemata Thefpis, Qtii Canerenty agerenttjue^ feruniii ftcibus oral Thefpis an unknown Tragedy began, Whole ftroling Crew on all the Country ran ; And Sing, and Ad:, with Faces all bedawb'd With Lees ©f Wine. What Horace fays of Thefpls going with his Adors thro' the Villages, fervcs to explain a Paflage of Dio- genss Laertitts, who Ipeaking of 5'ylm's Pieces. Eh 48 Ariftotie'i Art of Poetry. TJ A^aixciioi- I never Drenm^ by chance ^pplaufe to winy Nor vptth Confufion^ do my Plays begin j An Aclor firji. Comes frotn behind the Scenes- T' explain to th' Audience what the Drama means. As for what remains, Arijlotle fpeaks here only of the moft Confiderable changes, JEfchylus made in Tra- gedy, and paffes filently over the lefs important, as that he had his ABors mask'd ; that he gave them Gowns with long Tails, and Buskins ; that inftead of a Cart, he built an Indifferently raifed Theatre ; that he changed the Stile from Burlefque, to Grave and Serious. Horace does juft the Contrary , Ipeaks of thefe and omits the others. Poft hunc perfona? pallasq; repertor honeft^ ^fchylus, & Modicis inftravit Pulpita tignis, Et Docuit magnumqj loqui, nitiq; Cothurno. ^fchylus I{pbes andMaskj, found for this Art^ A^ors, in Theatres built in his time, Firjl trade 07i Buskins , andjir/i Spoke fuhlime. Atheneus adds, that he found out many Dances for the Chorus ; that he manag'd his own Habiliments with- out any help ; and Philoftratus affures us, that he firfl: thought it indecent, to fprinkle the Scenes with blood : and for that reafon, began to remove Murders from the SpecStators Eyes. 39. Sophocles added a third AElor to ^fchylus'j two."^ Sophocles having more narrowly examin'd the Nature of Tragedy, found that /Efchylus's two A^ors did not fet off the Scene well, and could not give an op- •portunity for fuch a Variety of Plots and Contrivan- ces, as ought to be there : For this reafon he added a thirdi Ariftotle'j Art of Toetry. 49 third, and all the Greel^^ Tragedians remain'd here, and never thought of increafing the Number, being perfwaded, that the perfedion of it confiited in thefe three Speakers : at leaft 'tis certain that they very rarely admitted four 5 which made HorAce lay down this Rule. Nee quartn loqui ferfona Uboret, Ne'er ftrive to make a fourth Perfon fpeak. Sophocles undoubtedly took his third Perfon from Ho* meTy who often brings three A^flors together, and very feldom any more. I muft confcfs alfo, that this Dia» logue of three is more, agreeable, bccaufe it is lefs confus'd. If we will conlidcr Nature her felf , we fhall find that very few things concern more than three Perfons at a time. In Plato\ Dialogues, which are purely Dramatick , there are indeed more Per* fons, but it happens very feldom that more than three fpeak at a time. Neverthclefs, wc may admit four or five, KdiOTs, in the fame Scene, if the matter requires it, provided that we avoid Confufion ; This gives Beauty and Majefty to a Scene, and ferves alfo, to increafe the Concern, which ought to be in the Spc-^ <5lacor>, as we may fee in thofe Tragick Poets who have fuccefsfully written, and perhaps this is the only Advantage that ours, has over the Gree/j^ Tragedy : But there is a great deal of Art, and Spirit requlr'd, to do it well ; 'tis not the work of a Scholar. Ari- fiotles Saying here, that Sophocles added one Perfon to yEfchylw's two, would make us think, that there were never more than two Actors in the lattcr's Plays. Yet, in one Scene of his Ccephores ; Qrejhs, Pylndes, and Clytemnejirn talk together : and in another Scene of his Eumenides, wc fee, Minervn, Orcfics and Apollo. 'Tis true that one of thefe fays but very little ; but it fuf- fices to fhow, that JEfchylus was not entirely ignorant, that a Scene would bear three Adtors. How C3nv^>;» ;fiotle then attribute this Invention to Sophocles ? Was it btcawfe Sojfhoclcf did it mor? Commcnlv ? I can't be* E Uev? JO Ariftotle^ Art of Toefrj. Kcvc it. It was twelve Years after /Efchylus had feenrj fome of Sofhocles's Pieces, that he raalde^ his Cafhoren^ and Eumenides ; and from them he took his third Adlor which Sofhocles had added. 40. Adorn d the Scenes^ xvith fine Decorations.^ JEf- chyluf had adorn'd the Scenes very well before So- fhocles ; for inftead of Huts, and Dens, and Woods, w^ith which they were adorn'd, he reprefentcd Cities, Palaces, Altars, Tombs and Machines, for which he employed a certain Engineer, call'd /Igatharcus^ as F/- truvius informs us. 'Nnmque frimum AgatharcHs, A* thenu, /Efchylo doccnte^ Trngicnm Scenam fecit, (3 de ea Comment nrium reliqtiit. He who has tranflated Vitru- vius into French, and enrich 'd him with fine Cuts, is very mnch deceived in this Paffage, for he Tranflates it. 'Tis thus that Agatharcus being injlru^ed by Efchy- lus at Athens, in the manner how he ought to make De- eorations of the Theatre for Tragedy, and in having firji wrote A Book,, &^c. Agatharcus was in no wife inftru- cftcd by efchylus ; on the contrary, efchylus was in- ftrudbed by Agatharcus, /Efchylo docente, doth not fig- nifie, Efchylus teaching him, as he thought ; but it fignifies, Efchylus caujijig bis Pieces to be acled, he at that time poffcifing the Theaters at Athens ; for dacere fabulas, as in the Greeks, J'iS'a.'Ditiv, to teach Tragedies and Comedies, fignifies properly to have them acted. Vitruvius (^2.ys, for Agatharcus vpas the firjl at Athens; vpho vfhen /EfchylusV Pieces were aRed, adorn d tfre Scenes with fine Decorations, and compcfed a Book^ of them. But to return to Arijiotle's Palfage ; Altho' JEf' chylus had confldcrably chang'd the Theatre, yet there is great likelihood that the fame Decorations fcrv'd for all his Pieces, whereas Sophocles chang'd the Decorati- ons, according to his Subje<5ts, and 'tis this makes k\\ the Ornament of the Scene, when it agrees cxadlly with what it reprefents. 41. Injhortf 'twas late e''re it receivd that Gravity and G' andeur which were convenient for it."] For before j£fchylus, Tragedy had in no mcalure ir« ;uft Gran- deur, Ariftocle'i Jrt of Poetry. j i ''i^tiiTf 'twas proportion'd to the trivial Subjedls it trea- ted ofll^ and retain'd very much of its Original Bur- Icfque. ^fchylus corredted thcfe two Faults, for ho chofe Noble Subjeds, ('to which he gave the extent they ought to have^ and exalted the Stile. Et docuit mngnumquc loqui, 4Z. Pl^ich it ritnind of thofe S/ityriciil Piecii from whence it came.^ He will be very much deceived, who thinks that Ariftotle {peaks of Satyrical Tragedies, when he fays, that it retain d a long time the Bqrlefque Stile of thofc Satyrical Pieces from whence it prodeed- ed ; for thefe Tragedies fuccccded the true ones, and the Stile of thofe Pieces was by no means Burlefque, but half Serious, and half Jocofe, 'twas an agreeable mixture of Tragedy and Comedy, as has been fully_ explain 'd in my Remarks on Hornce's Art of Poetry. Ariftotle calls here thefe Satyrical Pieces, the firft Tra- gedy, thofe grofs ex temfore Pieces, in which a Com- pany of Clowns, bcdawb'd with Lees of Wine, and Dancing in Honour of Bacchus, made as it were Sa- tyrs, with which they celebrated his Fcaft, and fpeak to one another injurioufly and obfcenely. 43. the Trimiter lamhickj fucciedcd the Tttrnmeterl which were iilwnys ufed, becctife they Wer6 Satyrical, and full of Motion and Dances.'] As the firft Tragedy was only a Chorus of Clowns who Sang and Danc't, it employ 'd only the Tetrameter Verfe, which is the moft proper for Dancing and Motion, Nature it felf having furnifh'd them with the fort of Verfe which was agree- able to that fort of Tragedy : For as Vi^orinus fays, Esl Carmen Jocofis niotibiis emollitmn, geftibufifue agen~ tium fatis accomodatum ; that is, a Verfe whofe fvftttefs agrees to the Gayety of Motion, and is very confor- mable to the Geftures of Dancers. This Tetrameter Verfe is truly compounded of Trochees, i. e. one fooc long and one fhorr, and this is the moft skipping and brisk of all Numbers ; 'tis for this the Poets of the Latin Peices called Atellani , retain'd it in their Cho- rus's, which were compofed of Satyrs. Arijlufk con* £ 1, LS£TSXi 5^ Ariftotle^ M of foetrj. firms in the third Book of his Rhetorick what hefay«i here. For, as anciently, rays..he, the Tragick^]Poets faf- fed f rem Tetrameter Inmblckj, to Trimeter, hecaufe of all VerfCf it was the tno/i lil^e pur common Difcourfs., 44. "But after the Difiion that voas proper for it, was ejlahljfh'cir\ That is to fay, after Tragedy and Come- dy were diftinguifti'd, and Theffis had added a Perfon to the Chorus, it changed its Stile ; it being unnatural that an Adror fliould relate the Adions of a Hero, in the fame Language ufed by a Chorus of Couptrymeri, who Sang and Danc'd. Therefore 'tis, Ariftotle adds, that Nature it felf difcovered the Verfe which agreed to the Stile of a common Relation or Difcourfe, 45 . $0Y lamhickj are of aU farts of Verfe the mofifror fsrfor Converjfation.'] Tragedy had been very imper- fect, if Nature had not dilated the Verfe which was agreeable to it. Now that which was moft agreeable to it, was that which was moft like our ccwnmpn Dif- courfe, and confequently it was Trimeter lambick, for that was moft ufed in familiar Talk and Converfation^ And Tragedy being an imitation, it ought to admit no- thing but what is natural and eafie. If we follow clofe, all the Confequences which naturally flow from this Principle, (whofe truth we cannot queftion) we fliall find the great Advantage the Gree^ ^nd Latin Trage- dy had over ours in this refpecii. Horace is not content to fay with ^rijiotle. That Tragedy adopted lambick Verfe, becaufe it was mpft proper for Difcourie : He adds. That 'twas alfo becaufe it was bette^-to ftill the noife the People made in the Theaters, and that it inade the Adion go better on. Huncfocci Cefere fedem, grnndefque. Cothurni, Alternis apum fermonihus, (3 Pofulares ylncentem freptus, (3, natum rebus agenda. Tragick and Comick Poets both allow'd This Verfe, fit for both turns ; t' appeafe the Crowd^ ^nd make the Adion better to appear. AriftocleV An of Toetry, j j 45. Jlnd very rarefy Hexameters^ ifihich almofi never tome from us, but when vee fafs the bounds of ordinary Difcourfe, and change the Harmojiy andTone.'] We ve- ry rarely make Hexameters in Converfation, becaufe it being compos'd of DaAyls, and Spondee's, it is lof- tier, more fonorous and harmonious than others, and confequently enters lefs into Profe, which ought to be very full of Cadences, but fuch as arc broken and neg- ligent, and when any doth efcapc us, 'tis prefently known : For as /irtftotle fays, 'tis more noble and full of Harmony. Our Tragedy is very unfortunate in this, that it has no other fort of Vcrfe then what is us'd for Elegies and for Epopoeia. It fignifies little to fay, that the Verfe in Tragedy is plainer, and not fb pom- pous as that of Epopccia, 'tis always a great Verfe of twelve Syllables : 0«r Englifti ones are ten fometimes txoelve, and fince we can ufe fuch a Verfe neither in Writing, Profe or Converfation, without offending a delicate Ear, which is a fure fign, that if our Ears were not corrupted by a long Cuftom, we fhould find little of what is natural in Tragedy, whofe Language ought as much as poflible to imitate familiar Difcourfe. 47, The Uumber of Efiifodes encrcafcd nlfo xpith Time.^ For at firft all that was recited in the Songs of the Cho- rus, was only fimple Adventures : Afterwards they were varied by an Epfode, and at laft they found the Art to incorporate many together, and to make one ot many ^different parts, which however were natural and proper to the Subject. U \ C H A f . 54 Ariftotle'i Jrt of Toetry. CHAP. V. T^e Definition of Comedy, Wh^t Ridicule u, iVhy Comedy rv/ts not cultivated fo foon as Tragedy, The Magift rates ordered the C ho- riii^s. Who were the Poetf that frjl formed the Subjects of Comedy, The Conformity, and Differ € /ice betwixt Epopceia and Tragedy, How long the Duration of tho/e Poems ought to be. Thofe who judge well of Tragedy^ can judge Will of an Epick Poem^ but thoje who judge well of an Epick Poem^ are not always capable of judging well of Tragedy^ and ? why \ I . /^Omedy is, as 1 have already faid, an Imi- Vj tation of the worfl Men. («) When I fdy tClOZffj I don t mean, in all fort of Vices, but only in Ridicule, for Ridicule is properly a Defeft, and Deformity without Pain,- and which (6) never contributes to the Deflru(^ion of the Subjeft in which it is. For Example, (c) with- out (rf) ^ointr any farther ^ we Call a difagreeable Countenance, and wholly counterfeit, without any pain, a ridiculous Countenance. 2. The Changes which Tragedy ha? met with are fcnftble, and the Authors of them known, hut Comedy is not fo, bccaufe it has n6t"been lb. much improv'd fince its beginning as Tragedy. {*) Onfy, (b) Rills not. {c) /fr, (j; H^Aik, Foy AnAotW s Art of "foetry. 5^ For 'twas very late pYc the Magiflrates aUow d Comick Chorus's, (e) Thofe who a(fted then were free and voluntary Adtors, who adcd by thcmfclves without order from the Magiilratc. Since which, Comedy has began to have fome Form. We know the Poets who wrote it, but we arc ignorant who firfl: ufed Masks, made Pro- logues, augmented the Number of A<^ors, and added thofe other things, which v^efind in it st frefent' ;. Eficharmns and PAflrw)*;, were the firfb who thought of forming the Subjeds,and confequent- ly, that Manner came from Sicily. Crates was the firfl Athenian who (/) follow'd it, in omit- ting thofe grofs Railleries, wbtcb wercfo brief in it before. 4. EpopcEia, has this in common with Tra- gedy, that'tisa DifcourfeinVcrfe, and an imi- tation pf the Anions of the greateft Perfjns, and *tis different in this, that it employs only one and the fame fort of Verfe, which is a pure Narrati- on, and has a larger extent \ for Tragedy endea- vours, as much as is polfible, to confine it fclf to the Circuit of the Sun, to exceed it as little as maybe. Whereas there is no time limited for Epopoeia. But wemufl alfo fay. That Tragedy, in its beginning, had no more rcflrielion. {g) 5. He that can judge well of a Tragedy, avd knjw ad'nyedly^ whether it be good or I ad, can (e) But thcyve, r^ reluntcry. if) Fully comfleatcd the Fahlc tmd Dfabn, (g) J hen Epick Poems for fome arc fTop.r hxh '# :'•- m J^J Trf^e- dy. Wbiufore, 6:c, E 4 p-lfo 5^ Ariftotle'i Jrt of Poetry, 61(0 judge of (^) Epopceia, for all the parts of Epopceia are found in Tragedy, but all thofe of Tragedy, are not found in Epopceia. (b) Eplcl^Toemi. REMARKS on Qhz^, V. i- Ccmcdy is, as I have alre/idy faid, an Imitation of th'T PVorfi Men ; vohtn I fay PVorfi, I dont mean in all forts of Vice, hut only in ^idiculet\ Arifiotle in giving this Definition of Comedy, determines like a great Mafter, what muft be the Subjecil of its Imitation, and it is only that which is ridiculous, for all other forts of Wicked nefs and Vice, can take noplace here, becaufe they raife Indignation or Pity, Palfions which by no means ought to reign in Comedy. But what fhall we fay, was Ridicule alone the Subje(5t of Eufolis, Crati- vus and Ariflof banes' s Pieces .> Since Horace affures us, That there was not in their Times, a Knave, Robber, Adulterer, Murderer, Wicked or Infamous Perfon in any kind whatfocver, whom they did not expofe in their Pieces with a great deal of Liberty. Si quis erat dignus defctibi, quod malus aut Fur, Qucd mxchusjoret, autficcnriuf, aut alioqui Famofiis, multa cum libcrtnte r.otabant. Thofe who in Wickednefs were counted chief, A-flfaiUnate, Adulterer or Thief, Or Profligate, who lived in their Age, They freely did expofe upon the Stage. Notwithftanding, Theft, Adultery and Murder are Vices which furpafs Ridicule, and tend to ihc Deftru- <5tion of him who is infedcd with them j and fo Ari- fiotle s R,ulc is not true. This Objedion does not at all invalidate the Philof6phers Rule. If Ariflophanes had put into his Pieces, a Robber, Adulterer, Profli- gate Ariftbtle*5 Art of foetrf. 57 gate or Murderer barefac'd ; this had indeed been con- trary to the aim of Comedy, which always propofes Ridicule for itsObjecftjhe was far from doing that: On the contrary, 'twas his chief care fo to hide thofe Vi- ces under the Ridicule, that they might only appear thro* it. To prove this, we need only conlider the manner by which he ridicules Socratesy when he would render him fufpedred of Impiety. Mr. Comeille in his firft Difcourfe of Dramatick Poem, fays, That the De- finition which ^rijlotle gives httt of Comedy, is not fatisfadory, and thinks that he had a better in fbme of his Books which are loft. But Arijiotle could not give a better, and I dare aflert. That Mr. Comeille^ con- demns this only, becaufe he did not well underftandit. Firft of all he tranflated it wrong, for Arijietle doth not fay, Comedy is r.n Imitation of Low r.nd Deceitful People. Comedy indeed is not an Imitation of the greateft Perfons that belongs to Tragedy and Epopocia, neither does it reprefent the meaneft Perfons, fince ic brings eminent Citizens and Magiftrates on the Stage. Secondly, That great Man was much in the wrong, to think that Arijiotle did not define what the Adtions are which ought to be the Subje<^ of Comedy, for he ve- ry plainly gives us to underftand, that whatever is ri- diculous may be the Subjedt of it. Mr. CcrrieiUe was far from having the fame thoughts of Comedy that Arijiotle had, he was perfwaded that the A<^ions of Kings might be admitced, provided they were not a- bove it ; and only Intercfts of State, or Love In- trigues, without any confidcrable hazard. But no- thing can be more oppofite to the nature of Comedy, fince it always propoles for its Objed that which is ri- diculous. The Majefty of Princes agrees by no means with this Poem, much lefs ought to be fought after by Comedy. The Expedient Mr. Comeille has thought of, to diftinguifli the Comedies, where thefe great Per- fons are fcrioufly introduc'd from the ordinary ones, by adding an Epithet which lliall denote their Quality, and call them Hcroick^ Comedies, is not very good. If there could be any fuch thing in Nature as Hcroick Comedies, 5 8 Ariftotle'j M of foetry. Comedies, there might alfo be Comick Epopocia's,' which is monftrous. When Plautus made his Amphi' trym. where he introduces God^ and Kmgs, he jeft^ ingly call'd it a Tragicomedy ; but not with ftanding that, 'tis a true Comedy, where he turns the Subjed: of Tragedy into Ridicule, and this is th^ only way that Gjmedy can take its Subjeds from the Adions of Kings and Heroes. Ridicule ought always to be the Subjedb of that Poem ; and 'tis a certain Sign that Nature it felf has made this Diftindlion, for thofe Pieces which are oompos'd according to this De-< finition, always fucceed beft, when we never fee any others in the Theatre but with a mighty unea- finefs. 2,. Tor "B^dkulc is properly a defe^y a deformity withf out pain, and which never contributes to the <{eJiruflion of the Suhj'eS in xohich. it isj] This Definition is re- .markable. We cannot laugh, without Inhumanity at that which is accompanied with pain, or tends to the deftruAion of its Subjedt. This can't be then the Sub- ]e(fl of Comedy, and therefore Arijlotle banifhes all that can caufe Horror, Averfion, or rity, as alfo what is too ferious or fevere from his Comick Theatre, and I believe not without good reafon. Comedy won't bear what is Grave and Serious, unlels we have the Secret to joyn it with Ridicule. This is fo true, that after the 1-aws had obliged the old Comedy to forfake its firft Maiice, and to become an Imitation of the common way of living only, the new Comedy endea- vpur'd to find out this Ridicule, which is the founda- tion of it. Menander and Terence have it in their Pie- ces, but not that excravagan: Ridicule, which reigo- €d in the old Comedy, xis a graceful and flight tmich which tickles ones fancy ,if I may fo fay,and may pro- Tierly be called the Cream of Raillery and Joke. Mo- ijle-e is not always content with the latter, but often c^ddz the other, which has contributed no fmall matter so his grf at fiiccefs. 2. f^^ Ariftotle*^ M of fmry. 59 3. }Ve'SAU A ridiculom Coantenance.^ As Therjite/s which Homer defcribcs, in the nth Book of his llip' ;^o*;i' hit^t Greedy of Praife, if he a Chorus can Obtain, he thinks hitofelf, an happy Mari^-^ 6. Thofe veho a^ed thiU'y ^^ir^ pei and voluntary ASiors^ They were good honeft Countryhhen, who being Charm'd with the firft Produdlion _W Come- dy, aded for chemfelves, when- Tragedy- was Piib- lickly receiv'd, and aded at the Expense of the Mi* giftrate. 7. "Butjince Comedy y has began, to have fomc ForTTi, tVe f{norp the Poets who have wrote it."} Since Comedy has been produc'd out of that Chaos, in which it was before ; and that it has begun to take riie Air, and Form of a True Piece of the Theatre. We know the Poets who have taken pains in it, and thofe who have made the moft Confiderable changes, bun we don't know who began to give it that firft Form , and an intimation , to other Poets , to bring it to Per- fedion ; neither do we know who they were, which iirft cmploy'd Masks, made Prologues, and augment- ed the Number of the Adors. For thefe were the Addi- Ar iftotle'i Jrt of Poetry. 6 1 Addition? made to its firft Produtiion, after Tragedy had recej,yed 4II that fcelo/iged^to it. 8. But we, are ignorant^ wtp firji ufed Mask/, made frologucsyor flugmente J .the Number of the Aclors."^ Since Comedy iuccceded Tragedy, and began ro be improv'd, not till after, that, had obtained its Pcrfe- dlion^ There is no douljt, but thofe who made it their bufinefs, to Advance the firft Produ<5lions of Comedy, borrow'd Masks, Prologues, and the Num- ber of A^^ors, from Tragedy, which was already per-f fe<5l:; and confequently, we may well admire, thac the Authors of thcfe Changes, fliould not be known, fince they happen'd in a time when things were tar |cen notice of. Probably they began to give no heed to this Show, till it was entirely clear'd j and 'tis re- markable, that it was no long time a doing : and truly Comedy paffcd with a wonderful quicknefs, from Grofs, to Polite, and from Confufion , to Har- mony and Order j for from Epicharmuf, Chionides and Magnesy who lived in JEjcbylus'i time, 'twas not Six- ty Years to Arijiophanes, whofe Pieces were read with ^n extreme Pelight and Pleafure. 9. Made Prolo^cs!] The Qrcel^^ Tragedy and Co- medy never had Prologues fcparate from the Play, as thofe of Terence and Plautus, where the Subject is cx- pUin'd before the beginning of the firft Acft. Ariflotle calls, all that is before the iirft Song of the Chorus, jProlqgue ; and which is fo united to the Subjecft, thac it cannot be feparated ; as we fee in the Tragedies of Sophoflcs arjd Euripides, There is a Probability then, that Comedy did at firft Employ thofe forrs of Prologues, which were in time left oft', bccaufe they appcar'd too difficult and fcrious. AVe fliall fpeak further of thcfe Prologues on the 12th Chapter. But Arijlotle could not take the word in that fcnfe ; for I don't well underftand how, Comedy could be withr out that Prologue, fince that Prologue is all, that 1% before the firft Song of the Chorus ^ that is, our firft ■ " Ad. 6t Ariftode'i j^rt of Toetry. Ad, It would thus be a Body ^ithout an Head : At leaft, if we don't fay, that the firft Adt, was fat the beginning) an Expofttion, of the Subjed: of the whole Piece ; we ftiall find in what* follows, that 'twas very troublefom, to be bound up to this Regularity; and therefore the Comick Poets, difpcns'd with this way of explaining their Pieces. But I rather believe, that what the Philofopher calls here Prologue, is an Expli- cation of the Subjed, which the Comick Poets al- ways put into the firft Scene, as Euripdes did in his Tragedies : Or elfe, by Prologue he means, what he afterwards calls Parnba^e , where the Poet addreffes himfelf to the Audience ; and which Arifto^hanes puts in the middle of his Pieces. . 10. Epicharnius and Phormys, vaere the firji ^ who thought of forming the Subjei}s.~\ All the Difficulty of this PafTage conlifts, in knowing, whether by farming the Subjehs Arifiotle means , to feign Adventures , to mnks the Subjetis of Comedy ; ot if he barely undef- ftood, that thefe ?oers, firft endeavour'd to give to their Pieces, a Juft extent, and to manage them with the fame Art and Method , as Tragedy was. The Interpreters, have declared for the firlt Opinioa ; but r.hey are deceived, by not examining this Matter, to the bottom. Ariftotle could not lay, that Epicharmux and Vhormys invented the Subjeds of their Pieces ^ for they were both Poets of the old Comedy, where there was nothing feign'd j and thefe imaginary Adventures were not brought, on the Stage, till the rime o( Alex^ ander the Great ; that is, till the new Comedy. Ta form the SubjeEis , is then , faid here, in oppofition to the manner of managing thefe Comick Pieces for- merly. There was nothing more uncouth, 'twas only a texture of grofs Railleries, where there was no rela- tion or coherence, and confcquently could not make one and the fame Subjed. 1 1 . And confe^ucntly that meimier cams from Sicily.]} This Is to eftablifli what hq laid in the Third Chapter ; That . Ariftotle 5 Art of Toetry. 6^ Thax the Megariam oi Sicil;/ attributed to ihctofclves ♦ the Invention of Comedy. iz. Cntei was the firfl Athenian vtho follow" d it^ in Omitting thcfe graft l{ailleries^ whichy reere fo brief in it before.'^ This Paflage is very remarkable, for there is no one, in all Antiquity, who has exadly fet down the time, when Clownifhnefs was left out of Comedy, at Athens. Crates flourifti'r, about the Sid Olympiad i that is, about 450 Years before our Saviour, till that; time Comedy was unpolifh't , and confequcntly, very little ditfercnt from what it was, in its beginning. Twelve or Fifteen Years aft^r Ariflofhanes began to appear ; So this Show, which had Iain ncgledtcd for fo many Years, arriv'd at its PcrfeiStion almoit all at: once. When the Greekj undertook to polifh any Arr, their firft EfTaySjWere generally Mafter-ftrokes. This Athenian Crates (for there was another of T/;f/'«) Com- pos'd many Pieces ; The Ancients quote his Animals ; Neighbours ; fVitch, or Sorcerefs ; The Plays ; The Hjjetoririans ; The Saminns ; I'he Guejis j The BqU i The Chitons, or The Centaurs, 13. In Omitting thofe grrfi I{aiUeries, which were tOo hriefin it before.'] This Confirms the Explanation, I have given of tht Expreiiion, To Form the Subjects. For Crates was the Hrft at Athens, who forfook, the grofs Railleries, that is, the firft Produds of Come- dy, to follow Epichnrmns's Method ; To Form the Sub- je^St Cannot fignifie any thing clfc, than to difpofe and rarik^ them, and by uniting, and adjufting, all the diffe- rent, parts together, to make up one and the fami whole; for as I have faid already, the new Corned ;r only, invented its Subjeds ; thofe of the old , and mean Comedy, were true, and no ways feign'd. Ti? falfe then, that feign'd Subjeds, fucceeded, the Grof- ncfs of the firft Comedy. This is Demonftration. 14. Thofe grofs i(.i;7/f r/c-;. 3 Arifiotle (ay^, to the lamHck. Idea, that's to far, to the biting Livcdivcs of (4 AriftotleV \/{rt of Toetry. the firft Comedy, which ufcd lambick Verfe; as be- bg the moft Satyrical. 1 5. EpopcEia has this in Com-non with Tragedy^ Afcer having fpoke of Tragedy and Coaied/, he goes on to explain what Ejiicl^^ Poem is, Epopcei/i, and to diftin- guifli what is Common, to it, and Tragedy, and wha^ h Different. t6. That 'tis a Dlfcourfe in Verfe^ For tho* the Verfe of Tragedy be different, from that of an Epck, Poem ; yet 'tis true, that Tragedy, and Epojxsia, are al- ways Compofitions in Verfe. i'f. And an Imitation of the ASions of the greatefi Perfons.^ _For this Paffage muft be thus tranflated, (jLifAmU taSS^S'cuoiv-, and nor, an Imitation of great illu- ftrioui A^iw' For it is not neceffary, that the Acftion, which affoi|[s Matter for an Epick^ poem, be lliuftri- ous and Inyjortant in it felf; on the Contrary it may be very oitiinary, or Common ; but it muft be Co, by the Quality of the Perfons who Ad:. Thus Ho' race fays plainly, ^es geftce, I{egumq; Ducumq; The Anions of Kings, and Commanders. This is fo true, that the moft notable Ac3:ion of a Citizen, can never be made the Subjedk- of an Epicl^ Poem, when the moft indifferent one of a King, or General of an Army, will be fuch, and always with Succefs. 18. And V» different in this that it Employs only one^ *nd the fame fort of Verfe."] Ariftctle fays , in that it Employs only Simple Verfe, which may fignifie, and that it makes tife only of one fort of Verfe : And that it makes its Imitation with Verfe only. Whereas , Tragedy, Employs Dancing, and Mufick, as well as Verfe 4 but I am fatisfy'd , to exprefs the moft Efv fential Difference, the reft being of little account, a- mongft us. j§, fVhisk AriftotleV j^rt of Poetry. 6 5 i<^, Which is a fure Narration!]^ This Difference, is yet more Confiderable than the firft ; for there is nothing but Adlion it fclf, which can livelily repre- fent , the violent Pairions which reign in Tragedy. ,When as Efofaiay ufes only a fimple recitation, with- out Adiors ; it being a Poem , more foft, moderate, and made for. Morality. The Poet always fpeaks in tJiis, and never in the other. 10. And has a larger extentl^ This Difference pro- ceeds from the fame Caufe , I juft now explain'd. Paflions rule in Tragedy, fo that Poem, neither can, nor ought, tp be otherwife than (hort ; fince nothing that is violent is of long Duration. But Manner, and Cuftoms, which are not begun and linifli'd at once, belong to an Efick^ Poem ; and by Confequence, its Action ought to have a larger extent, than that of Tragedy, and cannot well be contained in the fpace of one Day only. 2 1 . For Tragedy endeavours ai much as is fcjffil/lc, to confine it fe/f to the Circuit of the Sun^ or to excc:d it, /IS little as may he.'] I thought my felf oblig'd ftridrly to adhere to Arijlotle's own Words in the Tranflacion of this, and to Content my fclf to give the Expli- cation of it. Moft People believe that by tlje Cir- cuit of the Sun, we fliould underftand, the length of a Natural Day ; and think , that the AAion of a Tragedy, may be of Twenty four Hours , but this Opinion is not only ContradiAed , by the Conftant Pra*5lice of all the Greeks Poets, which remain , and on which Ariftotle has grounded his Rule ; but it is alfo Contrary to Common Senfe , which can never fuffcr, that a continued Adlion, all of which, ought Entirely to be expofed to our Sight, fhould continue fo long , aud amufe the Spectators a Day and a Night; This would ruin the Vcrifimilitudc, which is one of the Principal Foundations of this Poem. Ariflotle affuredly calls the Ciicuit of the Sun, that F fpaci 66 Ariftotlc'i Art of Poetry, *pace of time, in which he runs thro* our Hemiffherf^ and very wifely teaches , that all the AtJtion of a Tragedy, ought to be Contain'd in the Ipace of one Day, or one Night, and not to have the liberty to employ them both. If it is an Ad:ion that begins at Sun-rifing, it ought to be ended before Night ; if it be an Av5lion which begins at Night, it Ihould be finifti't, before Morning j but as there are a great ma- ny Actions to be found, which are not contained within thefe Bounds, which imploy one part of the Day, and one part of the Night , he adds, that then you may change the time , provided that Change be not Confiderablej that is to fay, that you may take, the fame (pace of time in the Day, and in the Night together , which may be taken either in the Day, or in the Night alone. For Arijlotle did by no means pretend, to give Poets liberty, to exceed the fpace, of the Circuit of the Sun, or to give (for example) Foufteen, or Fifteen Hours, to the Action of a Tragedy, that would be unaccountable ; And he took care not to permit that, which was fo con- trary to Cuftom, and capable of diverting the Poets, from that PerfeAion they ought to feek, and which is only to be found in a Juft and exad: Regula- rity. For 'tis certain that the moft perfcd: Pieces are thofe , which require no more time , for the AAion, than for the reprefentation , as thofe of So' j>hcc!cs , which ought to be follov/d in that roint, as perfed: Models : The A(5tions of his finaft Pieces are but of Four Hours, But you may fay, if the AAion of a Tragedy, can be contain'd in fach nar- r3vv Bounds, why then does AiJ/lotle allow E'ght or Ten Hours ? Becaufe there are Ad:ion«: which neceffaril'y require a longer time, and Arijlotle would fct down in his Rule, how long the Duration, of thefc Adlions might be , without prejudicing the Veri- limilitude,and tyring the Patience of the Auditors, The Poet ought to take his Mealures fo well , that he doth not give Ten Hours, to an Action, v/hich ought to be finifli'c in Four j nor to crowd that into Four, which Ariftotle'j Art of f^etry. 67 Which ought to endure Ten ; but of the two, as bettef to err on this fide than t'other. ^2, When aSf there is no time limited, to Epopocia.] When Arijiotle fays, that the time for Epojxeia is in- determinate, we muft not inferr from thence, that we are permitted, to give as many Years as we pleafe, to the Action of an Epc/^ Poem j he would only have us underftand by this, that thofe F.pick^ Aclions may be fome longer than others, according to the Nature of the particular Action. For Example, The IUm is full of Violence, and Paflidh ; the Odyjfes, of Wifdom, and Condud: ; Homer had then been guilty of a ve- ry great Fault, if he had made thcfe two Actions, of an Equal Duration. Therefore he gives to the firft but Seven and Forty Days ; of which Achilles's anger, takes up but half a quarter : But to the Od)f- fes he allows. Eight Years and an half Virgil knew very well this Prudence and Wifdom of the Greeks Poet ; for to the AAion of his JEneids, whofe Cha- •^Tadler is I*iety, and good hJature, he gives Seven Years ; In Confining that Poem , to the narrow li- mits of the Hinds , he would have been no lefs blame - able, than Horner^ if he had given to his Iliads, the whole extent of his Od^Jfes. 23. But we mufl fr.y^ thc.t Tragedy in its fepmiing hnd no more relhiction.~\ During the Tim^^ that Tra- gedy was only Chorus, there were no Limics j;re- fcrib'd for its Duration, which was meafured , only by the Joy, and Effeds of the Wine ; 'twas no other- wife when one Perfon was added to the Chorus. For as all the Narrations he made, between the Songs of the Chorus, were only Epifodes, which had neither depcndancc on, r.or relation one to another, the Du- ration of that Di\crfion depended only on the Fancy, and that alone might take up as much time, as all the Tragedies, which, could be a^fted in one Day, did afterwards take up, when that Poem was brought to the Perfciftion in which we nov; fee it, F % ' 14. He 68 Ariftotle'5 Art of fQCtry. 14. He that can Judge well of a Tragedy^ and ^mvf affuredly, whether it he good, or bud, can atfo Judge of an Epopoeia.]] The Foundation of this Maxim of Art- Jiotles is true in all Arts, and is, That to Judge rightly of any Work , we ought perfcdly to know , all the Parts of which it is Compofed. According to this Principle then, any Man that can Judge well, of a Tra- gedy , can alfo Judge well of an Efick_ Poem j for what is in this latter, is very nearly in the other, wc find in Efofaia, as in Tragedy, Fable, Manners, Di- diion, and Affections. But he who is Capable to Judge, of an Epck^ Poem, may not have enough know- ledge, to Judge well of a Tragedy j becaule there are in this, fome things which are not in that. For be- fides the Dance and the Mufick, which in Arijiotle's time were counted the perfeding Parts of Tragedy, there is Unity of Time, and Place ; The Vivacity of the Pailions ; the Chorus's, the Decoration, and the Adlion it felf , Epopceia being only a Narration. This Judgment of Arijiotie'i is then very true and 'fclid. CHAP. Ariftotle'/ Art of foetry* tfp t C IJ A P. VI. The Defimtion of TfAgedy, Its effeB to rf- pne the Pafftons. Its Style. The fix parts which compofe it. Manners are the Chara- iters of Men^ and the Source of their Ani- ons. Why Tragedy is an imiution of ABi^ onff and not of Men nor their Mdnners, The End Menpropofe to themfelves^ is al- ways an ABion^ and not a Quality. Tra- gedy can fubfift without Manners, What isofmofi Importance and Difficulty inTra* gedy. What Manners are^ and the Dif courfes which have or have not Manners. The difference of the Ancient Orator Sy from thofe of Ariftotle'j Age, Of the Mufick, and Decorations. I. TXrE Ihall fpeak of Epopxia^ (a) and Co- V V medy in the following part of this Dircourfc, and at prefent of Tragedy, and fliall give immediately a Definition of it , which will fuic to what has been already faid. 2. Tragedy is then, an Imitation of an Adion that is Grave, Entire, and hath a (u) Imution in liezjm:tcrs. F 1 Juft 70 Ariftotle'^ Art of Poetry, Juft Length ^ of which the Stile is agreeably relifhing, but differently in all its parts ; and which without the affiftance of Narration, by means of Compaflion and Terror perfedly re- fines • in us, all forts of PalTions, and whatever tlfe is like them* 3. i^aii, a %tx\t ageeeaWp Eeliajins:, when it has Number, Vcrfe, and Harmony^ and I add, fiut WZttWtW IH aU tt0 mW'y becaufe Verfe alone rules in fome, and Number and Harmony in others. 4. This Imitation being made by the Adors, it nec^^iiy follows, That the Decoration of Scenes,^ JF in. fome fort a part of Tragedy, as well as tW Melody and Difcourfe with which^ the Imitatioii is made. I call the Corppofition of the Verfe £)tfCOUrfej and the Mufick whofe force is fuiiiciencly known, ^Zlt^^V* 5. As this is an Imitation of fome Adion, and thpfe who Ad, are neceflarily fuch, by their Manners and Sentiments ; Q) there being no other Character which can difringuifli them. 'Tisa fure Confequence, tliat i^Il Anions pro* ceed from thefe tvvo Sources \ that is, Senti- ffienti and Manners^ (c) and which are the Cau- fes of Good or Evil to Mankind. 6. The Imitation of an Adion is properly Fable ^ foi I call the Compofition of things^ Fable. (bj For iy tbcfe two vpe difiin^ift; thtm, {e) And h thcfe Men ei- tlfer ohluin^ or hojt their Lad's. ^ ' ' ■■^- 7. The Ariftotle'j Jrtoffoetry, 71 7. The Manners are that which diftinguifhes the f^uality 4 thofe who Ad •, and the Senti- ments are the Difcourfes, by which they (J) make known evVy Adion, or difcover their Thoughts. 8. Tragedy muft then of neceflity have fix parts: {e) The Fable, Manners, Didion, Sen* timents, Decoration, and Mufick. Of thefe fix, there are two, (/) which regard g) the means ; one which regards the Manner -, and three which regard the Subjed, or the Matter of the Imitation. 9. (i6) Tho' there are almoft no Ppets, as I may lay, who don't employ thefe fix Parts, in their Tragick Pieces \ it is certain alio, that they are found in all forts of Subjeds. 10. But the moft important is the Fahk^ or the Compofition of things : For Tragedy is an Imitation, not of Men, but of their Adions, Lives, Good or 111 Fortune \ all which (/) con- fift in Ad ion : And the End ivhtch Men always fropofe to ihswfehesy is not a Quality but an Adi- on. Now we (k) have fuch or fuch Qualities by our Manners, but we are Happy or Mifera- ble, by our Adions. Tragedy then does not (d) Demmftrate fometbing. {e) To mj(e a rra^cdy^ which are. (f) Parts, (g) With what we initate^two; thofe which Imitate, three -^ what is imitated. (hi There are few, at I may fay, who don't ufe ..'l thefe Forms ; for evhy thing b) the iimple Sketches of a Draught. In a word^ Tra- gedy is the imitation of an Aftion, and confe- quently is chiefly an imitation of thofe who Aa. . 1 6. After Mamersy come 0) the Sentiments, that is to fay, the Faculty of exprefllng thofe things which belong to the . Subjed, and are a- grceable to it. Now all that has refpeft to Dif. courfe, depends on Rhctorick, and (^) common life. The Ancient Orators fpake limply, and ac^ cording to the common way^ but thofe of this timC (r) borrow all their helps from Rhetorick. 1 7. Manners are what dilcover the (/) Inclina- tion of him who fpeaks, and (r) the Part he will take in thofe things, where it will not be eafie to (0) a Pifiure drawn in white. (p) The third is (q) Voliticlis. (r) Rhetorically. (s) Chtice. (t) What ^txfiU be^ remember T4 Ariftotk'y Jrt of .] In the Sentiments Truth, of at leaft Verifimilitude muft be followed. We fol- low the Truth, when we fpeak thofe things which are nccefTary to the Subject ; and Verifimilitude, when we fay thofe things which arc agreeable to it. A Poet who makes a Madman fpeak, muft make him fpeak either exactly as a Madman doth, or as 'cis probable he would do. 51. Kovp all that has refpefl to Difcoirfc, depends on Rl}etoricl{_ or the commo7i r/fe.'] The Grccl^ has it. All that is of Difcourfe, ts the fVurl{_ of Polity and ^oetorick: Ariftotle calls common ufage Po- lity, the ordinary Language of the People, who fpeak plainly without Art, whereas Rhetorick teaches AriftotleV An offoetry. p/ reaches to fpeak with Art and Method, and to adorn its Thoughts with all the Graces of an Em- belifht Difcourlc. After the Philofophcr has faid, That the Sentiments confift in exprelfing thofe things which belong to the Subject, or thofe which are agreeable to it, he teaches two ways, by which you may find all that is ncceffary to be faid in both refpccts. Policy is for thofe things which are naturally found in the Subject treated of; for to find that, we need only follow the , general Confidcrations, and common ufe : And Rhetorick is for thefc things which are a- greable to the Subject, and cmbelifli ir, to difco- vcr thefc, 'tis neceflary to have recourfe to Arc and Study) and t) think a long time of their agrccablenefs, that wfe be not miltaken. 52. The Ancient OrAtors fpnke fimflyf and fjc- ccrding to the common wny.'} The Greel^ (zy 9, fpnke folitickly. Arijlotle would have us underftand by this. That the Ancient Orators were content to fpeak according to the truth ; that is, they did not endeavour to exprcfs any thing but what was to the purpolc ; and therefore they fpake according to common Cuftom, as we fpeak in ordinary Con- vcrfation and AtTairs of Life. But thofe who fol- lowed, were more corrupted, and feeking either to difguife or deftroy the Truth, took very little no- tice of what bclong'd to the Subject, they endea- vour'd to find out the Veri-fimilitude, and only to cxprefs thofe things which were ufeful for thcin, and tending to the obtaining their Ends. And this is the reafon why they borrowed af* ififtance from Rhetorick. Vi3orins was deceived when he thought that Arijlorlc frake here of Poets, and not of Orators. The Ancient Poets a(5ted quite contrary to what vvje have faid, they endeavoured as much as poifiblc to adorn their Difcourfcs, and did not all follow the natural and plain way, as I fliaU prove e Ifcwhere. H 53, Man' J) 8 Ariftotle's Art of ^Poetry, 53. Mnvners nre what difco'ver the Inclinntion of him who ffenkj, tind the Part he will t/ike.'\ This Definition of Manners, is wonderful. Arijiotle ufes only the word TfC(zie5cr/» ^»As«r?/K« if5?/f- fVhat I call tiefolutioyi^ EleElion, K a defv e which follows a Deliberntion. Manners cannot be without this Choice, for Choice follows the Manners, h irfj^i^'i'TH j3 a-w^.^ixn 'ttavYi »&«. Ariftotle explains the fame in the third Book of his Rhetorick,' that there are Manners in the Difcourfe of him who Ipcaketh, when what he fays, can give us occafion to judge what part he will take in all 'his- Adiions. This is the Orntio Momta^ and piKTitf }}BtKd I oi Ariftotle. 54. In thofe things, where it wiH not ie enfie to remember what he will follow, or avoid.'] Thefe words ought to be examin'd with care, for they difcover to us a Secret, which many Poets are ig- norant of, and againft which many do every Day offend. That the Tvlanners of a Perlbn may be good, and well adapted, 'tis neceffary that the Po- et fo order ir, that when we fee him in any impor- tant and difficult Emergency, we may be able to forelee what fide he will choofe, to know how he will behave himfelf, and for what he will deter- mine. Tis thus that Homer, Virgil, and Sophocles have given Manners to their Perfons. When Aga- memnon fent Ambafladors to Aohilles, we can judge what will be the Succefs of the Embafly, by what the Poet has rold us of his Hero, when JEneas in the Fourth Book of the ./^neids, received a Meflage from Ariftocle'i Jrt offoetry* 9^ from the Gods ro Abandon Dido, and to for'ake the fweetnefs of a young and tender Paifion. What Virgil had told us of the Piety of that Prince, makes «s determine the h efolution he wiil take, and be- fore Mercury has finilhcd his Meflage, we perceive the Impatience he had to be gone, and the Poet on- ly confirms that Opiiiion- when he fays, Ardet nbtrt-fug^y dulccfqiie reli7i(juere terrm, Attonitus tanto monitu, im^erioque Oeorum. Longs to be gone, and leave that happy Land,' Alov'd by th-e Meffage, and the God's Command. It is the fame with So.^hocles, all which that Poet fays of the Charader of Oedipus, prepares us for his extravagant Paifions, and teaches us to judge what excefs his blind Obltinacy wiil make him commit. 55. 'Tis for this Renfoyi, that thcfe Difcourfes that ^ont tit fir ft give us feme infight into vphntwill become of him whojpe^kj, arc xvithout Majiners."} This is very intelligible, and I wonder any one could mi- ftake it : In moft part of the Pieces of our Poets how adays, we can't know the Manners of the Per- fons, but as we fee them Ad:, we perceive that they are Unjuft, or Cruel only, when we fee them commit fome Injuftice, or Cruelty, What rhey fay is not abfolutely without Manners, for no Adioti can be without them ; but we don't find thofe Manners which Tragedy requires, even fuch as confifl in letting us know what thofe Perfons will do before we fee what they have determin'd. If Virgil had let us fee none of ^neas's Refolutions, and we had been uncertain whether he would have obey'd the Gods, or prefer'd Dido ? In that cafe, there had been no Manners, whatever Diligence JEneds might have ufed to haftcn his Departure. 100 Ati(\:oiWs Jrt of foetry, 56. Th^ Sentiments are that which explains nha't is, and what is notr\ The Greel^ word, (Pietvoiaty as the Latin word Sententia, or rhe French and our Englijh word Sentence, fignifies ordinarily, a Dif- courfc of few words, which contains a Moral In- ftrudion. It has alio a larger Signification, for it fignifies all forts of Thoughts and Sentiments, whether they be exprcft, or not. Arijiotle puts ic here for Sentiments which are fpoken* 57. The fourth thing, and which only regard* the Difcourfe, is the Dit}ion.~\ Arijiotle afligns die fourth place to the Didtion, Elocution. And we may truly fay. That of all the eflential Pans of Tragedy, Diction is of the leaft importance, tho'it extreamly enhances the Beauty of a Piece, when ic is Noble, and proportion 'd to the Subjed:. The Fable, the Manners, and the Sentiments, are with- out doubt the more confiderable. And fo fays Ari- jiotle, That it regards only the Difcourfe to let us un- derftand. That a Tragedy may be perfedt without the airiftance of Elocution ; for the Subject may be well rhanaged , the Manner^ may be well de- noted, the Sentiments may be fine, altho' ill ex- prcft. An ill Elocution renders the Difcourfe flat, but that doth not deftroy the Beauty of the other Parts. And this is what Arijiotle means when he fays, Aad which regards 07ily the D/fcowfe, or the Stile. 58. H'^hich is of equal force, both in Profe and Verfe^ It has the fame force in Profe, as in Verfe, becaufe it explains the Sentiments,artd the Thoughts in both one and t'other. And for this reafon Tragedy may indifferently make ufe of it here : But Verfe is only ufed^ becaufe that Didion is more harmonious, and confequently more agree- able. 59. After Ariftotle'i Art of Toetry. i o i T 59. u^fcer the DiBion, covies the Mufick^, which it ■the mqft tigree^iblc of nil, thnt Trngedy cnn employ.'} Arijlotle having fufficicntly cxplain'd thc.four cilcn- tial Parts of Tragedy, coincs now co the laft ; which may be called the Parts of" Decency and Or- nament, and thefe arc the Decoration, and the ^l;i- fick. He gives the hfth place to Mufick, and to ihow the difference which he puts betwcai this and thole of which he has akrady fpokc, he explains its Nature, by calling, it plainly Agreenblc. The word whicii Jjc uIcs lU'uo^yct, .lignihcs properly a feafoning, vyhich is added to a thing to make it more .agreeable. Thus Tragedy doth fubfift with- out Mufick, but of all the Agreements ^ his Poem can employ, Mufick is the greateft, for ^t. is pre- ferable not only to tJie Dancin,g and the Dccorau- on, but alfo to the Number and Harmony .ot the Vcrfc. This was Arijlotlc's Thought, and by it wc fee that the People who; were moft inclined of any in the World to Singing, did yet however ufe Mufick as an Agreement, tho' not as the principal part of their .Shows, and their nice Tafte in this <:an .never be fufficicntly praifed. As for the reft,rhc Mufick of tJicir Tragedies was the fame which they -ufcd in their facred Songs, for tiic Expiation, and Purification of Men, becaufe it was the moft pro- per to refine the Palfiqns. But that which appears TO me yet more remarkable is. That the Poets had the care of ordVing the Mufick, for as they had two forts of People in the Theaters, Pcrfons.of Quality, and the Coaimgnalty, they judged it ex- pedient to Jjav^ two ibrrs of Mufick in their Cho- rus's ; one foft and fwcct for rhofc of t^ic beft \Rank and- Knowledge, the other loud and ^brisk for thofe of duller Apprehenfions. This wa.y :£ll of them were in a manner equally pleas'd with the Mufick, and Tragedy had very near the fame cf- fed on all ibrts of Spedators, for whofc advantage j[;key v^'crc Ihown. H 3 60. The 101 Andodcs Art of Poetry. 60. The Decorntion is alfo very diverting.'] The Greek word which I have tranflated Decoration, is a general rerm, which properly ligiiifies Sight,and Comprehends all, that makes the Beauty of the Shows as the Scene, the Ornaments, the Machines, the Habits of the AAovs^&c. The Decoration was a Piece of Magnificence, never to be equal'd, and always proportion'd, to the Subjedt ; neverthelefs Ariftotle makes it the laft part of Tragedy, he puts it after the Mufick, and is fatisfy'd to fay, that it is agreeable and diverting. Tragedy can indeed fublift, and perform its EffeA, by reading, without the Decoration. For that is only a fimple Oma- inerir, and which contributes among the reft to the Beauty of the Show; but which renders the Piece, neither better nor worfe in it felf. We ought not however , to defift from improving it ; for befides the Service it does in the reprefentatibn, it excites the Poets, and elevates their Spirits. The Decorations of the Theatres at Athens were fb Noble and Magnificent , that the Ancients have ■wrote , that if the Charge for every Piece was computed , we fliould rind , that they expended more Money for the Bacchantes, the Phenicians, and the Medea of Euripides ; for the Oedipw, An- tigone^ and Eleclra of Sophocles, than for all the Wars which they maintain'd againft the Barbn^ rims:'^' ■'^'^ ■' ' ^ '"' *' " 6 1 . 'For that does not f roper ly regard, either the Art of the Poet , 7ior make n Part of the PoefyT}^ Tho* there had been Poets yvhich invented , new Prnaments, for the Decorations ; yet thofe new Inventions had been by no means the fruit of Poefy, they are the Produdions of a quite diffe- rent Art. 'Tis the Art of an Ingineer, and not that of a Poet, v./hich is then made ufe of. But this Paflage, occafions a Remark which I think ye;- yery important ; Since Arifiotle afTures us , here, char the Decoration is the only Parr, vvhich does not :'■"•: ■-■:■'' ■ ' ■ -■ ' regard Ariftotle'i Art of Poetry l o J regard the Poets Art, and that in no refpccfl it de- pends on Poefy, 'tis a fujre-fign that the other, five do necelTarily depend on it. No body doubts of th€ fouf firft, the Fable, the Manners^ the Scnri^ ments, and the Di(5tion. For altho' properly fpeak-. ing, there is only the FabJe which :regards the Poets Art, the Manners depending 'on Morality, the Sentiments on Rhctorick, and the Diction on Grammar ; neverthclcls, as a Poer ought "to \si bo lefs kiftrudted in all thofe Arcs, than in that of Poefy, and that that of Poefy neccflarily prefup- pofes the reft, it may be truly faid that thofe four things regard the Poet only. But docs Muficlc make a Part of this Art ? This is what we can fcarce Imagine now, when wc fee Poefy and Mu- fick two fuch different Arts, that we rarely find them- joined. Thofe who have fiiccecdTd" ITi Toe-" try have known nothing of Mufick, and the grea- teft Mulicians have had no knovv^ledge of Poetry. There were many Muficians who were not Poets ; but there was no Poet, who was not a Mufician , becaufc he Compofed the Mufick for his Pieces : hlufici ijui erant quo7idam, lidem Poedc, fays Cicero ; for in Greece Mulick was the Foundation of all Sciences ^ they began the Education of their Chil- dren by it, and were perfwaded that they ought not to expedt any thing Confiderable from that Man, who was not Skilfd in Mufick. This Sen- timent was but too well grounded ; and I don't doubt, bur it was one of thofe things, which gave, fuch an Advantage to the Greeks Poefy, over ours, and the Latin ; for at I{otne, as now in France and England, Poefy and Mufick were two Arts, entirely feperated ; and the Poets gave their Pieces to the Muficians to Conipofe the Mufick, not only tor Comedies, as we fee by thofe Pieces of Te- rtnce but alfo for Tragedies, as appears by divers places of Cicero. H 4 42. And 1 04 Ariftotle'5 Jrt of Toetry. 61. And moreover y ally that regards the Deco^ ration is more the Bufinefs of Engineers and TVorl^^ tneny than the Poet!^ Tis true that the Decora- tion properly belongs to the Workmen and Engi- neers, but the Poet ought notwithftanding, to be Capable of Judging, whether it be well or ilf done ; and of what is proper , or improper for his Pieces. CHAE Ariftotle'i At of foetry. 1 05 CHAP. VII. Of the Conjiitution of the Subject, An Ex- a5i Definition of tlje Three Parts^ cf a. PerfeB^ and Entire GK^OlC* i^ rvhat the Beauty of all Beings that have Parts doth Cojtftjl. What the Extent of Drama- tick Pieces ought to be ^ and the length of their Reprefentatioft. i.*TpHefe things being cxplain'd, let us fee X how the Conftirution of the Subject ought to be, fiace it is the Firft and Principal Part of Tragedy. 2. We have faid that Tragedy is the Imi- tation of an Adion that is perfeft and cntire_, and of a Juft extent, for there is a thing which is entire, and yet hath not a (a) Juft <;xtent ; I call that Entire, which hath a Be- ginning, a Middle, and an End. 3. The Beginning is that, which neceflarily fdppofes nothing to be before it , and re- quires after it, fomething elfe, which is, or ought to be. The End, is Juft Contrary, for it requires nothing after it, but necelTarily fuppofes fomething which precedes it. (b) The Middle is that, which (c) fuppofes (. But as thefe Terms, Beginning, Middle, and End, are Indeterminate , we muft explain them the more exadly. And this the Author of that ex- cellent Piece of Epick Poem, has done before me, in (hewing, that the Caufe and Defign of Un- dertaking Ariftotle's Jrt of Toetry. \ 09 iertaking an Adion, are rhe Beginning ; that the EffciH^s of thofe Caufcs, and the Difficulties we find in the execution of that Defign , are the Middle ; that the unravelUng and refolving thofe Difficulties, are tiie End ; and that thus an Acti- on has its due Extent. He hath alfo render'd this very plain , by Examples which are wel! enough known : the Subjecft of rhe Ilins , is the Anger of Achilles^ which was Dcftrudtivc to the Greeks. The Beginning of that Adlion is the Quarrel of Agamemnon with that Prince : The Middle is all the Evils it was the occafion of 9 And the End , is when Achilles , fatisfy'd with the Revenge he had taken , relented , at the Tears and Mifcry of Prinyn. The Ac5tion of the OdylTei is not lefs Perfed: ; 'tis the return of V- lyffes into Ithncn. The Beginning of that Acflion, is his Departure from Troy. The Middle are the Hardfhips which he fuifcrcd , and the Difficul- ties , which oppofed his Delign ; The End , is his Rciloration, to the peaceable Poflcfllon of his Kingdom. Virgil was as Prudent and regular in the Conftitution of his JEneids , as Homer was. The Subjed: is j£neAs ; who went to Carry his Goods , and Eftablifli his Religion in Italy ; The Beginning of that Adion is tiie Burning of Troy , and JEneais Embarkation ; His Voyages, Fights, and what other Obilacles he met with, make the Middle ; and it Ends with the Death of Ttirnus , which made him Mailer of Lavinit:^ and peaceable Poflcflor, of an Empire in which he fet up his Gods, The Aiftion of a Trage- dy, ought to be entirely like, that, of an Eficl^ Poem , and the Three Greeks Tragick Poets which remain , have happily imitated Homer in that Point. ^. The Beginni7ig ii thaty which nccejfarily fuf- fofe nothing before if.] Ariflotlc is not Content to fay, that an £/)iV^ and Dre.matickyoQ.xy\ ought to I lO AriflocleV Jrt of 'Poetry. to have a Beginning , a Middle , and an End ; but gives alfo, an exatft definition of the Three Parts ; in fliewing , that every one of them is Imperfedl , and neceflarily fuppofes fomething elfe : He fays then, that The Beginning is that^ which necej^arily fuffo[es , nothing to be before it. The beginning of an Epck^ , or Drnynr.tiL\ Po- em, may be the Sequel of another Adlion j for Example, the Quarrel of Agnmemnon, and Achil- les , which is .the beginning of the Adlion , of the Iliad y is only what follows, from an Inci- dent , in the War of Troy. But to make that Beginning, to be Juft, and Sufficient , as Arijlo- tle here fays, that it fuppofes nothing neceffary before it, that nothing ought neceffarily to pre-' cede it, and that it has fomething which fol-" lows ; and this is the Beginning of the Ailion of the Itind, all was quiet in the Grecian Camp, when Aganumnon , by his Injuftice, gave Achil- les an Occafion of being Angry with him ; lb we may Confider , this Quarrel , as an Affair , that was beginning, and which did not necef- farily, depend on any thing, u'hich preceded, altho' it did not come to pafs v/ithout them : and wc demand nothing more. There are Po- ets, as Statins^ who little minding this Precept of Arijiotle, give a Beginning, to the beginning of their Actions, and which go backwards, x.a the Original of things. Nothing can be more Vitious. Homer took Care , not to fall into this fault. Thus Horace gives him this Praife in his Arc of Poetry, "Nee reditum Diomedis^ ah Irlteritu Mtleagri, Nee Gemino bellum Trojanum Grditur ab ovo. Not Melsagers death, doth Diomede bring in. Nor from*double Egg, the Trojan War begin.' 4. And Ariflbtki Jrt offoctry, 1 1 1 ^ "'4. And requires femething elfe^ vphich is, or ought t()hc."\ This laft pare of the Definition of Be- ginning, is fo cflential, that I would not forget the leaft word ; the Literal Tranflation oi Ari- fiotlc is, a7id (iftcr which fomcthing ought to be, or itfelf to do. I confefs that thefc Terms appear'd to me very obfcurc. But as this Philofopher doth not employ one word which is not of abfo- lute neeeffity, I ufed them at firft without under- ftanding them, but at laft I believe I penetrated the Senfe of them. Arijlotle explains the Nature of the Effed:s which an Adlion produces, which are of two forts, either prefent or remote. For Example : The prcfcnt Etfeds which Athilles his Anger produc'd, were his retreat to his Ships, his Refolution not to fight, and the Defeat wh^h the Greeks rcceiv'd from the Trojr.ns. The remote Ef- fects, and which were afterwards produc'd, were the Death of Ptitroc/us, which gave occafion to his Reconciliation to Agr.memnon ; and the Death of Heiior, which giving perfect fatisfad:ion to Achil' ies, leads to the entire unravelling of the Adlion, and difpofes AchiUcs to relent at Prism's Tears, and to return to his firft Tranquility. 5. The end is jujl cojitrarj/."} To find the true Definition of the End, we need only reverfe the Conditions, which are given to the Begiimivg, and take the contrary Scnfe j for the End is that which is followed by nothing, and is necefTarily- prcccdcd by fomcthing. The Begijining and the Middle precede the End, but nothing ought to fol- low it ; fo that whatever corhes after the finifliing of an Adion, is not only Unprofitable, but Vi- llous, and offends diredly againft this Definition of Ariftotle's, If there are Poets who have offend- ed, by giving a Beginning to the Beginning, there arc others who have tranfgrefs'd, by adding an End to the End. And fuch is Statim's Fault, who aiter I I 2 Andotys Jrt of Poetry. after the Death of the two Brothers, whofe Quar- rel was the Subjedt of his Poem, troubles himfelf to relate what became of Creov, for whom the Reader had no concern. There arethefe Faults in our ModerA Poets, which any one may remark in reading them. 6. The Middle is that which fupprfes fomethtng rvhich ought to precede it, and requires fomething which ought to follow.'] We muft not imagine that Arijlotle takes any needlefs trouble to define fo er- aclly things which were very well known, for the Offences which are often committed againft this Definition, are a certain lign, that what he defines, is not fo weH known as we think it is. According to this DoArine of Arijlotlc, the Middle ought not to have for it felf either Beginning or End, but it eught to have refpeA to the beginning of the Principal Adiion, of which it ought to be the ef- fe6t, and to terminate in the end , of which it ought to be a Caufe ; and confequently all thofe Middle Parts , which arc entire by themlclves , that is to fay, which fuppofe nothing before them, nor require nothing after them, are no part of an Adlion ; They are forreign, and don't belong to the Subjetfl of the Poem. Such is Statiuss Hi- ftory of Hyjifipl^ , which is altogether indepen- dant from the Theban At^ion, and makes fome- thing Entire, from the reft. The fame is to be found in many Poems ; for our greatcft Wits, could not prevent falling into this dcfedb. 7. Thofe who would manage, a SuljeB well, can neither begin, 7ior end it, when they pleafc.] This is a Confequence , which is neceilarily drawn, from what has been eftablilhed. If a Poet will fucceed he muft not make his Beginning, whera fomething ought neceffarily to precede, nor give an end to his Ad:ion, when fomething muft of ■ccefTity folIo\/» i for by that he entirely over- throws, Ariftotle'i Jrt offoetry, 1 1 j throws, the Oeconomy of the Subjed, and nukes a Beginning, or End, where there is only a Mid« die. 8, j^iiil to thtf, that whatever is finCy nmong Anl-r mats f or other beings ^ if it is Compjfcd of Parts, ought not only to be in order, but it ought nlfo to have a Jujl and renfonnble Magnitude. ] AN- ter having explained the Parts of an Acflion , which ought to make the Subjed: of a Poem, and (hew'd the Order, and relation which they ought to have to one another, he undertakes, to explain its extent , and the Juft Magnitude which fliould be given to it, and to rtiat end, he produces a very good Comparifon, which no kfs proves what he has faid, than vi^at he is going to fay. 9. If it is Compefed of Parts, ] For Arijlotlt knew, there were Beings, which not being Coit>- pofed of Parts, could not from thence draw their Beaut)'^ nor Order, nor Grandeur, nor Sym- metry, fuch are Angels, Spirits, and God hirrt* felf. 1 o. *Tis far this renfon that nothing vehich is too little can be fine.l Ariflotle maintains this Truth in the Fourth Book of his Morals alfo, where to undeceive the People, and bring them out of the Error in which they were, in believing that Young People, altho' they were little, yet they might be fine, provided they were of a well proportion'd Shape ; for he tells how we ought to call them. Magnanimity, fays he. Doth con- fifl in the greatnefs of the Soul, as Beauty doth in that cf the Body. Toung People who are little^ Tnay be called Handfome and PVeH-Jhafd, hut they cannot be called fine. It is not poifible then, that iScauty, which Plato fo Juftly caJlc4, The mod I T^^iR- 1 1 4 Ariftotle'j Art of foetry, Tranfccndant and Aimable of all things, can ever be found in that which is little. 1 1 . BecAufe the Sight is confounded in tin Ob' jeH, vphich rve fee ai it were in an irjfenfible Mo' tnnit 3 This is a wonderful Reafon, for 'tis taken from Nattire it felf. The Pleafure which the Sight of any Objed gives, is not Pleafure, which is produced in a Moment .; it is neceflary that the Eye, run over all the Parts, and view the Re- femblances and Proportions i and this is what 1 fmall Object xvill not allow, it is feen as it were in an infenfible Ipace of timej there is no fuc- ceflion of Time or Place, as we may fay, and all the Vifual Rafs being contracted into fo fmall a Compafs, mull needs be Jumbled and Con-* founded. I 2. iVhat is too great, cannot he fine neither.'\ If the Eye is confounded by an ObjeA which is too fmall, becaufe it is all feen, in tflo fliort time ; it is loft in an Objedl too great, be- caufe it can fee it only by many repeated Views, and can't contrail all the Parts into one view only, whereby it may be capable of judging of it. Ariflotle purfues this IVlaxim fo far in the Se- venth Book of his Politicks, that he proves by the fame reafon that no Dominion can be fine, that is, Happy, and well Governed, which is either too Little or too Great. ' If it is too Lit- rle, it will be Weak j if it is too Great, it will not Enjoy an Orderly Government j God only being able to rule any State of fuch Ex- tent ; wherefore it ought to have a due Mag- nitude : And the Mcafure of this Largcnefs is, when all the People who compofe it, may be known to him who Governs, and be ru- led by the fame Laws. If Ariftotle was in the right, as Theory perfwades us, kis Difci- ple Ariftotle'i Art of Toetry 1 1 y pie Alexander made but bad ufe of his Lef- fons. 13. So ought the StibjeBs cf Dram/itict{_ PieceSf to h/ive fuch tin extevt, that thnt the Memory may receive, r.nd retain them without trouble.^ For what the Eye is to vifiblc Objed:s, the Me- mory is to Intclledlual ; as the Eye muft com- prehend and mcafurc the Parts of an Objcd:, « without trouble, to find it fine, fo muft the Me- % mory receive and retain, without being bur- then'd, all the Parts of the Subjed: of a Tra- gedy, to know its Beauty. I^ it fhould be too little^ the Mind would have no Pleafure in corir fidering it : If it fliould be too great, it would not apprehend it all together, and the Memory would very difficultly retain it. This Precept of Arijiotle's, is founded on Nature, and on the the Pradtice of the Ancients. Let us fee fop Example, the Subjed: of the Oedipui of Soj>ho' cles, where wc fliall find that jufk Magnitude, which 'Ariftctlc requires. The Scene opens with a Sacrifice which a great Number of Thebans are making in the Court of Oedipus Palace. That Prince enters, and to comfort the People, tells them. That he had font Creon a long time ago to enquire of AfoUos Oracle at Delphos, the means of making the devouring Peftilencc ceafe, upon which Creon arrives and relates what the Oracle had faid : Oedipus fends for Tirefins to ex- plain it. The Prophet at firft rcfufed to do it; but provok'd at lalt by the Severe Carriage of Oedipus, he accufes him of the Murder of Lrt/w, Oedipus imagines that 'twas Crccn made Iflm do this : Creon complains of this Injuftice, fo the two Princes Quarrel : Jocafln comes in to appeafe them, and endeavours to remove the Uncafi- nefs, which the Reproach that was caft on Oedi- p4s, rave him j but all what fl^c faid fcrvcd only I % to i i6 Ariftotle*5 Jrt of Poetrj, to augn>cnt his Trouble. A MefTenger enters from Corinth^ who brought the News of the D«ath of King Polybius, who Was thought to be his Father j and to remove Tome Fears which he had upon accoujit of his fuppos'd defiling his Mothers Bed, he tells him, 1 hat the King and Queen of Corinth were not his Parents ; he was refolved to know the Matter throughly, and en- • quires of the Shepherd, who alone was able to give him a perfe(ft Account of his Misfortunes : The Shepherd leaves him no room to doubt of all his Crimes, and then he Puniflics himfelf. This is the entire Plan of the Oedipus, even witk the Ej)ifodcs too. There is nothing in it but what may be feen at once, and which the Memory may eafily retain. The Subjects of Epick Poems are neither longer, nor more embarrafs'd, as we fliall fee in what follovvs. 14. Now thefrecife tncnfurt 9/ this extent in what regards the duration of the l{eprefentation, /ind the tittention of the SpeElntorSf cnnnot be determin'd by certain /tnd fixt I^ules."] Arijlotle was very fenfible, that after having fpoke of the extent of the Subjed: of Tragedy, the Reader would defire that he (hould alfo regulate the time of the du- ration of the Reprefcntation ; but this is what he would not engage himfelf in, bccaufe 'tis impoiriblc to give certain Rules to it : The du- ration of the Reprefcntation, depends on the Narnre of the Poem, as we fhall fee in" what follows. A Tragedy, to be pcrfed, ought not rn occupy more or iefs time for the Ad:ioii, than I'T the ReprcfcntAtion, for then it has all the (jicumftances of Probability. The Greeks Tra- nce ians aUvays prad:is*d it, they look't on it r.s an indifp-cnfaMc Law, which ought never to be trp,!>r»:refs'cl, they have fometimcs mifu- fed th'-ii" ikicidcnrs in fuch a manner, as I would • Atiftotle^5 Jrt of Toetry. \ 1 7 tfrould by no means perfwadc any to imi- tate. 15. For Example: If an hundred Tragedies vpere to be flayd in cne Day^ rve mujl meafure the time by the Hour-glajj.'] This is the true reafon which hinder'd Arijlotle from fpcaking his Mind before : He explains himfelf with fome uheafincfs, and his words contain a fharp Re- flexion on the Athenians , who were fo be- \^itch't to Shows, that they were never tir'd of them, and caus'd twelve qr fixteen Tragedies to be Adled in one Day j for they had cftabli- {hed Plays where three or four Poets difpu-' ted the Prize of Poetry, every one of thcni had four Tragedies, of which the laft was a Satyrical Piece. Wherefore thofe which were compofed on thofe Occafions, were ordinarily lliorter than the others, which were Adtcd more regularly, and to which they gave a greater At- tention. What occafion then (fays Arifiotle) is there to give Rules for the duration of the Rc- prefentation, when I have to do with a Peo- ple, who, if the Fancy takes them, will to Mor- row require an hundred Pieces for one Day, and oblige the Poets to make their Poems of fuch a length, as they ought to have according to the time which is allow 'd to reprcfenf them in. 16. M they fny it was formerly praHis'd.'} This is the only Paflage I knov/ which Ihows that the Ancient Greeks cauled their Plays to be Act- ed by the Hour-glafs, From Arijlotle'^ time that Cuftom was abolifh't, and was obfcr'. *d on- ly at the Bar, as was pravflis'd afterwards among the I{c,mnns, where two Hours were given to the PhiinciH", and three to the Defendant, The Athe- nifins at lalt law the Folly of ificafuritig ont :he 1 1 8 Ariftotle'5 Art of Toetry. the Time to the Poets, who took Pains to divert them. 17. ^nd /tjjuredlji the larger extent ayiy Piece has, the finer it will be, provided it be not fo large, that theSubjcH cannot be comprehended all at once, and Jo the pro/pet} of it be ama:(d and co7ifoimdedr\ I was willing in thefc laft words to exprefs all the force ofthe'Text, Mt^e/r^ (ror/'gAo? ^.-o:/, by which Ari- ftotle manifeftly alludes to what he had faid before, O'J y) a//.ct » ,-&6«ek -yivilciy Becaufe rve do not fee it all at once. A Piece ought to cncreafe^ no lon- ger, than till its Subjedb hath all, which ir ought to have, to be leen all at once without confounding the Sight, vvhich it will infallibly do, if it is too little ; or without caufing it to wander, as certainly it will, if 'tis too great. This, in my Opinion, is the true Senfe of this Paflagc. 18. That is to fay, that a Piece to have its juji. extent, ought to take up fo much time, as it muji neccffarily, or probably do, rightly to induce the Incidents.^ I'o make a good Tragedy, which fliall be a true Imitation, the AAjon which is Imitated ought not in reality to be longer than the Reprefcntation, for fo the Rcprefentation is more like, and confequcntly more perfed:. The three G:cek_ Tragedians have moft an end kept within thcie Bounds, and have given to their Adions only fo much Time as is neceifary to Reprcfcnt them. When they could not Re- duce them to this exactly (which very fel- dom happcn'd) rhcy had Recourfe to the plain Ycr-.-fimilitude J that is, not being able to give to the Reprefentarion all the Time, Vv'hich the Truth of the At'lion did neceffarily require ; rhey fiiorrncd that 'J'une, and were fatisfy'd 10 to \rz-)A^c i:, rh.n th-c Audionce might think, tbar Ariftotle'i Jrt offoetry, 1 1 9 that all the Incidents of their Pieces could hap- pen in the Time which they fuppos'd. It is true, that in endeavouring to keep to the Veri- fimilitude, they have fometimcs ftrangely offend- ed againft it, Euripides in his Suppliants^ and /Efchylus in his u^gr.meymiov, ffavc made their He- roes Adl, what is impolfiblc to do in the time they affign them, which is much too fhort j but the Violence they offer to the Incidents, and the Law they have made, which obliges them to foiiow this Rule, prove, rhac there was an indifpcnfable Nccetfity, and will convince thole who will give themfelves the trouble to rcfici^ on it, That the Rule of twenty four or thirty Hours, which they would eftablifli at this time, is monftrous, and ruines all the Beauty of a Dramatick Poem ; and 'tis alfo what the Anci- ents never knew. In a word, the Reprefcnta- tion, fliould neither be longer nor fliorter than the Adion it imitates. But as there are Ani- ons of ten or twelve Hours, and 'tis impoffible to make the Rcprefentation of them fo long ; then indeed not to deprive the Theatre of its Subjects, we may bring in fome of the Inci- dents in the Intervals only, the better to de- ceive the Audience, who will not pry fo nar- rowly, as to mind what is behind the Scen-es 9 provided there be nothing too Extravagant j atid that the Poet condudts himfelf with Art and Meafure. And therefore Ariftotle fupply'd the Defc(ff of Neceiiity, by the Probability. This Probability may be preferv'd, tho' we fliouid put into four Hours, what really was Alfred in ten ; but it is impoiTible not to tranf* prds it, when we crowd into fo fhort a Space, what took up four and twenty or thirty Hours. Such long Adtions Can never be the Subjedt of Tragedy ; becaufc in the Rcprefentation, the Poet can never bring in the Incidents, cither Nectffarily I lo AriftotleV Art of Poetry. Neceflarily or Probably. Thus Ariftotle hath faid. That all thofe Adkions are without the Rules, fxnce they are not containei in the Space of a Day. You may fee what has been Kemark'd on the Fifcfi Chapter. CHAP. AriftotleV Art of Poetry] iaj CHAP. VIII. H'he IJmty of the Svhje^f , a»d in rvhat it Confifts, The Errors of feme Ancient Poets in that Vmty, How Homer knew it. An Elogy of that Poet, The Integrity of the ABion : And what ought to be the ConneX^ ion between all its parts. t. npiHe Subjeft ought to be one, and not as 1 many think, taken from one perfon only: for as we Tee every day an infinity of Accidents, of the greatefl part of which, wc can make no- thing that is one \ it happens alfo that the Ani- ons of the fame Man, are fb many and different, that we can never reduce them to this Vnity^ and make of them one and the fame Adtion. i. For this Reafon it feems to me^ that all the Poets, who have made the Heracleids^ or the Thefeids^ or any fuch like Poems, are deceived very much ; for they were in the wrong, to think, that becaufe Thefeits was one^ and Hercules was one, that all ( ^ ) their Lives ought only to make one Subject, one Fable •, a7id that the nnity of the Hero made the unity of the AHion, 3. Homer , who excell'd other Foils in all refpefts, feems to me perfectly to have knowii this defeEi^ either by ( ^ ) the natural fagacity of his happy Genius, or by the Rules of Art -y for in Compofing his Odyfes^ he has not men- — : " - » I . . — * la) Hi> Life. W N«tu£«, 01 Art. K ticaM Y^b Atm6thVArt if IN^ tiou'd al] the Adventprcs of Vl^Jfes : For exam- ple, he has not mixt tWWoOHd he receiv'd din Parfuifus , with his feigned Madnefs^, when the V7r>^^y alRmbled their Army: For, becaufcone of them happen'd , 'tis neither neceflary^ nor ^prpbsble, that the other fhould alfo happen ; bat jbe has employed all , that could have refpeft to one- only and the fame A^lon^ as is that of the O^yfes, He hath folTow'd the fame in his Iliads, 4. As then in all other Imitations, ( c ) what isiisiitated is onc,.i5 in Tragedy, fincc the Fa- ble is imitation of an A6 can m-ah mthiffg that is mk'\ it happ^tti atfo^jhat the ylBl&ns of the fame Afart are fo ntofty and dl^erent^ '^xJ] AnftorU mt^im that what j^dnentfty W^^^Ksf mtlteWorW, in diffe- reT>t timd, and pkce^ **' ^'^^ foMetimes more dii*- (ttmi thjtfi th. tkiktilocif to eitfavoxif to make one" A^sun of all the Aftioris 6f the Worl4 as to re- duce tEe A<3v£&Uki;e« of t&is owe MifS to Unity. ^. /w' /^/z reafm it fee mi t& me^ tha^ a& the F&etf who have made the Hcra^ia^ic'y e>r the Tlieieicte , &r any fuch like TdcmH a/e dereiwd tie/'y mt/eh.} Jt ^ pears hy th'd: fi^^^c^ tMt m Arifioties tfime^tfeete were; mmy li^ae^mi 3s -^'i^fcm^ m- tlic' Her ac bids ^, md Thcfifdt y whir IV c(>M[5reh;ei:Tcf-e<^. alt the i^is o? ffi^Hc Ifcr' - "^"'^ :ttv aiik)tTi!lTffi!y things tlmt after lo jiifl an; . i a Ci-fifJare, and .grouiiued on. E'^- amptes wl>ich are lO lolict^ atici' of tbdi great AutiiX)- r^rty- as tfe h^^o Poems of H&ifxr^ from v^Mi^hFir- git mmfellf thoug}i!t Ite owglk nott to wa'ndiet^ t%t 55".^/;/^ iW«jM l« ^ttilry of clW folhr m 1ms^ A^hilUlds^f wEkb fe iiete' c.j?i«f.tii!siin'<^ tyy A;et rianiiilli. iiii^n-i 'elves- ikhh to write iRSfcH'JBitaitc perfatE^f, Tki* gsjv^* very FTi Weil I ^ a A riftotle'j Art of foetry. "'cll tlie truth of what has been faid in Horace-s Art of Poetry ^Th.it none Can he an txcelknt Poetwith- out Art. It is necefTary that the beft naturalparts be Polilli'd, Enrich'd, Strengthen'd, and Aflifled, by Study ^ for witliout its help, they are generally taih and blind. We have a very remarkable ex- aniple jn our time : Mr. Corneille had,without doubt, one of the greateft Genius's for the Theatre that ever was feen •, when he begaii to write, he not only had not tead tlie Rules of a Dramatick Poem, but did not know there were any, as he confefTes in one of his Prefaces. We need only compare one of thofe Pieces which were made, as we may fay, inhis time of Ignorance, with any of thofe which he made, after he had been by long ftudy inftrufted in thofe llules. 4. Homer, who excelPd all other Poets in all refpects^ feems to pie perfe^ly to have known the defe[l^ either by the natural Jagacity of his happy Genius^ or by the Rules of Art. ] Arijhtle would not decide the Fa- mous <^^TeiHon, Wiiether Homer be the firft Author of Epick Poem ? or whether he wrote after others, wiio opened the way to him ? If it was the firft, he muft apprehend by the foi;ce of his Genius alone, tiiat an Epick Poem ought to* comprehend one Aftion of the Hero only. If he followed others , then there was an Art known, of which he might follow the Rules. 5. For Example^ he h.ts not mixt the Wound he re^ ceivd on ParnalTus, with his feign'd Madnefs ^ when tloe Greeks afjembled their Army. ] If fuch a Poet as Si-atiru had made the Odylfes, he would not have foil- ed to fet forth all Vlyfjes Adions, and confequently would not have forgot the cunning trick he ufed to exempt himfelf from going to the Siege of Troj/j but Elomer is not fallen into that fault, he faw that that counterfeit iMadnefs had no connexion either in Truth, or Probability, with the Subjeft of his Po- s!n • and therefore he fays not one word of it. He has AriftotlcV Art of Poetry: l ^ ? has dealt otherwife with the Wound Vlyffes recei- ved at ParnaffMS'^ for although that Wound was no more to the Matter of his Poem, than theMadnefs he- feigned when the Greeks afTembled themfcWes, yet however he has not omitted fpeaking of it, be- caufe he found an opportunity of inlerting it To na* turally in his Principal Aftion, that it becomes a necefHiry part of it, jlnce it caufes a remembrance of that Hero. The Story in few words is thus : When Vlyffes was young, he went to fee his Grand- father AutolycHs\s\\o had fome Land riear ParnaQ'us : AiitolycM^ defirous to divert his Grand ion, or- dered his Children to go a Hunting with Jiini on Mount ParnaffM. The" Dogs had fcized a B^ar, Vlyffes came tirft it\ with him, and was wojnded by his Tusks below the Knee-, //c/rrer niakes a won- derful ufe of this Adventure of Vlyffes ;, for that; Prince being arriv'd at Penelope's Palace, unknown, fhe orders Eziryclea to waili that Princes Feat ; Vlyffes perceiving that the Woma'.i who had brect him would know the Scar, went into a dark place that he might not be difcovered ", but all his pre-~ cautions were in vain, for Eirryclea knew the wound by the touch : So this Hiftory, which is related at length , in the Nineteenth Book of the QdyQls^ j-ar from being a Foreign Epifode , becomes very natu- ral, by the manner of joyning it to the Subjed •, for 'tis neceflliry to give an account of that remem- brance which followed. 6. With his feigned Madnefs ^ when the GfeeKs ' afj'emhled their Army.'] They Write that VlyQes^ to excufe himfelf from going to the Tro}.r,i \Var, feign'd himfelf a Fool ^ that he went to Plow with an Ox and an Horfe : Palamedes liifpecled tlie Gouur terfeif, and to be afTur'd that it ^vas fo, he took 'Xelemadms^ who was in his Cradle, and put him juft under the Plow-Wheels^ Vly([es could not con- tinue his Furrow without Killing .'his Son, fo iiopt. ami difcover'd the Trick. If this particular hii,c{ been as glorious to Vlyffes^ as it is unworthy hh^, ; •• . K 3 * and I ^4 Afiftotic J Art df Poetry, ynd little agreeable to bis Character:, /fojwr would rertaanlj uever have h^got it, 7. J(?/- hecaufe one ef them hafperid , 'tis neither rece^ary^ nor prohnbU^ that the other fljould idfo hafpsn. 1 This PalTage is very impKjrtant -, for Ari' fiotle ni&ft evidently teaches, of wiwt Nature the ififeeot parts, Which u Poet ufes to form one and tlie fame iUlkn, .ought to be*. They ou^ht to be tlie necejjary, or probable- c^iequences ot one ano- ther, Z5 tiae reir.embnmce of Vlyffes was; of his Woiwid, Every Acventure then, which hath not tlm conjiexion , ai^d relation , with ibme part of the Miitter of the Poem, ought to be rejected as Foreign, and Avhich breaks the unity of the A£lion y and therefore Hotmr took care not to interrupt the imity of his Odyffcs, by the Epl/bdeof the Mad- jjeli which Vims feigned -, for tnat Incident could jjever be prodtic'd by any of thofe which were ne- cedry anH proper to the Poem, nor produce any which bad tbelejift relation tothettj. Owe French Tragedses oftentimes ofed agHmft thisRtile, and and 1 have remarked the hm^ imXu in th^ Greek Tra|$dian«. We (hall fpeak of this, when we iliall Save occafjon to explain what m Bpifodickyf»r Me if, 3. But he hoc emptied all that could have refpecb t9 mte only and the fame Aclion^ as ii that of the . Ody files ^ and he hath follovaed the fame in Z?/^ Iliads.] There i§ not one ¥.pi(ode^ m the Iliads^ or OdyQesy which hath not the tnree Conditions requir'd in a food one -, they are proper to the Subje^l , and rawfl from the groond of the Fable : They are jb joyn'dwith the %incipalA£i:ion, that one is the neceiTiry Dmfeqaence^of the other,. either truly or probably. And to conclude, they are in them- leives jmperfeft Members, which dia not make a fon^pleat and finilh'd B for^ ;t1ie death of PatrocUs , 'twould deftroy tlie Unity of the Subje^fl; entirely -^ Homer woitid have two Angers aiid two Revenge tofing uC 11, For xphate^ver can is pttt irty er kfit mt ^^ without catifing a fsnfibte chati^e , f:j^:7?m h p.wf ef fin AcVtmu \ That which is a Member df a Bod>% K 4 IS 736 AriftotleV Art $f Foetry. is by no means indifferent to that Body ^ and it makes a very fenfible change, when it is either taken away, or added. All that then which can be omitted, or added, to a Subjeft, with a per- ceptible alteration , can in no wife be a necelfary part of that Subjeft. This is a very fure Rule, to diftinauifh the true Epifodes from the falfe *, tliefe laft add nothing to the Principal Aftion, when they are added ; and diminilh nothing of it, when they are omitted. Such is the Hiftory of JHhfpfipyla in Statius's Thebaidsj which add nothing to the Sub- je£t *, nor will the Subjeft lofe any thin^ tho' you leave that out. 'I J ■ 7 -•A <■■' , i » t « ^ CHAP, ^^■■^ ^s Ariftotk^i ArtcfPoehrj. 137 CHAP. IX. The Poet ought to fcUow the Truth , cr re* ri-ftmilitude. The dijferente h^ttveefi a Po- ft and an HfJ^orian. The advantages Poetrj \ has over Htfioty* If Tfagedj may invent the Names of all the Persons. An example drawn from the Tragedy of Agathon. If we muji al- waysfoUop the Fables rvhich are received. Hove A Poet is Mafler of his Suhjecl. Whether n true Hifiorj may be the ^ubjecl of TrAgedj. What Epi/odfck Fables are. And n>hy good Poets have fometmes been Quilty of that Error, Surfrize is mcejfary to Tragedy, How the Fable ought to produce this fur- prize. The Hiflory of the Statue ej Mitys. 1, TJ Y what we have already faid, at is eaUe ^ J3 ^0 difccrn, that 'tis not the («?) Pujjpcrty of a Poet , to relate things juft as they came to pafs, but as they might, or ought ncteflarily or probably to happen. For an Hiftoriaa , and a Poet don't differ in that one Writes in Profe , and the other in Verfe ^ for truly HerodotHs*% Hiftory might very well be put into Verfe, and twould be no lefs in a Hiflory when in Verfe, than 'tis now in Prol^. But they differ in this, that an Hiflorian Writes what did h^pp^n, and a Poet what might, •r ought to have^ come to pafs. 'Tisfor this realoa that Poetry 4s more ( O Solid and Moral than (a) Rufinefi ik) thihCotiiiMl and Studioui. Hiilory, 138 Ariftotlqi Art of PcetrJ. Hiftory, becaufe it. treats of general, and Hiftory relates onl/ particular things^ a .general thing, is that , Wf hich every Man , oT fuch or fuch a Chara^er; neceflarily or probably ought tolay^ or do, which is the aim of Poefy , even when it impofes Names on the Perfgns.' A parti- cu-iar thing is, for Example^ whit .Alcibixdes fias done or fuffer'd^ ► 3. This is already rendered very (a) feofi- bie in Comedy i for the. Conjick Foetsy after having drawn up their Snbjeii oa-jirobability, iQ^pofe^what Names" they, pl^yp- on their Per- fons ;--" t^tid . don't imitate tb*6", (:^> Satyri^al Poets J^^who^^nfine themfclvcs^^to ^rticulars 4. 'Tis true ; that the Tr^giok Poets niake life of (c) true Naiws i but t^ i;^a|bn.of that is, becaufe whatever is pbffible ^(^) is credible ; now vyh^t uqy e? . happen '^ , does. Qot a l^^p apt pearnhiSblfci . wlieireis .we' c^dliot^cl^iilrt but that^^^kh hath ;beqa alrtuidy dojie ,■ 'ntay* be pofllble, ( \y ithoiit ai^y diffic. JlY^n^ . tinte.lt could act have beM, if it had b€eii.,ii(|[q^'6()ri^^6. , : ;,: 5. It /alls'* but hdvfev^r v(jt"y;^ft^a\' that iq Tragedies we are pntented iyita one br tW;o Mames which arQ Kcipvyn, an4 all thie other in- Tented. There atre alfo Pieces' Where not cme Name is knQwn ,. as in ihtjrazg^y. 6{ 4^at(foa^ which he. calls %1\etilpwer v fbr w th^t P(ecc, j afi the Names ^^^ leignM, as thcitjijags ai'e tpo, and yet.itpieafe^''\:;'::-v\; •-;;,;:•,.;,;.:, , ^,: Ui Nam«» «lN«ajf roae«, (<£) Cao |ier(w»«v , ^ /{loriiii AriftotJeV Aft of Poetty, i 59 6, 'Tis not therefore ( e ) occdTary , alway* to tye tip ODcs icif fcrupulos fly to foUow knowtt Fables, iroin whence the Subject of Tragedies arc lencrally drawn, that would be ridiculous j for what is known, is ordinarily fo by fevf, and yet oeverthelds it equally pleafirs all. -' ■ ■ i .i f!j . ■7. By this it is evident, that a po^t ougjit (/) to i>e the Author of lus Siibject, as ^ucn a^ <^/of his V^erfe, efpeeioBy^ iinc« ^ i?Utateft A' Fablc5 a;?d,A<^ions. I call a Fable Efifodick , which bath Epi/odc^Jbat are not joynd onewith another,eiihcr truiyaOrpro- habiy. lii Foets (k) fall into this Error by ib«ir Ignorance, and the good hy thtn Com^ntjamt to (^i) the A^Ors ^ for as {m) ther^ are alinfiys Jtahufifi hetvpecn the dif[irn^t Oymanief of Come* dianiy who diipiite the Prize: The Poets, to U^ the Attars affear^ Jtretcb 3^4 violate their Sujb* |cd-S, Si^A C/frifieiH^ntLy y are very ojtejt Jprc4 h tweak th«. Uflity oi its p^rts. ", ■ ■■■1. .1 ,1. . 1 I . M l I..., , . . . «■ . ■ ! I . ■ I .,..'i ) , H' l ■■ . t f iitio^ tfao fr tiik^ y JbiS^ yg»: ra% «^«<1 . Itntr iii<^' v«ic (^pil^k in4 p. (») Tra* 14© ArlftotleV Art of Poetr/, 9. ( » ) Tragedy is not only the Imitation of an entire A(f^ion, but of ( o) fuch an Adion as excites Terror and Compaflfion ; now thefe two Paflions come by furprite, when fome things are produc'd out of others, contrary to our ex- jpcf^itions. For the Wonderful is much more to be fecn in thefe than in thofe which hippen without dciign , and by chance ; fincc even in thofe things which Fortune Gonduiis , thefe which feem to come to pafs defignedly, and arc by a particular direiftiQn,are always much more iurprizing and wonderful ; as it happen'd to the Statue of Mitys at ^r^os , which, in tke middle of a great Feajt, tell on hfs Murderer, and Jcill'd him (/> J on the fpot. For ( ^ ) it did not feem up- on any account to happen by accident. It ne- c^flarily follows from hence , that thofe Fables, tvhen this Condu^ is obferved , will always appear the fineft. REMARKS on Chap. 9. I. By what J have already faidy it is eajie to dif* eern^ that 'tis not the property of a Poet to relate things jufi as they came to pafs , but as they might , or ought y neceffarily or probably happen,"] Ariftotle having taught thatTragedy is the Imitation of one fingle A6lion,that that A£tion ought to be perfeft and entire •, and that all the parts which compofe it , ought to be fb link'd together, that no oivi can either be tranf- pos'd , or taken away, without changhig , or de- ftroying the whole , draws from thofe Hrincipkii the following confequence; It is eafie to difcerny that 'tis not the Property of a Poet, to relate things (n)Sin':c therefore. (») Terrible and Mifcfabje onei. (p) At he wailookinj^ it it. (9) Thofe thi«gs ion't fcgnj 10 happen Acd* dtmly.' Ariftotle i Art of Poetry. 1 4.1 ju/t as they cam to pafs. ] In effea-, if any Poet ihould oblige himfelF to relate things juft as they really happen'd. his Action would not have the necef- fary eytcnt , he could give it neither that begin- ning, middle, nor end, which Arlflotle requires in an Aftion •, and what is yet more confiderable, as he could not know all the Caufes and Motives of the Incidents which compos'd it, he could not make his Incidents fo dependent one on another , that the firft fliould be the caufe of the latter •, the Reafon is plain, for a prodigious number of tilings happen every day, of wnich we know not the Caufes, elpe- cially thofe which concern Monarchs, which are properly the Subjects of Tragedy. Now u Poet is obliged to explahi all the Caufes of the Incidents which enter into the Compofition of the Subjeifl: •, and as 'tis juft to let him be Mafter of his Matter, lb it fliould not be required of him to fpeak things as they are, but as they may, or ought to be, provided he follows either Necellity, or Probability; for no- thing more can be required of him. All this Chap- ter is of great importance •, and I lliall endeavour to make it as plain and clear as pollible. 2. NecefJ'arily^ or Probably. ] Necefiity and Pro- bability, are very often not found in thofe things which do really happen, becaufe we are Ignorant of the Caufes which have produc'd thofe EtFeits. 3. For an Hiflorian and a Poet don't dlff^er in that one Writes in Proje^ and the other in Verje. ] In or- der to maintain what he has faid, he goes on to lliew the difference between a Poet and an Hiftorian •, this difference doth not confift, in one's Writing in Verfe, and the other in Prole ^ for if Herodotm's Hiftory Ihould be put into Verle, it would be ftill an Hiltory in Verle-, and if the Iliads was turn'd into Prole, it would, for all that, be a Poem in Profe^ there iiiuft then be fome more eUcntial difference, and which does not proceed frtmi the Aianner, 1 4« Af iftotle'i Are ^f Poefryl M.lnner , but the Matter •, and this is what he iJ going to cjtplain. 4. But thy differ inthu^ That an HifiorlanWrltts lahat did happen^ and a Voet vt>hat mighty &r ought to h(ive\, c&nte to pafs.'\ An Hiftorian dotk not make his Matter*, he Tpe-aks only what ht knows, and no more 'a- required of him, provided he keep to the truth. Tis not fo with the Poet-, as he is Author of his Matter , he fdloays tmly tnath or veri- finiilitttde, that is to' fay. That all which he relates, mayor ought to happen as he relates it :, and if he does at anytime take anything from Hiilory, *tis only fo far as it can accommodate hini,. and that is, furnirties Subjects, as.hewonld have feigji'^d them, otherwife he may change all that is not convenient for him. , , , 5. "tk fcr thu Reafon that Poetry is more SoUid^ and Aloral^ than H'tfiory ', hfcaufe it tr&atf of^^neral^ and Hljiory relates only part kuiar things. 1 There n nothing more foUd ^nd real, than the Advantage Arifiotle gives here to Poetry* over Htftory^ bat we niuft not imagin? that he nad ac^^ - detign to extol the excellence of that Art, he wcii J alfo make known its Nature : Voetry^ fays he, is more gra^e and Phylofophick than ffijtoiy \ for that is the term he ufes.. For truly Hiftory can inrtrtt£l no farther than the Fads it relates ^ve an opportunity, and as thofe Fa£h are partidnlar, it very rarely happens that they are fuitable to thofe who read them, and there is not one of a Thoufand to whom they agree •, and thofe to whom they do agree, have not perhaps in all their lives two occafions, on whicfe they can draw any advantage from what they have Read. 'Tis not fo with Poetry, that keeps clofe to Generals, and it is fo much the more Inttruftive and Moral, as General things fur pals Particulars 5, thefe agree to one only, thofe to aU the World : Befides, 'tis not the Fafts wiiich inHructj 'tis the AViffotleV Art of Poetry. 445 Caufes of thofe Fafts. The Hiftorian very rarely recounts the Ganfes of wHat he relates, for they are alnioft alWay kept fecret •, and if he does ex- plain them,' 'tis rather conjectures which he p,ives, than certain^rnths. But the Poet being Mafter of his^ Matter , advances nothing for which he doth nbt gfve a^ very oood Reafon \ and there is not lb much as a final! Incident, of which he doth not lay open the Gaufes , and Effefts. In the Third place, Hiftory hath a bare Relation, Poetry Jiath Aftion , becaiife it is an Imitation •, ev'ry thina is animated in Tragedy. Now what is only related in order to be miderftood , afFcifbi us much lefs than what we fee with our Eyes/ Fourthly, Hifto^ ry is folitary and cold, whereas Poetry affociatcs with Natural Philofophy and Theology ^ and hor- rows affiftance from the Paftions. We may find many other advantages which Poetry lias over Hi- ftory ^ But what 1 have laid, may liiffice to Ihew that Ariftotle perfeftly well underilood the nature of thefe two Arts , when lie Hiid, that one \vas more Moral and rhilofophical than the other. Horace has feid more than Arlflotle ^ for he aflerts* that an Epick Poem ( Avhich ^vitl■lout contradiction is inferiour to Tragedy in that refpecl) is more Philojfophical than Philofophy it k\f-^ for that is what he means by thefe Verfes , of the 2d Ftilt ofthefirft^tfo;^, . '^^ Qui quid fit pulchrum^ qiiidturpe^ quid utile^quid not} PTenim & metim Chr)fippo^ & Crantore dicir. ' Homer told plainer than Criiptor did, -j Or t\rm Chryfippui^ what things were forbid, > What fit to iliow^ and what ought to be hid. j and truly Poetry has almoft t]^'e fame advantacre over Philofophy, as it has over Hiftory : But there is no neceility of proving that. 6. A 144 AfiftotlcV Art of Toetrf: •<;:.'•; 6y A gexerat thing is thdt , xphich every Mim « of ftich or fuch a. Charafter y rteceffarily or probaijly , «vght to jay or do.') To (new that an Ailion which makes the fubjeft of Tragedy, is not a particular, but a general thing, he defines what a general thing is, and fays very well , That 'tis what every Man of the fame Charafter ought to fay or do , either necefTarily or probably. Thus when Homer wrote the Aftion of 4^chilles y he had no defign to de- fcribe tliat Man alone who bc^re that Name , but to fet before our Eyes , what Violence and Anger could make all Men of that Charafter, fay , or do. Achilles is then an Univerfal Perfon , General and Allegorical \ it is fo of the Hero's of Tragedy. 7. Which is the aim of Poetry^ even when it impo- fes Names on the Perjons,'] Arijtotle foresaw an Obje£lion which might be made , againft a defini- tion he had given of a general thing : For the Ig- norant woulcl not fail to fay , that Horner^ for Ex- ample , had no intention to Write a general and univerfal A^ftion, but a particular one, unce he re- lates what fbme certain Men, as Achilles ^ Aga- memnon , and VlyffeSy &c. had done ^ and confe- quently there* is no difference between Homer and an Hiftorian who Ihould Write the Aftions of Achilles. The Philofopher prevents this Objeftion, by (hewing that the Poets, /. e. the Authors, of a Tragick or Epick Poem , at the fame time they give Names to their Perfons, don't think at all of making them fpeak truly, which they would be obliged to do^ if they wrote the particular and real Aftion of a certain Man, called Achilles^ or OedipWy but they propofe to make them fpeak and a6V, ne- ceflarily, or probably, that is to fay, to make them fpeak and d^c*^ all that Men of the fame Cha- rafter would fay or do in the fame Circumftances, cither of necellity, or according to the rules of veri- fmiilitude, which proves uccontrolably , that they Are Ariftotlev Art of Poetry. 145 are general and univerGil Aftions: What follows Will iet tliis truth in abetter light. 8. This is already rendered Very fenfihle in Comedy '^ for the Comtek Poets^ after hwvins, drawn up their Sub- ject on Probability^ impofe what Na?)ies they pleafe on their Perfons.^ To confirm what he had laid of Tragedy, That at the very time it impofes Names on the f^erfons,^ it has only general and univerfal profpe^fls •, he lays , that it is rendred vory fenli'^le by what is done in Comedy. No body d 'ubts that theAiflion of a Comedy is a feign 'd and .lUegorical AifVion, fince the intention of the Poet is todefcribe the manners of his own times. Now a Comick Poet goes thus to work ^ firft, he invents and difpofes his Sub)e«fls , which he endeavours to render as proba- ble as poffibly he can. Then he gives Namesto his Perfons of his own invention , and juft as he pleales. Since then the Aiflion \vhich is in a Comedy, and attributed to one certain Perfon, doth not ceafe to be a general thing, and of which all are agreed. Why iliould it be more ditficult to conceive that 'tis the fame hi the Artion of a Tragedy, tho' un- der true Names ? Tis equal , and the proof is fure. He gv)es on to explain, why Tragedy does rather employ true than feigned Names ^ as tor what remains, when Arljtotle lays, that Comedy in- vents tirft its Subjetis , and then gives the Names according to its fancy , we may believe that \\fi fpeaks neither of the old nor of the middle Come- dy. For the firft hivented neither Subjecli , nor Names •, and the latter, tlwugh it might invent the. Subjeds , yet did not invent the Names but of the new Comedy , wliich was only in ufe in his time , the old , and mean , being both for- bidden. Tis certain Arljiotle faw tJie eftabUlh- ment of the new Comidy •, for iiow could he do otherwife fmce he furvived Alexander , under whole Reign the new Comedy began ? He aifo fpeaks of It in his Morals. Bat 1 don't believe, I.. howeveij 146 A r 1 ftotleV Art of Poetry. 'however , that he fpeaks here only of this lafi fort of Comedy, I am perfwaded that he fpeaks of Comedy in general •, for although the old and mean Comedy , brought the real Adventures of the chief Citizens on the Stage , and the Oil under their true Names , it may, notwith- ibnding this, be true, that the Poet invented the plan , and the difpofition of his Subject, and that afterwards he gave either true or falfe Names to his Perfons. When Arlfiophnnes nam'd hisA<^ors, Socrates^ Euripides^ Clecn^ Hyperbolus ^ LantachuSy which are true Names , Thut did not change the iSature of the Subjeft of the Piece-, the Subjeft is always feign'd , though it has fomething of truth , and is a general and univerfal thing •, when a Tra- gick Poet , takes the Subjeft of a Tragedy from a true Hiftory, it is general, univerfal , and allego- rical, as all others are which have no truth in them. 9. And don't imitate the Satyrical Poets, who con" fine thejnfelves to particulars only. ] The Greek has it thus , and don't do as^he makers of Jamhich , _i. e. as I have already faid, as the Satyrical Poets-, for the lamhick Verfe was devoted to backbiting and Satyr. This is then the difference between the Comick and Tragick Poets, Both of them are Biting', but the Comick Poets keep clofe to general, and the Satyrical Poets to particular things. When Archilochus would befpatter Lycamhes , he keeps only to, what Lycamhes had done, or what he was fuppofed to have done , and had nothing elfe in view. It is the fame with thofe who Write Satyrs againft thole whom they make known , under feigned Names only. 10.. T^ts true, that the Tragick Poets make ufe of true Names, ] He continues to anfwer to the Ob- jeftion which he faw migjiit be brought to de- (Iroy what he had advanced, That the Adiori of a Tragedy is neither Hiflorical nor Particular, but General Ariftotle'i Art of Poetry] 147 General and Allegorical. It muft be confefs'd, fayS he, that Tragedy employs true Names •, but tha^ does not deftroy the Fiftion , which is the founda- tion of a Dramaticky as well as of an Epick Poem. The Tragick Poets , as thofe who mdkQ Epopoeias ^ have their reafons for what they do, which Ihall be explained in what follows. II. But the reajon of that is ^ that whatever is pojfibk, ts credible. ] That which obliges the Tra- .gick Poets to give to their Perfons true and known Names , is the better to perfwade us, that the Aftion which they attribute to them, is pof- fible and true •, for the Audience eafily believes that the Thing is as true as the ,;Name. Thefe true Names flirnilh the Poets alfo with ^another con- veniency, that they give them an opportunity to jnake ule of the real Adventures or ^thofe Per-' Ions which are known , and which they accom- modate to the grounds of the Fable they treat ofj and from which they draw fuch Ingenious Epi- fodes , that renders the A£lion more probable , ( though 'tis feigned ) and nuke it pafs for true Hiftory \ this is the great addrefs oi Homer , and the Tragick Poets o( Greece. 11. Jt falls out however 'Very often, that^ in Tra- gedieSy we are not contented with one or two Names which are known, and all the other invented. ] As what he hath already faid , That the Tragick Poets employ names which are known , might perfwade us , tJiat there is an indifpenfable necef- lity of putting true Names into the Fable of Tra- gedy , he takes Care to Advertife us , that the Poets were very often contented to employ one or two Names which are true, though all the other were falfe-, and truly one or two Names which are known, are enough to make all the other pais. L 2 13. Thert 1 48 P> rillotle'i An of foi^trf. J^. There are nlfo Pieces , in which not one Nditie is hiown. '} Ariftotle goes yet farther, and by tile ex:uiiple o( Agathon^ Ihews us , that a Tragick Poet has the liberty to invent, as well the Names as the Things ^ the other way is the beft, and I would ad- vife to follow it , as being preferable. 14. u4s in the Tragedy of Agathon, xvhich he calls the Flower. ] This jlgathon Liv'd in the Times of Eupolls and Arifiophanes ^ \\q don't know what was thi Nature of that Piece which Ariftotle fpeaks of, nor why it was called the Flower •, that Poet was ve- ry well qualified for a Tragedian, yet he was .Guilty of confiderable Faults, for which Tome of his Pieces were damn'd, as we fliall fee in the 19th. Chap. 15. In that Piece ^ all the Names are feigned^ as the Things are. ] He means , that there was not one Name which was true •, and that all the Pares of the Fable were the Poets invention , without any Inci- ' dent drawn from a known Subjeft. 16. 'Tis not therefore necejfaryj alrpitys to tye tip ones felf Scrupulou/ly ^ to folldtP known Fables^ from whence the Subjects of Tragedy are generally drawn. ] The fuccefs which that Piece of ylgathcn had, incourages Ariftotle to declare boldly, that Tragick Poets have the liberty to invent new Subjefts, and new Names, and truly there is nothing hinders, why thofe in- vented Pieces Ibould not fucceed , as well as thofe whofe Subjects are known : Horace was of the fame opinion, but thought himfelf obliged to inform the Romans^ that their nivented Pieces were much more difficult to manage than the others-, and to advife them at the fame time, rather to keep to thole Sub- jeds which are known. Difficile eft prcprie Comunia dicere , tu^ue Rectius lltacum Carmen deduces m a^us^ Quamfi preferres ignota^ indiEtaq\ primus. Tis AriftotleV Art of Poetry: 1 49 Tis much more fafe, known Subiec>s for to chuie, Thf^n your own Thoa^,hts in Pablick to produce. For c^eneral things are hard to imitate. and afterwards in fpeaking of thefe Satyrical Pieces, he fays, Ex noto fiHum Carmen fequtr:. And feigned Verfe, I will from true produce. Arijlotle had not the (itme realon to give fuch ad- vice to the Greeks :, for they had fuch a Genius for Tragedy , that nothing was impollible to them. We fee that the firft , who dar'd to go out of the Common Road, and try , what Horace afterwards found fo difficult, for the Rom:ins ^ did it with fuch fuccefs , that it deferves to be propofed as a Model, ly. That would be RidiculoKS.I He means, That fiich a fcrupleas Ihould keep a Poet only told Fa- bles, for fear that a new Invented Subjeft will not fucceed, would be intirely Ridiculous, and this is the Reaff)n. 18. For what is known ^ is ordinarily fo by few, and yet neverthelefs, it equally plea] es all.'] If thofe Sub- jects , which were known , were only capable of pleafing, certainly they could pkiife but very few, 7. e. thofe only who underllood and knew theHillory from whence thofe Subjedh were taken. Qedipm and EleElra of Sophocles ;, The Phedra and Jphigsni.t of Mr. Racine, would divert the Learned only ; but on the contrary we fee, that they do extreamly de- light the moft Ignorant, and thofe to, who don't fo much as know tlie Names of the Perlbns-, we m.iy be aflur'd then, that new Subje>fe a Trage^iy ^ 9Ugli,t to be well Connexea, and to have a Relation, orie to another, that if you taKe iiway one only , or traii- fpofe it,the whole will beintirely changed or deftroy- ed. When any A<^tion,which dotlT not niake a'part of the Pnncipal one,is mixed with tlie Fable, it may be all left out, without making any Breach , or de- ifroying the Aftion, whicri makes the Subjecl: of the Poem, which is thereby made better , fuice it lofes only that which was im proper and cor- L 4' ' ruptcd. 1 5 3 AriftotleV Art of PoH^y. rupted its Unity. An Epirodick Fable then is , aVa^le winch has fomething which is improper, for^itrj\ , and fuperadded, and which may be re- ti-aicJi'd without the Fables lofing any thing. Thefe VICIOUS Epifodes, are moftly found in fimple Fa- bles, becaufe. as they have fewer Incidents, and 1 arts than others,fo they furnilh the Poet with lefs. Matter, who is obliged to commit this irregularity, as dextrouHy as he can , that he may finifli five Afts.' Mr. Comeilk has fallen into this flmlt, which the J3arrennefs of the Subjefts, often throws the Poets in- to, though Oedipus was a Complex flory, and con- iequently he jnight have had Matter enough, with- o^t betiiking himfelf to fort ign Epifodes. The Love oljhefeus and D/rfe,is the moll vicious of all the Epi- fodes •, for it is not only no part of the Aftion, but It makes an Aftion by it felf, fo perfeft and entire, that the Piece would be more tolerable, if that was the Principal Aftion, and the Story of Oedipus only an Epifode to it •, however Mr. Comeilk calls that Lo ve^ a Lucky Epifode. Arifiotle would have judg'd otherwife , and though that Love was capable of lurnilliing Monftrous Epilbdes,to the Hiftory of Oe- dipus , which is Compos'd only of Incefts , Pari- cides, and all forts of Horrors. 23. And the good ^ by their Complaifance to the A^lors , for as there are always jeaioufies between the di^erent Companies of Comedians. ] I have tranflated this palTage in the fenfe which feem'd jufteft and trueiljtheComplaifancewhicli a Poet has to theAc- tors whom he would have appear better than others, obliges him oftentimes to tor lake his Matter that fach and fuch particular A^ors have parts to Play ; thus Multiplying the Number of the Perfons , he ;> furc'dto Corrupt the Unity of the Aftion by Foreign Epifodes. KvA although at this time, we have nei- ther fuch difputes nor jeaioufies between the different Companies, yet we fee very ill effects of this Com- plaiiiince which the Poets lliew to the Comedians. 24, Tragedy A r iftotleV Art of foetrj^ 1 5 } 24. Tragedy is nor only the iMitatifln vf an emin Athlon^ but of Inch an Atlio?i m excites. Terror Mhi Compajjion.'] jirifiorle hath already lliewn what an entire and perfect Aftion is, and what will break its Unity ; and hi doir.g that, he has explained the firil part of the dennitlon of Tragedy. He now pafT^s to the laft part, where he lays, That hy the me urn of Terror and Compafjion^ Tra:edy compleatly refnes in us all forts of Paffions ^ and V'hatever elje ^< T.ke thenjy and to do this, 'tis necdliiiy that it in}irale an A«fti(.)n which is capable of excitirg Tv^rror ai,d CompaiVion-, tor if it excites any other r'allions, the Definition is falfe, for tiuit Aau;n doth not at all anlwer the 'defign of Tragedy. It j> certanv that there can be no Tragedy where Fear and Pity are not excited •, and for this RtACou Arijiorle wuSld have excluded Mv. Cornciltes Nkomedes from tliC jiumber of Tragedies, wherein he only endeavours to ftir up Admiration hi the minds of the SpeciaU^rs, and hi thus receding from the rules of Ar^.ficrie^ thought he had dilcover'd a new way to refine the Paflions •, /<7r (lays he) the Lore tha I'lece creates for the f-^lrtue we admire ^ imprints in pu an Tjatrei for the contrary f^ice •, the great nefs o/NicomedesVC'/??** rage^ can leave in m an averfv>n only for Cow arMz.e. But this way of refimng this PaUions by Admiivi- tion, is in no wife the defign of Tr.'.gedy j for that Pailion is too loft f jr iuch a great Elfect: Tragedy employs only Terror and Compailion, and leaves Admiration for an Epick Poem, to which it is more necelTary and proper, and where it has more time £0 aft on Habitudes and Manners. 25. AW thefe two Pajfions come hy /nprrie.l This is a certain truths for where there is no Surprize 3 (here is generally neither t-et^r nor my, 26. Whm 75 4 Ariftotle'i Art of Toetty. 2.6. When fome things are produced out of others^ contrary to our expeBation. ] Becaufe there are many a^ccidents which may caufe furprize, Arifiotle took care to explain thofe which agree to Tragedy. This Poem dotli not accommodate it felf in any fort to thofe who are purely Accidental, and which have no Caufe that produces them , as a Mans being Crulh'd to Pieces by the fiiU of an Houfe •, or Killed by a Stone thrown at Random. The lurprize fuch Acci- dents caufe s , are by no means proper to refine the Pafiions : Becaufe there being no {enfible Gaufe which produced them, we impute it to Blind Chance, and know not now to make any application of them. ■ But the Surprize which Tragedy requires, is that which fhews leveral Incidents that are produced of one another, contrary to the expeftation of the Speftator. It was worth remarking, that he did not Jay, Incidents which come one after another , bat Jn- cidents which were produced one of another. For an Incident which comes after another may cauie fur- prize, and yet not have that R.elation to the reft that Tragedy requires,but it muft neceffarily follow from thole which preceded, otherwife 'tis not proper for ,Tragedy. 27. For the Afarvellous is much more to be feen in ihefe^y than in thofe which happen without defign^ and by chance. ] Ari^otle advances nothing for which he does not give a very folidjand convincing reafon , He tells us here,why Tragedy ufes not thofe Surprizes, which Accidents, that happen without defign, and by chance, are the caufes of : Tis becaufe thole which are purely fortuitous, have not that Marvellous .^ which we find find in thofe that are produced from Incidents that went before. For truly there is no- thing very wonderful in an Houfes falling and Crulli- ing a Man to Death , the mind of the Speftatoi: goes not far,in fearching the Caufes of that Accident, what are hid in the bofom of Providence j he has nq Ariftot\e*i Att o\ Yoe^ry, 1 55 no other concern on hinr, than to ftie%v ibme Sor- row as the Dead Mans Misfortune , ftich as com- mon Humanity obliges him to have •, but when any Surprize come from thofe things which are pro- duced from one another , that certainly ■ has this Wonderful of which AnfiotU here {peaks For the Spirit of the Speftiitor is flricken and fiH'd with the Ohjedt; he fees at the fame time ,^ its Caufes, and its end, and 'tis fi'om this double prcrfpeft that the wonderful is prodnced', 'tis thus, it rergns with fo great fplendor in Homer's Poems, where the Surpize is always the produftof the Incidents which are link'd with the foregoing •, and to give a proo£ yet more fenfible , 'tis tor this reafon, that we hnit nothing, which is Coniparahk to the Holy Scripture^ iov t\\t Marvellous. It is full of very extraordinary Events , which come to pafs contrary to the ex- peftation of the Reader •, but they are produced by thefe means which depend^ on one another , io that when you fee the Caufe, you fee alib- the Effea. 28. Since even in thofe things which Fortune ConduBsy thoje which fee fn to come to pafs defigiedly^and by a par- ticular diret'tion^ are alxvays ?mich more Siirpriz,ing and Wonderful. ] To prove the truth of what he jiath Eftablilh'd, That things which comefioni a known Caufe, contrary to the expedtation of the Audience, are more Marvellous and Surpnzhi" than thofe which arrive cafually. He llarts a Keafon oeyond any reply: and which could not have been thought of, by any one , who did not know Nature to the Bottom : He fays , that among the Accidents which are purely of Chance, there are fome which have the Woi:der- ful he fpeaks of, and they are always thofe which happen fuch a manner , that inilead of iniputing them to Chance, we are apt to think they fell out on fet puipofe , and that they were by fonie guided particular dire Clion, as it happen'd to the Murderer tef a certain Man, galled Mit^'s, That Man bemg fittSg 156 Arlftotle'j Art of Toetrf.\ fitting under the Statue of rhiiii he had fiain v th^ Statue tumbled on him , and Crufli'd him to Death* This Accident was Fortunes Conduct j for the Statue had certainly fell at that time, tho'the A4urderer had not besn there •, but the Spedator , . who joyns the Caufe and the EfFeft together,iseafily pedwadedjthat ' it was done defignedlyjif we may venture fo to fpeak y ~ and that 'twas ^//(yj himfelf that was revenged or his Enemy : There is nothing more cominon, than tlie thoughts of any one who faw that 1 both anci- ■ ent , and modern Hillory , ■ can furnifli us with a thouland Examples -^ every one on fach occafions , makes the re fleet ion'; , vA-ixch. Callimachus did in his Epigram , on the Statue ot a cruel Step-mother, which fell on her Soa-m-Law and Killed him. ST«XW (M»Tflj»f , fZlK^P \i^0V ?9E96 KOtJ^f K iCyiji unTfVjfii 3^ 'rei(itov tit ir^iyovoi, A Youth to Crown his Mothers Statue try'd. Thinking with her, her Malice too had dy'd. The Statue on him fell, for fo fate dooms, And Kiird him', YoungMan fly fuch MothersTombs. 29. ^s it happened to the Statue of Mitys at Ar- gos , which in the Middle of a great Feajt, fell down on his Murderer^ and Killed him on the Spot. ] Plutarch relates this Hiftory in his Treatife , why ' Jvftice , oftentimes deferrs the Tunifnment of the Wicked : He iays, that Mitys^ the Argian,. was Killed in a Tu- mult \ and that fome Years after , the People of Argos being aflcmhled together to fee I'ome Publick Shows, Mitys's Statue, which was made of Brals, tumbled down on his Murderer, and Crulh'd him to Pieces. He attributes this Punilhment to Providence. 30. For Ariftotle'i Aft of Poetry. 1 57 30. For it did not feem upon any accmnn to help' pen by Accident. ] The Peripatetich believed, nei- ther Providence, nor Fatid NecejTity : And this is the reafon why Arijtorle is content with iaying, that it did, not feem that this Statue fell by Ac- cident. Hewasperfwaded that itv/as pure Chance, but he conforms himfelt to the common opinion of Mankmd, to attribute Effefts to their Caufes, where there is the leaft Probability that they are fuch, efpecially in matters where Religion is concerned. 'Tis no proper place to prove now the truth of fuch a general fetitiment •, but 'ris faffici- €nt to fay, that the Tragick Poets chofe rather to follow the opinion of the Stoicks, who acknowledged fuch a Providence, and fatal Neceltity, than tli<>fe of the Peripateticks ^ very well p;^rceiving , that that was the only means, to prelerve, in the Theatre, thofe wonderful Surprr/cs which are produced by accidents that feem fortuitous , and yet neverthe- lefs have Caufes afligned to them, which are cer- tain. 31. It neceffarily follows from hence .^ that thofe F.i- bles where this Ccnducl is objerved , will always ap- pear the JuiejK'] This is a neceirar-ycuifequence-jfince the Surprize which is cauled by Incidents , that are well inanaged , and produced of one another, muft ulluredly be more wonderful than that which ariles from fortuitous accidents only. Tra- gedies which cauie the ereat Surprize, will always be the beit, this is molt certain , and without re- ply •, but a fcruple may here be railed, and which leems to me very realbnable ^ and 'tis this , to know whether Anjtotle would have the Poets endeavour to make their Surprizes by Accidents, which have nothing of Chance in them, and whicii naturally proceed one from another ? Or whether he adviiesthem, to try to produce this Surprize by Accidents which may leem to hap- pen 158 AriftotleV Art of Poetry. pen dedgnedly , and yet may be imputed to Chance or Fortune ? I lliould declare my felf for the latter , for that feenls to nie much more Mar- vellous than the other •, and 'tis for this reafon that Oedipus is tlie bell Subjed for Tragedy that ever was ^ for whatever happened to that un- happy Prince, has this Character, 'tis nlanaged by Fortune ^ but every body may fee , that all the Accidents have their Caufes, and fall out ac- cording to the defign of a particular Providence. 1 am perfwaded that Ariftotle would have ex- plained himfelf better on this Head, if he had not been afraid of infringing his notion of defti- ny^ and 'tis to this we ought to atrribute tlieob- fcurity of this place. CHAP. Ariftotlev Art of PoBtry] 1 55 CHAP. X. Divifton of Fable. into Simple andlmplex Their Defimtion. The dtfiame of Incidents which came one after* Another^ or are produced one of another, I. TT^ Abies are cither Simple or Implex, for all Jj thofe Anions which Fables imitate, ( for- mer than the latter , in the Oedipus , and Eleclrd of Sophocles , and the Iphigenia Taurica of Euripides^ there are Remembrancer, and Peripeties too. 5. ])7ow both of them ought to proceed from the tjery confiitution of the Svbjetl y In fuch a manner , that "what preceeds themy Jfjoidd produce them, eithtr Nece[farily , or Probably. ] The Peripetie, and Re- membrance, can neither be necefTarily or proba- ble, ifthey arenot drawn from the bottom of the Subjeft : The OedipuSy and Eleclra of SophocleSy are the moft excellent Models in that kind. That treat Poet, hath perfectly imitated the Remem- rance, which unravels the Odyffes y for 'tis Homery who has given to the Tragick Poets, the fineft exam- amples, both of the Plots , and unravelling them ^ our Tragick Poets , have difcovered few intrigues by the Remembrance , either becaufe they have found few Subjefts which have afforded them, or * -^ becaufe Ariftotle»x Art of Toetry. j 6 \ becaufe, luch Subjefts have appear 'd too difficult to manage , they have however wonderful EfFefts on the Stage , as we may judge , by the double Remembranee of the Ele^a ot Sophocles. Mr. Conieille was convinced of this, when he faid, the Remembrance is the greatefi Orna77ient of Tragedies ^ hut it is certain^ that it hath its tnconveniencies, Thd inconveniencies are not thofe which he men- tions ', for 'tis fo far from deftroying the Pathetick fentiments,that nothing whatever affords fuch moving ones. The greateft inconvenience of Reiliembran- ces is, that they are very difficult to manage \ for if you make the Spirit fpeak more than the Heart, they Languifh , and grow cold. There are many other ways of deviating from them : Mr. Comeiile has ventured at a double Remembrance, in his He- racUus^ which I believe yirijiotle ■wo[i\d not have approved of^ for befides its being a Riddle from the beginning to the end, nay, and at the very end, you ax'e not certain it is perfeded. He offends direftly againft the Rules which Ariftotle has Jaid down, k is neceflliry that the Remeiiibrance arife from the Subjed ^ but there is no occafion for it to be the Subjeti: Now in the Her.iclius^ 'tis the Remembrance Only which makes the Sub- ject •, we find only a Father wlio could not diflin- guilli his Son, whom he had a mnid to fuve, from an Enemy, whom he would dellroy. In the Eleclra of Sophocles, and the Iphigenia Jaurica of Euripides^ the Remembrance is a means, and not an end* • 4. For there is a very great difference , benveen hjr cidents which arife one from another , and thofe which only come one after another. ] Thole Inci- dents which are only one after another, are, pro- perly fpeaking , like Numbers which fubfift by themfelves, independantly, from thole which v'^ent before , the Fu'it neither mduces the Second^ nor the Second the Third : But thofe Incidents which arife from one another , are as parts of the lame M Body, 1 6 2 Ariftotle'J Art of Poatr^. Body , which could no longer fubfift., . fliould Wd take away, or change, one part only ^ for that would dilTolve the Connexion, and break the Con- tinuity. CHAP. XL Of Penpette And Remembr/ince, There urt .many Jorts of Remembrances* Which it the mo ft ferfe5i ; /ind the Conditions it ought to have. It U fingle , or doubh^ What PaJJlon i6 in table, I. T)erjpetic is a change of (/?) one Fortuner \^ into another (^) contrary to what was expeSied^ and that Change happens either Nc- cellarily, or Probably, as in the Oedifus of 5a- fhocles •, for he who coines to tell him agreeable news, and ought to deliver him out of thofe fears, into which, the thoughts (c) of committing Incelt with his Mother had call him, does the quite contrary, in telling him plainly what he is. ( d ) Ov z% m the Lyncew of TheodeHes^ where Lyncens who was led to dye, and Danam who followed in order to ( f ) Sacrifice him, both changed their Fortnne 3 for by a Series of Incidents, it hapnedthat (f) i) Th^-beft Rettiembrance, is that which is found with the Peripetie, as in the Oedipm. 4. There are many other forts of Remem- brances ^ for it falls out very often , that we ( i ) RemeajUer inanimate things , and thofe which arc moft common. ( h ) We Remember alio, for e:>(am^le^ what any Perfon has done, or what he has not done. But that of which 1 have fpoken is the moft proper for Fable and Adion ^ for that Remembrance , accompanied with the Peripetie, will Infallibly produce, either CompafTion, (/) or Terror, of which (wj Tra- gedy (n) is an Imitation, 4^1 Tr doubtful. Under this General expreffion, the PJiilofopher comprehends the two forts of Death which were found in Tragedy, thofe which were feen, artd thofe which were not kQn\ for a Perfon may come and dye on the Stage, diough he was not any ways hurt. CHAR Ariftotle'j Aft of Poetry: i y i CHAP. XII. The Parts of Quant it y of Trage^^^ And their De^nttion. r. A Fter having explained the Parts which Xjl Conftitute the Form and Quality of Tragedy, I moft fpcak of thofe which Con- ftitute the Qtfantity, and which have a fepcrace Subfiftance. 2. Tragedy hath four Principal Parts, the Trologue^ tht Efifoete^ t\\t Exode^ and the C/7orw, and the laft is agara divided into Three Parts^ which are called Varodos , c ^ ) Stajimon^ and (^) Commoi. The two Firft ^re found in all Pieces \ but the Third is only in certain Trage- dies: It is always mixed with the Adion, and is common to the Adors, and the Chorus. 3. The Pr(;/<^«ff, is all that, part of the Trage- dy which ( r ) precedes the entrance of the Chortu. 4. The Eflfode^ is that which is between the (^) Soijgsof theC/;om.. %, The Exode^ is all tliat which is faid after the Chorm has left of finging, not to begin a» • -J UilU i . ■ . , V ., . (a) And. (i) There two ate cgnanm to all j b«t ihe Coaoiuol prefer, to a Scene. U) Before tho Parodol. (d) Full. 6. The 17a AriftotleV At of Toetry\ 6. The Farodosy is the firft difcourfc of all the Chorus. 7. The Stafimon^ is all that which the Chorus fings after it haa taken pojfeffion of the Stage^ and it at it were incorporated in the AUiony Thi^ Song is without Anapafles and Trochees, 2. Commoi^ are the Lamentations which the Chorus and the Aftors make together (? ). REMARKS on Chap. 1 2. 1. After having explained the parts "which confii- tute the form and quality of Tragedy, 3 Thefe Parts are the Subjefts, Manners, Sentiments, Mufick, Decoration, Remembrance, Peripetie, andPaflion. 2. I mufi [peak of thofe which Confiitute the Quantity , and which have a Separate Suhfrflance, 3 The Parts of Quality may be found altogether, thro* the whole Piece, and not taken notice of Separate- ly *, on the Contrary, the Parts of Quantity are fe- perately meafur'd , and can never t)e, together ^ they have their fixt places marked out which they can never change, any more than tke Parts of the Body. . ^ ,,: 5. Tragedy hath four Principal Parts^The Prologue, the Epifodes , the Exode , and the Chorus. ] We are come nowr to one of the moll difficult places, of the Art of Poetry , That is the Divifion which Arifiotle makes of the Parts which Compofe the ^o6.y of Tragedy. I Ihall endeavour to clear thefe (t) Wt hare before explsinM tKe Partu of rragedyi which ought tn be ufed, kui tboft: in which che fitaiVLj coohfl, ind which are (eptraic are thofC' diffi- Ariftotle>i Art of Poetry. I75 'difficulties, and hope to do it in Tucha manner, that every one may Wonder at the Boldnefs of a certain Writer, who in his praftice of the Theatre, (a work otherwife filled with good thineti) makes no Scruple to lay, that Ariftotle did notdiltinguilh the Parts of the Poem as it was in his time,or at Icaft in the time of thofe three excellent Tragedians which now re- mains, whofe Works, fays he, have no agreement roirh his Difcourje: Surely no Acculation was ever fo -lafti. He was not quite fo Bold, who accufed Htrailes of being a Co\'«ird. We ihall fee in what follows, that the Writer did not know the Pra^ice of the Creeks^ nor the Art of their Plays. But before we begin with that, we will fay a Word or tv\'oof the Na- ture of thisDivifion, no Body can doubt, but that 'tis much better than the Latins have made,'in faying, that a Tragedy hath five Ads ^ for this Divifiont which Divides Tragedy into fo many equal Parrs, t of Poetry: I J 7 prefent Affairs-, whil ft: they were in Council, the Queen Atoff.t^ who had been Frightned by fome Dreams the Night before, conies to them. Thus thefe old Gentlemen make the Prologue , but they don't begin the Duty of the Chorus , till after the Aftion is commenced , and the Audience iu- fl:ru(fted. In the Suppliants of the famePc^f, the fifty Daugh- ters of Danaus , to avoid Marrying with their Coufm-Germans , the Sons of z/^l^iiyptus , foriake their Country •, and demand Proteftion of the King o^ yirgos. The Scene op :ns by the fifty Ladies,, who coming before the Town, declare the reafon of their flight, and what obliged them to retire to Argos^ rather than any where elfe. Thefe lame Gentlewomen make the C. )rus. but they don't begin the Duty of the Cher us ^ till after tlicy have made rlie Prologue^ for other wife, there would be nothing natural hi it. The Rhefm of Euripides fets this Truth in a much better light ;, the Centinels that watch'd in the Tro- jan Camp, who then Bcfieged the Creeks in their Retrencnments, after they had Routed them, come to Hechor'sT'twz^ to inform nim that the Enemies had lighted great fires, and that there was a great Noife towards Ag-.n.e:7inon'% Qairters ^ 'tis thefe Centmels which open the Scene, begin the Adion, and are afcerward'j the Chorus of the Piece. Tho' the Cm-fis is firll on the Stage, there is ne'-'crtheleis a PrjlogHs •, 'tis the Chorus iiideed which makes it, but they are not properly tl^.e Cocrus^ till after the Subjed is expounded; and the Adion commenced. Moreover there are Pieces where the Cjotus is the firll on the Stage, and yet notwichllanJir;,:^ that, there is a Prologue ^ rho' it be no: made by the "dhunui A couple of Examples will make this very pl.iln. The Suppliants ot Lwupidcs are the chief Ladies of Argos^ whole Husbands wers killed befjre Thebes, K laey 1 78 Ariftotle'i Art of t^ddtry. they come to entreat Thefem to let therii hare the Bodies that they might bury thfem, Tkey are at Zievfvrk^ near the Temple of G?rei-, Thefetf^hh Mo- ther^ who went from Athens to Sacrifide t6\ thst Goddefs, found the fe Women there, who immedi- ately can themfelves at her Feet : This is the opeii- ing of the Scene. 'Tis the Mother of Thefem who makes the Prologue, and tht Suppliants don't form the Chorm, till after that Princefs had fpake and heard their requeft. The other Example is as r'';;ir, and 'tis taken from the Oedipui of Sophocles , ll>e fineft Tragedy of all 'Antiquity. Jupiter's High Prieft-, followed by a great many other F'riefts, and the chofen young Men of Thebes, is going to proftrare himfelf at an Altar, which was Erefted to Oedipus, before the Court of his Palace*, The Cries and Groans both of young and old, obliged that Prince to come out to know the reafon of it •, and this is what makes the opening of the Scene : Oedipus makes the Prologuey and when the Subjeft is well explained, the Priefts themfelves make the Chorus of the Piece. 'Tis certain then, that the Creeks had no Tragedies, Without tliat, which Ariftotle here calls Prologue, and confequently the Philofopher had reaibn to make the Prologue one part of the quantity of Tragedy. He who would contradift him, was fo little acquainted ^vith the Greek Authors, that he calls the Perfians of r all the Company. In the £- ie^ra of Sophocles the Chorus enters at the hundred and twentieth Vene, and fays, • Princefs of an unnatural Mother Born. The Scholiafi takes Notice, that 'tis the Parados ', but he only means, that 'tis the coming in of the Chorus, and not the firft Song of it, which does not be^in till the 475f/7. Verfe. hoiv]n lipw. -.-'S If I in my Prediftionsdo not fail. Where the Interval of the firft Aft begins. This is ft ill more Evident, in the Oedipus Colone of the faine Poet, where the firft Aft is of a prodigious Length, for 'tis feven Hundred Verfes j however tlis N 3 Ch>>rm 1 8 2 Ar iftotleV Art of Poetry. Chorus enters at the Hundred and Eighteenth Vcrfe, and in iearchmg for Oedipus^ fays, Is not that he ? Where is he ? Where's he hid ? One would think that this was the Tarodos, the firft Song of the Chorus, but 'tis not j the firft Song begins at the ycx) Verfe. Jkou. Stranger, you now into this Land art come. And makes the Interval of the firft A61. Every time then that the Chorus fpeaks in the Courfe of the firft Aft, whether it fpeaks alone, or difcourfes with any of the Aftors, we muftnottliink that 'tis the Parodos, the firft Song of the Chorus. The Parodos is always at the end of the firft Aft, and the Chorus never fings before. Twou'd be very unnatural for the Chorus to enter finging. It mull liave time to learn, and to be inftrufted in the Afti- on,. with which it is to be concerned ', and from, which it ought to be formed. This is a Rule which the Greeks, who followed Nature very clofe, never failed to obferve , and 'tis only for want of having fufficiently examined their Praftice, that the firft Difcourfe of the Choriis has often been taken for the firft Song, the Parodos. 'Tis a Fault that fome of the Ancients have been guilty of. The Greek Au- thor, who made the Argument to the Perfians of iov& a ko^ ^y\\v&ov.Da.iKghttrafAsrxm9.mnot\. I a.tn com Fam'd Sj[^^ps,of War, which once before Troj/.rode. I have been a litjtle.long on J:his Matter^ becanfe the underftanding of it, .is the only Me4i';s'.;t;o read the Greek Poets With Pl'eafure. . " 9. T;W Stafiilion is all tjp'^t which the Choms Jinks', after it has taken Po[jeJJlon of the Stage^ a^id.isy as it werCx incorporated into the Action. ] ArijlotU fays onlTJr,' that the Stafimon is without ^iaap.tjles:, and •-'Trochee s-.'Qw.t I have enlarged his Definition,to render the Matter the more inttlbgible-, the Chorus of the Creek Plays did not properly begin to take Pofleflion of the Stage, and to be incorporated into the Adion, 'till the Parodos the firll Song : All which was fung after that, was called Stafunon^ that is to iliy, the Three laft Songs were comprifed under that Name •, and they were called fo, becaule the Chorus was fixed, and employed in their Songs, llow Meafures, never quick, and precipitate, as the Anapxjie^ anfi the Tro- ihee^ which are good only for Motion. ^ N4 19. W^ - Or cUc U j^tuh tfJu jny i^d ' i-»tLj (Ljxrsi- fft/fa>u*'3i7m- ber of Families , or thofc of ^/ow^tw,- Of otions, it ftirs up uur Curiofity, and we ^^c^n •: no more •, 'tis equal to us whetlier a good or wicked Man perifii. Let us ex- amine the Rules of Arijiotle^ with ihe Reafons which make them fo folid •, and after that, we Ihall fee whether there be any Opportunity which will permit ut to deviate from them. This is Arljhtle's way of Keaibning. Tragedy is the imitation of an Aftion, which ought to excite Terror and Com- panion^ the Misfortunes of a very vicious Man, do neither one nor t'other *, fo they can't make the 5ub- jeftof Tragedy. If thejecond Propofition is true, the Conlequcnce is fo beyond Contradiction. To be convinc'd of tlie truth of this Second Pr6pwliiioiijWe need only remember that Fear,and Pity,vt'hich ought to bear the I'way in Tragecty, aie twoPaflions which doordinarily arifefromthe,Mi5fortunesof thoie who are like our lelves: And truly, Pity is a Senle of Pain, which the Sufferings of a-Man why does not defer ve it, pro. luces m us j, fifice that Evil is or iuch a Na- 190 ArlftotleV Art of hietty^ a Nature, that it may happen to us, and which we may reafonably fear \ for Self-love is the Foundati- on of all the Pafltons. •, and that Pity- which feems only to exert it felf on our Neighbours Account, is really founded on our own. The Misfortunes of a Man, who is Superiour to others by his Virtue, cannot naturally excite in us, either Fear or Pity, becaufe they give us Horror. Now- there is a great deal of Difference between a thing' that is Hor^ rible, and another that is Pitiful^ firfcttlTat which: is Horrible, not only, drives away Pity, but often- times caftsus into a Pa'flion, which is quite' contrary.^ If thefe Misfortunes, cannot excite Pity and Fear, they cannot refine the Paffions •, for the Audi- ence, feeing Virtue unhappy, is thrown into di-f fpair i finds fault, and does not endeavour to refift tne Paffions, thinking it is in vain to overcome them, fmce Virtue precipitates us into Mifery, no lefs than Vice does. Arijioth furely had Rea- fon then to exclude a very virtuous Man from Tragedy. Mr. Corneille perceiving that this Max- ime would banifh the Martyrs from the Stage, endeavoured to find Authorities to defend his Polyeu6teSj by other means than its great Succefs ^ and at laft he found out one Minturnus^ who examhis in his Treatife, If the Paffion of Jefus Chrifij and the Holy Martyrs^ ought to be ex- cluded the Theatre^ by reafon of their Virtue? And decides it in his Favour. Thus is Minturnus oppofed to Arijiotk. If the PolyeuBes of that great Man had no other Foundation , I fliou'd think it had but little to rely on. It is better freely to confefs, that Mr. Corneille knew the Age he lived in *, and that he ventur'd that Poem on that Knowledge which he had. The Succefs juilified the Poet well enough :, but I don't know whether it would be eafie to luftifie that Succeis : I don't fpeak here of the Sub;eft, of which few are capable of judging •, for perhaps in other re- fpe(5Vs, that Piece is the bell compofed of all ^ ' Mr. Ariftotle'x Art of Foetry^ 1.91 Mr. CV7;f///(?'s Plays. It is fall of fine, Thoughts, and hath pesrfeftly ^ood Chai'at a very virti:c • vcr ■raafciTet .wtrxgcrg-^A\i Mai;tyf.dp4^, jof^ vCBT an c'^if^ ' it'"cwftot" excite ei-chcjc rii/, ...... ... r.^ ■.ami conlequently can't refine ,tbv PatTjcQ^^ .v.^lii^-h is the only end that Tragedy aims', a^, -jis we have already lliewn.: This li-uk of ylri^o^tfy,,\\][ try feveral- other Pieces wliicV.liaye'.pleafed, tho*. iKit by the Subjaa,. . buit foniie ,g which is lejs Tra- gecal. ] If theMisfortun.qs of a virtuous Man give Horror, tiie good Fortune of an ill Man wilt give us Indignation j 'tis for this Keaibn that he ought alfo \o be excluded the Theatre. There is njthmg mox£f certain than this Decifion. 3. And n>€_do?t't fi?}d in it any of the Ffschs cf Tragedy:'] Ihefe Effects are thole which he ex- plains afterwards^ the Terror, Compaliion, and Pleafure , which ought to be the Produces of Tragedy : If Tragedy doss nor produce thele Effects I p2 AriRotles At of Poetry. EfiTecT-s whicli it ought to produce, it is moft certain that it can never obtain its end, and purge the Pafiions. There is no':hing more op- pofite to the Refining of the Paiiions, than the Profperity of the Wicked •, infteaci of correding, it nouriQies and ftrengthens them •, for who would take the Trouble to get rid of his Vices, if they make him happy. 4. For hefide its not exciting either Terror^ or Cotn- pajjion^ it does not give any Fleafure. 1 I could name many Pieces which excite neither Terror, nor Compaflion, and yet don't fail of giving Pleafure, and Deing well received*, and don't at all Ihcck the Choice, or the Inclination of the Audience •, for he that expofes the happinefs of an III Man, itirs up Anger, is very far from caufmg any Pleafure, and confequently can have nothing to render it toller- able. 5. Moreover^ he ought not to reprefent the mis- fortunes of a very Wicked Man^ 'Tis mofi certain, that fuch a reprefent ation may give fame Fienfure, but it "will produce neither Fear nor Pity. ] One may have fome Pleafure in feeing a very wicked Man puniihed for his Crimes •, but his Mifery will never flir us up to Companion, becaufe he has only what he deferved : For no good Man is ever concerned to fee a Murderer, or a Parricide, puniihed •, be- caufe it is a juft Aftion, and confequently all good A4en ought to be pleafed at it. If his Mifery does not excite Pity , it will much lefs excite Fear, and fo cannot refine the Pafuons ^ for the Spe£la- tors knowing themfelves not to be fo wicked as that JVIan , will never fear thofe evils , which he has drawn on him by his Crimes ^ nor endeavour to make themfelves better. 6. For AriftotleV Art of Tvetry, 209 <6. For the fit fi is produced by the misfortunes of thofd Vi>ho are like otir Jelvcs. The misfortunes of thole who arc above us, don'c make us afraid, becule'. they rignliy little ro us, and v/c arc not in a condirt . on CO fear them ; but it miy be obje£l"cd, that W on- ly the misfortunes of thofe who are like us - Excue fear, Tragedy would not do it, lince ir expofes on- ly the misfortunes of Princes and Kings, and othei? llludrious Pcrfons \ or if it cjid give it, it would be to Per(bns of that Qu 'H'v, which js th& reaftci vvfiy- Paul Bcny applies the eff S: of Trajfdy to rh'-Tn Dnly. 'Tis no difficult matter to anfwtr this Objcv3:ij>n. Mr. Corncille hath endeavoured to dJ* it, in fiying that Paul Beny undtrflood the Word^. likp our Selves^ in too literal a Senie, and d'd nut confider thut tht^re were no Kings at Athens, where thefe Poems wr-e Aded, from Vv'hich /Iri/iotle dra.\vs his Examples, and forms^ his Rules. The Phih/opher, lays he had no fach tbcu^ht^ a?id cvould not have employ''d in the Defini- tion of Tragedy, n thing whcfe effctl could fo [cldom hap' pen^ and xouofe ufe was rejirai)i\i to Jo very fcxv Pe^fons. 'Tis true^ that Kjngs arc brought on the Stage as the Principal AStors in Tragedy ; but the Auditors have no occafion for Scepters to refcmble them^ in order to fear the misfortimcs Vphich beful them, for thojii- Kjngs are Men as well as the Audience, and fall into misfortune by the Extravagance of thofe Pajjions^ which the Audi- ence is capable of. They ajford an Argument very eafy to he made by the grcateji ayid the incaneji of Men, and the SptBator can eafily judge that a K^ing, who has given himfelf over to Ambition, Fear, Hatred, I^fjenge, and falls into great Misfortunes, defcrvcs pity j much more he, who is but an ordinary Man,frOould curb thofe P-tJJi' oils for fear tjjey foould plunge him into the fame ynijery. But this Anfwer of Mr. Comeille, inftead of Colving the difficulty, proves rather that Ariftotlc's defini- tion is fal(e, for truly, if all the misfortunes which the Pallions draw on us ffiould caulc fear to every one indiftetently, thole of Kings and Princes would O give i I o Ariftotle'j Jn of ho beiiig neither End tior Good, in the fuperta - five degree^ doth not draiP his misfortune en hiin^ by his wickednefs^ or by his Crimc^ It feerris (hat there are yet two conditions of Life which Ariflotle has not mention'd, the firft is, of thofe Men who are extra- ordinarily virtuous, who m;iy pafs from a very un- Jhappy to a very blcfled condition ; the other of thofe 111 Men who fhould be overwhelmed with Mi- fery ; but Arijlotle fpake not of them, fince one of them has nothing Tr;igic;,l, and the other nothing that deferves Pity, and v/hich ought not to be ad- mitted, unlels in the fubordlnate Pcrfons j and 'tis thus, the Amients have ufed it, at Itafl:, in thofe pieces which now remain, except thofe fmiple ones where there is neidicrPeripicie nor Remembrance^ in all the rell, that is in the Implex, thofe wicked Perfbns, who are introduced on the Stage, as Cly- tetnnefira, Egyfihes, are never the Principal Perfbns, and 'tis of thefe that Arifiotic fpeaks here, and fince they can neither be very Vcrtuous,nor very Vitious, they mufi certainly be between both ; now this mean is only in thofe who commit Errors by their Infirmities, and fall into involuntary Crimes. They jire vitious, becaufe they do that which is {o^ and they are good becaufe they Commit Iniquities, cox\- trary to their Inclinations, and by Infirmity. 9. He mujl chufe from among thofe who arc of Emi- nent Qiiality, great Refutations and fome lUuJlrious Per- /ow.TThere haopen enow extraordinary Adventures, 'and Tragical enough too, among People of a mean or low" Condition, which might defervedly take place in Tragedy •, fc>ucj believe jt would never fuc- ':eed, not by reafoa of tiie Aftion, fcr that v/ould O 3c '^n-re 2 1 2 Ariftocle'j Jrt of Toetrj. have all nccefTary and requifite Qiialifications, but on account of the meanncfs oi the Pcrlons ^ ior Tragedy, as Epick^ Poem does not require, that the Allien which it repr'efcnrs (hould be great and im- portant, in irfelf. Itislufficit nf rhac it be Tragical, the Names of the Perfons ari lijfficient to render it MagnlHcent, which,for that very reaf^n.are all taken fi;ovn thofe of the greatcft For.une and Reputation. The grearnefs of thefe eminentMen render the Aclion great, and their Reputation makes it credible and probable. This is the reafon why Arifiotle faid, in the ^th. Chapt. that Epofccia has this in common with Tragedy, that they are an imitation of the AiStions of the greateft Perfons, fee what was ftid in the Remarks on that place. ID. P^bo is become mifernhle by fome Involuntary, fault.'] Thele Words y his Example. Ic feeiTis 'tis of liis gv'>ocl grace rhac he gives us this dccifion, and on account of the cftecm which he had for the Philofophcr in other refpe6ls. Not- withftandlng which Arifiotic is in the right, and Mr. CorneiUe is guilty of two very confiderable Faults: The firft is, that he did not rightly under- ftand the Words, eO* «.u%-ni» mtt, and confc- quently niuft be ignorant of theNaturc of 0.'aV/»Hj's Crime. The fecond is, that he knew very little of the Chara£i:er of that P/r-'w/'jJc Prince, which hinder'd him from Geing wh-ir P^flions his exarn" pie inflru«5ts us to CorreiSi. The G/^f/cTerm h^s been fufRcienfiy explained in the precceding Re- mark. Ocdi^s hi J Fault was, being tranfported to Ang^r by the Infblencc of a Coach-man, who would niitkc him break way againft his Will,, he killed lome xMen ; two ^wyz after the Oracle told him he fliould kill his own Farher. He himlelf relates the Ailion in Sophocles very naturally. This Action alone (ufEciently denotes his Ch;^- rader, hut Sophocles has given one, by all his Manners lo Conformable to this ; and which an- fwers fo pcrfedtly to Ariftotlis Rules, that he ap- pears in every refpeil a Man, who is neither Good nor Bad. a mixture of Virtue ^nd Vice ; bis Vices are Pride, Violence, Anger, Temerity and Imprudence; 'tis not properly his Patricide nor hKeft, which made him unhappy. Any pu- nifhment for thofe had been in a manner utjjuft lince ihcy were. Crimes Involuntary and Com- mitted without his Knowledge ; he fell not into thofe terrible Calamities, but by his Curiofiry, Rafhncis and Violehce.Thus Ocon tells hlfO In the G'-ee/^Tiagcdy, Such Temper) as yours are infupp'or- tabte to thsmjehcs. Thefe are the Vigfs which $Qjphocles would have us correiV. 'Tis [heretove 2 14 AriftodeV Jri'ofToetry^ from hi? piece that we mull take the true Cha> raifrcrs of OeJipus, to find rhac juft mean which Arijtotle here requires. Inftead of which iMr. Cor- neille makes a very Virtuous Man, notwithftand- ing ..11 his Innucence, fall into horrible Miieries. He himleif fays, Iflill remember Generous Exploits^ let Parricide end Inc Jl do mc Hnunf^ Tvefollovp'dtione, but great Alcides Steps. Sought ev^ry where juji Laws for lo fnaintain, III Men to Funijh, and all Vice rejirain. » We don't find here, that juft mean^ the Mart, who is neither Good nor Bad, and thereby Mr. ^orncille his fpolled the mod perfect and compleat Chara6ltr which the Ancients ever Invented. The exploits of Oedipus alone, were killing four Men in a violtnt Rage; explaining the Sphinx\ Enigma^ which the mofl Wicked Man who had any parts, might have done as well as he; where- upon Sipbocles does not praift in him any thing but his Courage h's good Fortune and Judgment, Qualities, which are equally common to the Good and the Bad ; and in thole alio, who are made up both cfVirtucs and Vices, and are nei- ther R'ghrcous nor Wicked. Plutarch 'was only capable of knowing the true Chard6ler o^Oedipui ; and that Pallion which by his Example we ought to corrc61: for in his Treat ife of Curiofity, he at- tributes not only the leaft, bur alfb the greateft misfortuncsof this Prince to that Vice. 1 cite the ■whole Pafliige bccaufc-, 'tis very remarkable, Curio- fu) caji Oedipus into the g^eatcji of all Evils, for being defv ous to know who 'he was, bccaufe they reproached him J or being a St i anger. He fet forward to Confult the Oracle, met with his Father., and kjHed him with- out kjiowlng who he was ; afterwards he Married hit own Mother ajid by that became Kj'ig of Thebes, and when he feemcd to be mofl happy-) ho had Jiill- n ds- Arlftotk'J' Art of Poetry. 2 1 5 4'^fi'i's to l{noxi> more concerning hlmfelf, nltbo' h) H^ife ufed nil pojjible Endeavours to hinder hivi:, but the more (hejirore CO do it^ the mo, c hcfolli:ited a certain old Man^ vpho knew all the Ajfair^ tbreat7iing and forcing him by all the ways imaginable ; fo that at lafi the 'Bufmefs was fo far ^vealed, thai he began to have feme Jort of Sufpicion i and then the Old Man^ fee- ing himjelf obliged to declare cvry f articular^ Cried out^ Alas ! i" am at lajl reduced to the Cruel ncccjfity of Speakjng. Oedlpus traiijportcd with P. if - Jion and Tremblings anfwered, and I am reduced to the Cruel neccffity to Hear but fpeakj. So much fo tickling is the Pleafure of Curiofity^ and difficult to rvithjiand ai an "Ulcer, the more 'tis fcratclPd the more ^tis Inflamed and Bloody ; but he that is free front this Malady, and of an eafy Temper , when he hath neg- lecied to hear feme bad News, ought to fay. O di- vine forge tfulnefs of paji Evils, how full of PVifdcJji art thou ! 12. Thycftcs?\ For Th)e(ies, as Mr. Comeilh goes on, I cunnot difcovcr that Coyyimon Honejiy^ 7:or that Crime without a Fault, which plunged him inro his Mifery ; for he is an InceftUous Pcrfon, who abtijcs his Brother's PVife. This Cenfurc appears at firfl fight better grounded than the firft, and it ftems not to be fb ea{y to prove the Thycftcs's Ailion was an Involuntary one, fuch as Arijhtle djefires in this place, and that he Comuiirtcd a Sin by the- Violence of his Pallion only, which would in lomc meafure render his Fault excufable. If Thyeftcs's Crime was only the Love v/hich he had for his Sifter in-|^aw, it would not be perhaps ib difficult to cxcufe, ^nd 'tis thdt way (bme h:ive endeavour'd to do it ; but Love was not the only Crime Thycfies was Guilty of; for he not only defiled Atrcus's Wife, but carried av/ayth? kam, which was the Token of the Empire, :ind which had the Golden Fleece. Can this pre- meditated Theft ever pafs for a Crime v/Ithour O ^ a 2 1 5 A rift oclc'j Jrt of Poetry', a Faulr ? We will give the Hiftory, and then judge of it. yltreus and Thyeftss^ both Sons of Pelops^ agreed after the Death of their Father, that tliey would both Reign by turns at Argos. Jtreus^ who had been uled to Govern, would not give place to Thycfies when it came to his turn. Ti?ycftes being very Angry at this,- goiAtreus'sV^^'xie, carried her away ; and that he might have the Empire, which was his due, he carried away the fatal Ram alfj. 'Twas Thycftcsh Anger which pro- vok d him, to take this Revenge on his Brother. Thus is Arifiotle juftihed, and the Character of Thyeftes Conformable to his Rule ; he does amifi, but 'tis by his Anger, and to repel the ^^njury and Injuflice which was done him, and 'tis this with- out doubt Hor/ice had refpeft to, where he iays ia the XVIth Ode of che 1 11 Book. Jrte Ihyejlem exitio gravi firavere, 'Anger, Thyefles, Overwhelm' d with Wbe. ' As Mr. Corneille has accufed Arijiotle of noi^ knowing T/j^e/Zc/s Character. | iiCC\iCy?rj was' theoccafion of all the miferies of I he Pelopides. The only thing Vv^hich can be oppoled to my Rcmark.is what Arifiotle (aysjn the 3d Book of his Morals when he treats of Actions, which AriftodeV Jrt of Teetry, 2 1 7 which are Voluntary, and of thofe which are In- voluntary, or byCompuUion ; plainly determines that all the Aflions which are ComTiirted by An- ger or Luft, ought to pafs for Voluntary, and no ways forced, becaufc their Principles are in us, and we do them willingly, and with the knowlege ot all their circumftanccs . This is cer- tainly true, when we confider Actions one by one, and to the bottom ; bur when we confider . them in general, and in themfelves, we may lay of thofe which Anger has produced, that they are involuntary and forced, becaule without vio- lent Pallion rhcre would be no fach things, and they would never be Committed. Ocherwile it: is certain, as ^?//?of/e aflures us, th:rt evVy forced or involuntary Aftion is accompanied with* ftd- nefs, for fadnefs is an infeparaole condition ofati involuntary Action, We can no longer doubt but that Qiolerick Anions are forced A:irpure would n^v; r hive an end ; bur, fays Jnjhtle, they had the SiiiT'-ages of the People, as vc 11 as of the Learned . nd this is an inconteftablr proof that thty were th:. ocft. Nothing c.n be finer, nor more judicl/us tli^m this ^ecifion ic were to be wifhed .hat we could follow this Wildom. We h' -..r lomc f.y in^ cv'ry A'dy^fuch a Piay f leafed the greateji pm of the yf«- dience^ therefore it tnufi be good. This i;- faUe ar- guing, pray who did ir pleafc? The Ignorant or the Learned, if they (ay the Pc pie, can •x'Of body pffirm, that rhut which pl'.afts the Com- nion People only is fine? And if ic pleiifesthe Learned only, how we can be affured that the Learned are infallible, and never deceived ? There can be nothing then (o lure in any one of ihefe Parties. What Rule then ihall we have, and how (hall we be obic to Judge of what is fine ? This is a lure and certain Rule, that whatever pleales the Learned, and the Ignorant too, is in- fallibly very Good and Beautiful. Now I dare affirm that there are no pieces which will pleale both, but thole wiaich are made accarding to the Rules of this Art:. And "ris for this realon, that Arijhtle fays in the ^d Book of his Politicks, that a multitude judges betrr:r of Poetry and Mufick then one Man only ; for one taties notice of one thing, and another of another, and io among them they take notice of every thing. When he lays a multitude, he means the whole AlTcmbly, which is generally Compofed of the Learned and the Ignorant. %6. In Ariftotle'j Jn ofToetry, zig z6. In the Puhllck. Difputcs^ and on the Stage^ There was every Year a fair opportunity for thole Poets, who hiid a mind to diJpute the Prize of Tragedy. They all Alfcmbled as certain Feaft?, and every one had toiir pieces Ailed before (elc(5l Judges, which were t<;ken out of every Tribe, who aUo took an Oarh to Judge accord- ing ro Right and Equicy, without Flavour or AftV6Hon. There is a very remarkable pafTage on this bv Plutarch^ in his Life oiCit^on. ThiJ is the rcafm why Ariftotle oppofes the Publick Difputes to the Stage, where the Plays were A£led to divert the People, and not to have a Judgment pail on their value and merit. 27. If nothing that is Foreign^ diftiirh or ff oil the ^eprc[entatiov7\ Anftotle adds this, becat/e the leaft thing is capable of fpoiling the fineft piece in the World ; there wants only one Aflor x.q h6k worfe than he commonly docs, either acci- dentally, or by his Caorice, for that which is well plaid, will feem quire a different thing from what it is, when badly A6tcd, 2.8. And Kur\Tpid^s kimfc/f appeared the. fnofi T//*. gical of all the Poets ^ tho'' othervsife he vpcii not Cor- red, and exaEl in the Cenduci and difpofition ofhif Subjects^ This isavcryjud and true Judgment o^ Euripides, he isfo unex.icl in the min;^gemenc of his Subjcfls, th.qt he often cifends againit pro- bability and neceliity too ; his Incidents are not produced ol one another, and the A6lion does not generally make one and the (ame whohy there is always lomething wanting, either in the manner of forming his Piors, or unravelling them. Moreover, his Chorus's are ohen Foreign to the Subjedlhe treats of, and there are but few of his piecesj where Ibme oftbtfe fuuUs are not to be ■ P 3 ^HPrl' 230 AriftotlcV Jn of Poetry. found. But this excepted, he is the moft Affc<5t- ing and Pathetick of all the Poets. Sophocles is more Regular, Noble and Sublime, more Equal and Agreeable ; he dlfpoles his Siibjc6i:s, and forms the Manners and Charaiters of his Perfons much better , but as tor being Pathetick, he feems to hit only the Violent Paliions, fuch as excite Terror ; but he is not Co good for thofe which are (oft and fweet, which depend on Compallion ; Vf\itrezs Euripides is wonderful at the former, and the beft that ever wrote for the latter ; for this was Quintilians Judgment. In ajfcBibui vero cum omnibus mirus, turn in iis qui mijeratione Con- fiant prxcipuus. None ever knew better than Euripides the manner of the Afie£lions, and to place the moft Tender Affecting Words fo well to the purpole, that he would make even the moft obdurate Weep. The divifion of thofe two Qualirfes, has prevented the Ancients from deter- mining who was the greatell Poet, Sophocles or £«-. ripides. Q^intilian would not fay any thing on this point, but is fatished by telling us, that £«- ripides h\.\\tmo^ uleful to thofe who are obliged to fpeak in publlck; but this is certain, that rake them altogether, Ariftotle would give the prefe- rence to Sophocles^ notwithftanding the large En- comiums he beftows on Euripides^ and this 1 be- lieve cannot be disputed. ap. The Fable toxvhich I give thefecond Place, tho^ others have given it the firji^ is that which hath a double Conjiitution.^ After having fpoke of a fimp'e Tragedy, and its two fpecies, he comes to give an account of double or compounded Tra- gedy, and takes notice of the reafbns which his Adverfaries had to prefer it to the firft, and thofe alfb which moved him, not to be of their opini- on. 30. As AriflotleV Art of Poetry. 251 30. /Is the Od-jjfes^ For the OhJfesXyxih. a dou- ble Cat^firophe, Vi)jT<-^ '^nd Petn-topc are happy, and their Enemies are deltroycd. Homer harh given us an Idea of all the forts or Tragejy, his IlirJj IS Simple, end Wis Ouj/jfcs Ccupound', hut we ouqhr to rtniemlxr tlut that double Cataftrophe ought to proceed from one and the fame A(3-i- dn. VirgiCs yEnth is Compounded as ihj Od)Jfes is. 5 1 , T',)ofc xvJ)o prcfcrr'd this to the firji^ did it in all piclabiliiy h) rceifon of the weal^ncfsof the /Audi- ence, to whcje l{cli/Io and Difirei tl;e Pots do gene rn'ly Corifot m i hcwfeivcs.^ For truly the genyality of -^pe^Virors have the Wealcnefs not to be.tr dif mal Cataftrophes, they fay, they make [hem Me- lancholy and Uncafy, and they had raiher have fuch Cataltrophes as will pleafe them. Anjcotle in the third Eook of his Morals, has traced the Original of this Error very well, in fliewing that Pleafure dorh io much deceive Men, and Corrupt their Judgments, that tlio' 'tis no Good, yttthey feelc it every where with thegreateil Eagerncis imaginable, as if it was the only trug- and folid Good j and avoid all that is contrary to it, as if it was a real Evil. U'herefore the Poets, that they might Conform themfelves to this Humour, and not rob the Theatre of the Happy Cataflro- phcs, inverted this double Conllitution. Accor- ding to Ho)ner\ Qdylps, never confidering th it what is fine in an Epick Poem, may not be fb in Tragedy. However thar be, JEjchylus, Sofho- cleSf Euiividesj and all the reft, erideavourfd to pleafe the Athenians thut way. Our Poets have the lame reafbns to follow the Greeks Poets. And 'tis now fo much the more pardonable, ag we arc fjfrer and more ignorant ib.an they. P 4 52. Bp 3 2 A rIflotlcV Jrt of foetrf. 52., But the Pleafure which this Fable gives, is nothing near fo proper for Tragedy^ as f'-r Comedy^ This is a very lubflantial and true Rcafon ; a Tragedy which ends happily for the Good, and unhappily for'the V\ icked, neither excites Com- pailion nor Terror, for rhere is no'hing in the punifhmcnt of the Wicked, which deferves Pity^ nor Terror in the Prolperiry of the Good, and confequcntly k can give only that pleafure which is found In Comedy. It Arijlotle cnuld not ap- * prove ofthofe Plays, v/hofe Cataftrophe is hap- py for the Good, and fatal for others ; 'tis certain, that he would never haveendur'd thole, which the' tly;y have a double Conftitution, yet end happily for all the Perfbns, whofe Interefts are generally oppofite. We hive fome ot this Ibrt among our fined pieces ; but tho' he might have Condemn'd the deGgn ot rhefe Plays, yet he would infallibly have admir'd thofe infinite Beau- ties under which this defe<5l, is for the raoft part hid ; and if he fhou'd have banifti'd the Poet from the Stage, it would have been as Plato did Homer from his Commonwealth, after he had beffowed a Crown on him. 35; And truly we fee in Comedy, Enemies as irre- concileable^ as Oreftes and Egifthes become at lafi very good Friend: 7\ That we may rightly under- ftand how this double or compounded Tragedy, gives us rhe ^me pleafure as Comedy doth, he (hows us, wherein the pleafure of a Comick Poem doth confift, vl:{. in feeing the moft exaf^ perated People agree, and the moll irreconci- leable very good Friends, at the coft of fbmc poor unlucky Footman, who generally comes off, with a good Beating, or at worft a few days Imprifbnment ; 'tis juft the fame in a double Tragedy. The wicked perifh, and the reft AriftotleV Jn of Tsetry. 1 5 i reft making a right ufe of their misfortunes are reconciled, it there was any mifunderftanding be- tween them before. I am perfwadt-d that when Arijiotlc wrote this, he had a regard to the Or ^y?ef of Euripides. Orcjles and Pjfladcs, afrer having defignM to Icill Helena and held their Daggers a long time at HcimiotiesThroit^ whom they threat- ned to kill before MenclrSs his Face, were ftopt by Apollo^ who reconciled them, and ordered that Orejles fhould Marry Homione^ and give his Sider Elc£ira to Pylades; thus ended this horrible Story, and OrcJlcs became Menelais Son- in-Law. 54. And go off the Stage without one drop of Blood being fpilt 'on either fidc7\ This paflage teaches us, that thole Bloody Deaths and Wounds, which are not permitted in Tragedy, but ofF of the Stage, andout of the Spectators view, areabfolute- \y baniflied from Comedy, in which they ought not ro bef, either by Reprefentation or Repetiti- on. 'Twould be very barbarous to mix Mur- ders with Comical divertifemenrs, that could never be approved of. Comedy is not only an Enemy to Murders, but alio of whatever elle is fbrrowful ^ we have Ibmc excellent Comedies, which leem to err on this account. 1 never come from leeing Molierch Mifanthope, but I am forry for the misfortunes of poor Alcrjie. Comedy ought never to lend the Spc6i:at6r away unealy, iince 'tis made with the contrary defign, of ma- king him merry by (omething that is Ridiculous; Now that Ridiculous, is never found where there IS any Sorrow or Pain. This is ilb true, that to avoid the fame inconvenience which difpleafes in Mi/anthrope. Terence adds to his Andria, the Per- (bn Charinus, which was not in Menander^ ne r/fd to leave Philumena m'thout an Husband, af- ter Pamphilus had left her to marry his Miftrefs. This is what Comedy requires, and 'tis one ot the Rules, which ouglit the leaft of all to be broke. CHAP. XIV. From vohencc the Terrihle and the Titty- ful proceed, the Error oj thoje who would excite them hy Decoration, or ly jyionjiruous Incidents, ^ ».i|u "^He Terrible and Pitciful, may be I produced by the fhow, and the JL Decoration. They may alfo be pro- duced by the (a) Series of Incidenrs, and that is much the b;^tter way. Thcfe are what may be called {b) mafter Strokes, for the Fable muft be compof.d in fuch a manner 3 that (c) he who underftands the things which happen, altho' he fee them not, yet tremble {d) at the Recitation of them, and feci the fame {e) Companion, and the fame (a) Ey the Cmfiitution of the things, (b) Of the hefi Poet, (f) Tho the Show h. r moved, {d) fVhcn be hears thm:\e) ^} thoje who hear Qtdifus. '' - Ter- Ariftotle's Jrt ofToetry. 235 Terror, which, none can hinder themfclves from fctling at che Tragedy ot'Oedip/^s. Now to eKdeavouriocxchethck' two Pafjions by the light, that is by means of the Scenes^ is -jvhat the Vuet has no concern wlth^ this depends rather on thofe who order the Decora; ions, and are at the charge of furnifhing the Thea- tre. 2. Thofe who don't Endeavour to find the Terrible- but the Monftrous in the Deco- ration (/■) Err, much more from the fcopc of Tragedy. For Tragedy is not wade to give us all forts of Pleafure Indifferently^ but only that Vkajure^ Which is proper to it. 3. That Pleafure js that which by imita- tion produces Terror and Compalfion, and conftqucntly it is Evident, ih^t the Poet ought 10 produce that Pleafure in us, by the means of thofe things -which ht RtpreJ^nts. (f) Have nothing ef Tragef^j* RE- 2 35 AriftotleV Art of foetry^ RBMJSKS on Chap, XIV. l.CT'He lerrihle and the Plttiful may he produced hy ■^ the Shows and the Decoration j they may alfo he produced by the Series of Incidents, and that is much the better veay.j Hitherto Arij}otle has proved, that Tragedy is the imitation of an Acti- on, which excites Terror and CompaiCon ; he goes on to Qiew at prefent from whence that Ter- rible and Pififul proceed. He begins by the: refutation of their Error, who believe, that they ought to proceed from the Show and Decorati- on, when the Stage and the Actors are fb adorned and drtfs'd, that at firlt view the Audience is prepared for fomething Terrible. JSafcbylus de- pended much on the Decoration, for he chofe every thing that was frightful. Horror and Death were in his Paintings feen. In the Tragedy of Eumenides, he excites Ter- ror and Compallion by the Show only. His Cho- rus of the Furies appeared ib Terrible, that fe- veral Children dy'd with Fear, and the Wo- nied Mifcarrled on the (por. This is not that which is proper for Tragedy, 'tis true, the De- coration ought not to be neglected, it (hould anfwer to the Subject of the Play ; But that is not ihe Poets bufinefi, he ought to endeavour the exciting Terror and Compaliion by the Series of Incidents. a. For the Fable rnuji he Compofed in fuch a man- ner^ that he who understands the things which happen^ altho he fees them not^ yet trembles at the ^ecitation.^ If the Terrible proceeds f reus the Decoration, he who ArlftotleV Art of Poetry. 257 who is Blind, or Reads the Plays, can never be fo afiPe6led ; but both he that is Blind, and he that Reads the Play only, ought to be as much concerned as he that fees it, and conftquently the terrible fhould principally arifi from the Sub- je£l itfelf. \\ ben we read the Eumenidcs of jEfchy- his, we are very little affe61:ed with it, becaufe the Terrible which was in it, proceeded from the Decoration only \ but when we read Oedipus^ we can't forbear vexing our felves, and feeling thofe motions of Terror and Compaflion, which thofe who fhould fee it reprefented on the Stage would feel, becaufe the Terrible proceeds from the rubje(3:, and not from the Decoration. 5. Is what the Poet has no concern vpith, that depends rather on thojc voho order the Decoration.^ If the Terrible was produced by the Decorations, the Ingineers and Workmen would have the Honour of thofe Pallions, which we find raifed in us, when we fee a Tragedy ; and they would be able to regulate them, according to their Skill and Charge they would be at. Every one can ea- fily fee how ridiculous this propofition is. 4. Thofe who don'^t endeavour to find the Terrible hut the Monjiruous in the Decotation, err much more from the Scope of Tragedy^ Some have thought that Arijiotleh intention here, was to Condemn ihofe Monflruous Decorations, but the Philofo- pher does not concern him/elf with giving any Rules about them. Thefe Monftrous Decora- tions are fufficiently found fault with, in what he has faid of the Terrible ones • for after he has re- fufed thofe who endeavour to excite Terror by means or the Show, he goes on to another, and no Icfs deled, vi^i. Of the Poets, who not only depend on the Decorations to excite our Paihons but endeavour to do it by Preternatural and Mon- flrous 2^5 AriftotleV Jrt of Poetry, ftruous ones. Nothing can be farther from true Tragedy thin this means. jEfchylus hAs a great fhare in this Cenfure, for as his imagination was Vail and quick, but extravagant and irregular, he often ventured at thofe things, which were not only contrary to Art, but Nature too. His P.cmothem is iuU of the(e Monllers, which Ari- /?or/ff Condemns, for what can be more fijch,than his Punifhment of that God, where Force and Violence^ two perfons Nail him to the Rock with Vaft Hammers? Than the fierce Oceanus mount- ed on a Griffin^ going to (ee that Criminal on mount Caucajus ? To Conclude, that the good lo fhould change herfelf into an Heifer^ to go and talk with Promothewy and^ learn from him what (hould afterwards come to pals? Euripides^ tho' he is much more fimple, and moderate than u£f- chyltis^ falls however into his fault. ln\\\s, Herculet Fu'-ns^ where he introduces R^age^ whom I;« by Juno's Order leads on the Stage, that fhe may take Poffeiiion of Hercules. That Monfter ap- pears with an hundred Heads, round which are a thoufand Serpents hilling, for 'tis thus the Chorus ipeaks, fhe made alfo a very wife and (enGble Difcourfe, with (b much Reafon, as can never accompany li^^^e. However, after this fine Speech^ fhe remembers who fhe is, and doth fome things worthy of herfelf, for Hercules kills his Wife and Children ; and furely nothing can hi finer than the relation which is made of the effefts of that Madnefs ; but the beft thing in the World would be fpoiled by fuch an horrible fight. Se- neea has handled the fame fubje61: as Euripides^ and if he did not know how to chufe all that was fine, he hus prudentlv avoided the Monftrous : Hc?'C«/ffj might grow Mad, without 3uno\ taking fo much pdins. Tjs doing too much Honour to Mankind, tn think there are fo many things Re- quifue to make them. Fools. y. For Ariftotle'i" Art of Poetrf, 259 y. For Tragedy is not made to give us all forts of Plcafure indijjcrcHtly^ but only that Pleafure which ts proper to it.'} All things in the ^^^orld are ap- propriated to fbme certain end, to endeavour to ufe them for ^iny other, is to deftroy their Eflenoe, and to bring them into their firft Confulion and Chaos. This is no lefs true in Natural, than Moral Phi lofophy. 6. The Pleafure is that which by Imitdticn produces CompaJJion and Terror.} Plato has proved very well in his Philcbiis^ that all the Pailions give Men a certain Plcufure, and that they are all mixed with fomethtng that is both agreeable anddifagreeable ; but this mixture is diftercnc according to the diffe- rent Nature of the Pafiions. That which is pro- duced by Terror and Companion is not like that which proceeds from Anger and Revenge. PUto cxprcflesthat mixture which proceeds from Tra- gedy by yofi^wjii vX'.iXTi. They Weep Smiling. This therefore is the Pleafure, which we ought to expe6l from this^ Poem, 'tis the Terrible and the Pitiful which give it, and not the Monflrous and Surprihng. 7, And confequently it k Evident, that the Poet ought to produce that Pleafure in us, by the means of thofc things which he I{eprefents.'] This Concludes equally againfl: thofe, who endeavour to give this -Pleafure by the means ot Decoration only, and thofealfo, who mixMonftrous and Supernatural Incidents in their prices. CHAP 2 40 Arift otlev ^n of foetry. CHAP. XV. What Incidents are ten tile and pitiful^ How the Poet ought to hehave hitnfef, that he may not change the commonly receivd Fables^ in what is Principal an J moft Jffe^ing. Three forts of cruel Anions, and which of them agrees heft with Tragedy. Thedefe^ of thofe cruel Anions which are defgnedly hegun^ hut not fimfh^d. The Rarity of the Suh- je^s of Tragedy^ and the caufe of that Rarity, The Slavery of the Poets, i: 'TICT'^ \N\\\ (a) endeavour at pYefent to ejla" V V ^^'S^i what Incidcncs are terrible or pitiful, (b) Whacfoevcr happens is eichcr be- ^r (a) Take, W '27; wcepry thttt. tween ArlftotleV Art of Poetry. 2 4 1 tween Friends or Enemies, or indifferenr Per- fons, (c) an Enemy who is kill'd bv,orkiJls his Enemy, excites no other pity than what pro- ceeds from the Evil it fclfj 'tis the fame with indifferent Perfons, who kill one another. Bur when fuch misfortunes happen arriong Friends, as when one Brother kills, or, is {/) kili'd by his Brother, or . a father his SoHj 01* a Mother her Son, or the Son his Mother, or do any fuch like (hing, this is '^hat fhould be fought after. 2. And for this reafou, thofe Fabfes which are received ought not to be change(5. For Examfle^ (e) Clytemnefira muCf be kill'd by Oreftes, and Eriphyla by Alcmeon. But the Poet /:>/w/t'/^ ought to invent it, in (/) ma- king ufe of the^e receiv'd Fables {g) as i\c fhould do; now we will explain what we mean by making ufe of, as h^ lO^ould do. 3.' We may reprefent Actions which aVe <3on<^by thofe who a(!t with an entire Know- ledge, and know what 'tis they do, this w^s the Practice of the Antient Poets, (/j) tu ripidcs /o//oai^£^ it^ when he rcprcfcnttd M-.- dea killing her Children. ^ (c) If an Enemv kills anlnemy mth^ng :>i*:\d .tr; I'iv to/ ;//f ht liiis it, or is about tt do it thari, &:c. {(() 4(>Qfit to hiu (O/./i/. (/) And. (i^) Well A» • C Q^ ^ we 242 Ariftotlej Art of Poetry. 4. We may alfo reprefem the Alliens of thofe who don't know the fi) Cruelty of the A6lion they commit, and who, af- ter the doing it, come to remember the {k) Rebtion und Friendjbip -which was between them^ and thofe on whom they were Reven^d^ as Oedipus in Sophocles. *Tis true that in Sophocles that A6tion is out of the Tragedy. But we fee the Death of Eriphyla hy Ale- meon, in the Poet Aflydamas and the wound- ing of Uljfes by Telegoms^ in the very Afiling of the Tragedy. 5" . ( / J To conclude, we may manage it fo, that (w) a Perfon that goes ignorant- \y ro commit a very great Crime, may re- col!t6l himfeif Ijeforc he puts it into Exe- cution. 6. If we take due heed, there Is no Other way than thefe there, at lea(i which are proper for Tragedy, For 'tis neccfTary that an Adli- on be done, or not done, and that b»th of them happen by thofe Verfons who A61, either Ignorantly, or wich an f»firf Knowledge, and deliberate purpofe. n Crutl ylEiion. (k) Iriendjhi'p. Mtrc'/uer, befidts theft there is a third, (m) When. 7. 'lis * Ar ift Otle X Jrt ^of Toeiry, 2 4 1 7. *Tis true that this Includes a fottrth fort of manner^ which is^ when any Pci fon goes to commit a Crime voluntarily, avel-iviUhglyy and yet does riot execute it. But this manner is the very 'worfi of all j for he/Idss its being horrible, , *tis not Tragical, (w) fince there is nothing affecting in it, and this is the Reafon why the Poets liave not follow- ed it, or if they have, 'twas Very feJdom. Sophocles msdt'uie oi it once in his Antigone^ where H*cVnori dre-w his Sword againlt his Father Creon to kill himo On theje Occajicns, '*£wete better that the Crime was Commitied, -0sjn the frjl m tinner. 8. Thefecond manner is yet preferrahle to thk, I mean^ ( 0) when he who ConVmits ihe Crime, Commits it ignorantly, and remem- bers what it is after he has'Commirtcd it j for then the Adion has nothing that is fla- gitious in it, and the Remembrance (f) iV -very Pathetick 9. But the (^) third is vjlthout dou'ht ihc bcft of all thefe frianmrs, and which EuripidcS has followed in his (r ) Crcfph^nces, where Merone (j) remember'dher Son, in the vcrj/ moment fhe went to kill him, and in his Ifhi- genia ( t ) when the Princefs remembci'd h.r (n) And wants P/sffon. (0 ) 'Tis better. ( p ) Inducts T.rror. {([) Laji. {r)jisinthe. { j ) iVas gdngtg kill her t^m^ inx dia it not. ( t ) The Sijier tht Brtthtr. ^ (Q.i) vUr, 2 44 AniXotlc s Jrt (ffoitry, iher, as ftie was going to Sacrifice him. 'Tis thus that Vhrixus in Helle remembred his Mother, juft as he was going to deliver her to Ler Enemies, 10. («) By this *tis eafy to know, that there are few Families which can {uxmihgood Subje6ls for Tragedy, as I faid before, the reajon of-ivhich is^ that the firft Poets in fearch* ing for Subjects, did not draw them by their A^, but ( x) borrow'd them from Cbanccy ■whofe Cafrices thty have follow din their imi» tat'mn^ and {y) this is the reafon alfo, why the Poets, at this day^ are forc*d to have rtcourfe to the fame Families, in which /6lf ine is very confiderabk, and deltrves to be' S.udied with great Appli<;i- tion. . ■ , If. iVe may reprefent ABionSf which are done hy thofe who AH with an entire knowfege.^ and know what V;> tbey do.'] An Adion is finifhed or not finifhed, ' ■■ ■ 'x ' an4 ArlftotleV Art of^eetry, 249 and that by thofe who cither do, or ^o not know what they of R^otrou'^. ^ the Murder of Alexander by Ladifltti, is foliowefl' by the remembrance, and tho' that piece hasoa. other accounts very vConfiderable defe(9;s, yet 'ti* fiever feen without a great deal of Pleafiire. '-^ 1-4. The Death of Eripliyla By 'Alcmeon in the . Poet Aflydamus.[] 'There were two' Tragick, Poets called AJiydamas, the Father and the Son j- fhe Father began' to appear fome years before' Arifiotlii Birth, and the Son was much about the' fame Arlftotle S Jn of Poetry. 2 5 ? fame Age with him. Idon'r know which of the two made Alcmeon: That fignifies little, 'tis fuf- ficient to know, that the Poet has compriz'd in that Play, the death of the Mother, and rhe Son's Repentance ; but that he might not follow the manner of the Ancients, nor draw on himfelf the fame Reproaches, which /Efchylm Sophoda and Euripides had done by not fufficiently Study- dyiug Nature, in making Orcjles ftab his Mother, with a perfcd Knowledge and premeditated De- fign ; he rnanag'd his fubje6l after another man- ner, in feigning that Alcmeon did not know his Mother, when he killed her but afterwards he remember'd who {he was. This change is very remarkable, for it fhows us, that notwithftanding all the hatred the Athenians had to Kings yet they were ihockc at the Barbarity, wherewith /EJchylm, Sophocles and Euripides made Orcjics ftab his Mother Cljtemnejira. ij. And the-H'ounding of\l\y({ei by Telegonus.1 Telegonus was one ofvijjfes's Sons, whom he had by Cirirf, when he was grown up he would go and fand his feather, he arrived at Ithaca, where he took fome Sheep for his Retinue to eat ; the Shepherds put themlelves into a pofture to refcue thetn, one went and told ^/^/Tw, who came with his Son Telcmachw to repel the Stranger Telegonus, who in defending himfelf Wounded Vl^Jfes, not know, ing who he was. You may fee the HiRory in Hygmus^ DiHp and Oppian. Many Poets have brought this on the Stage, and all under the fame name, Vl^jTes funded, becaufe he did not dye till three days after the Wound. I^. To Conclude Vfe may Manage it fo, that a Per, Jon who ^oet ignorantly to Commit a very 0reat Crime, ^^yrecoUea himfelf before he puts it into execution.-] i his IS the third manner which he will prefently pre- l$2 AriftocIeV Jrt of Poetry, prefer to the other two, 'tts when a Perfbn goe* to Commit (bfne great Crime agajnft anorher, whom he does not know, but remernbeis him a moment before the execution of his defi^n, andt lb proceeds no farther, 17. 'TVi true^ that this includss a fourth fort of tdinner^ For Ariflotls proves elfewhere, that thefe four Terms, To do^ not to do, to know^ not ta /(now, ought neceffarily to produce four manner oi A6lions, /i/7/?o/'/c's Interpreters have explained this method very largely, and particularly S^imfli- cius. iZ. PVinch is^ xvhen any V erf on gdesto Commit 4 Crim;^ Voluntarily and PVittingly^ and yet does not execute it \ but this manner- is the very voorjl of them all^ 'Tis with a great deal of Reafbn, that Arifiotle Condemns ihis fourth manner ; for 'tis Con:pounded of two contraries without any mid- dle which fsperates them, to do and not to do, which do not cofiftkute any A£tion, and conlequently is very itWproper for Tragedy. Mr, ConteiHeLys, that if this Condemnatron was not modified, h would extend too far, and not only include the Cid^ but Cinna B^dogune^ Heraclius and Isicomedes, Let*s fay then, fays ne, that it ought to extend ta thofe only who know the Pcrfon whom they would de- Jiroy^ andretrat} it, by a Jingle change of their 14^11, without any notable Accident, which obliges them to it, and without any want of Power on their' part; 1 ha'Off already taken notice of that fort cfVnraveliing^di Witi- ous ; but when they do all they Can on either fide ^and are hindred by fame Superior Power from obtaining their e?ids, or byfome change of Fortune that deflroys them, or reduces them under the Power of thofe they would dcjiroy, "'tis out of doubt that would tnalic a fort of Tragedy perhaps more fublime than thofe three Arifto- tle approves of &c. This is a very confiderabk diipute^ both in re(pe^i to the Parties, and the mat- Ar iflotleV Art of Poetry. 255 twatter difpurcd of j one ofthegreateft MaftcrsoT che Stage, difpures againfl: the Mafter of the Rules of Dramacick Poem, and the difputeis to know, whether a Cruel A in tlie definition ot it, all the obftacles which Mr. Corvcflle can imagine -to hinder the effefting any thing as greater Force, or Ibme change of Fortune can never change the nature of that A6lion, and reuder it perfedi ; therefore it cannot be the lub- je6i of this imitation, and conlequently muft be vitious ; the only difference which may be, i.^, that it is more or lefs Virious, according as it )« placed in the P)iy ; if it 4s not the Principal Ac-ti*^ on, but only an Incident, as in the Ariti\{07ic c,i Sophocles, and in the CiV^ 'tis not(b bad, but if i;C is the principal Action, and makes the fubjcct, as in Cintm And isicomcdcs, 'tis entirely Virions, .or ;^li /irifiotlc'^s Priatiples ar^ falf.e. The only Thing 2 54 Ariftotle'j Jrt of Toetfy, Mt. Corneil/e feems to be in the right of, is, that when thofe obftacles which make an A£lion im- perfect, cauft thofe to perifli, who would have committed that Action, and (ave thofe whom they would deftroy j that Action may indeed be the fubjed of Traged)^, provided it has all the other neceffary qualifications, but 'tis not the more per- fect forihat, it makes a double or compounded Tragedy, of which we have already (poke, and' which is ib far from being of a (brt more fiiblimc than the reft, as Mr. Comeille pretends, that Ari- ;2o^/tf has proved it has only the lecond, or perhaps the third place, 'tis this alone, which can excufe the A(Si:ion of his Heracliw, and that of his i^ot/a- guncy which are faufey iti divers other places. • ■,'^y hi. -^"■->' "^'^ ''■''"> 19. For hejide its being hbrrible and flagitious, *tH not Tragical y jince there is nothing 'Affcfiitig in >V.]] Thole A6tions which are not finiffied, are faylty, not only becaufe they iare imperfect y but becaufe they do that which they ought noc to do, and don't do that which they ought to do; they do that which they ought not to do, in (hewing to the SpeSlators the Barbarity of a Crime; that is by no means proper for Tragedy, which as has been fliown already, admits not of that which is Abominable and Flagitious, and they don't do what they ought to do, becaufe they have tiothing Tragical and Af5e'; 24^ AriftodeV Jrt of Poetry. poilodoriiSf one Crefpbomes of the Race of the Hera- elides, who was King ot Mejfene^ and who Mar- ried Merope, by whom he had three Sons. This Crefphontes was killed with two of his Children, Poiyphontes,who was alfo oi the Her acl ides fucceeded him, and Married Merope ; this Polyphontes was <31ain by Crcfphontes's third Son, who by that means regained his Kingdom. 'Tis certain that Euri~ fides drew the Subje6t of his Tragedy irom this Hiftory, I remember I have Read part ot a Frag- ment, which deferves to be repeated for the Beauty, and the Sence which is in it. 'Tis Me- rope (peaking of the Death of her Husband and Children, who fays, Fortune hath Taught me to be PVife^ and take Ihofe things for Ills xvhich Jhould me happy makp. 2.4. And in his Iphigenia, vehere that Princcff remembers her Brother^ jufi xvhenjhe vp as going to Sa- crifice him.^ 'Tis his Iphigenia J:aurica^ we muft remember that Arijiotls praife/only the Remem- brance in this piece, and the manner ot Euriptdes ipanaging it, to prevent the Horror which Iphige- ■nias Sacrificing ot Orefics would have caufed, if (he had actually done it, and truly Euripides is to be commended for preferring the third manner to rhe fecond on this occafion ; but otherwife the conftitutionof this piece isnot what Arijlotlc would approve of. ay. *T« thus the Phrixus in Helle, remembred his 2Aother, juji as he vp as going to deliver her to his Ene- mies^ I believe this w;is alfb a piece oi Euripides, I don't know the Subjf .SI, but only that Phryxus and HeUe, were the Children of Athamoi and I^ephele. Apollodorus gives an Acconnt of rheir Ad- ventures ; but there is nofcircumftance from whence any hint c;m be talcen, to conjetfliyc, how 4^hrixus could be brought to the neceiTity of ^ deli- Ariftocle'J- An of Poetry, 247 delivering his Mother to her Enemies without knowing her. 2.6. The R^afon ef which «, that the firjl Poets in their fearcbivg for Suhjcth, did not draw than from Art, hut horrovped them from Chavct\\ Ke throws the fcarcity of the Subjc6}s of Tragedy on the firfl: Poets, who inftead ot inventing them to fur- nifli the Stage, v/crc contented to rake only thofe which were known ;; and took from Chance that which they ought to have been obliged to Arc for, afterwards it was difficult to overcome and fres themfelvcs frum that Servitude, as he goss on to explain. 2.7. T/;/j is the reafon nlfo^ vphy the Poets at this day, are forced to have rccourfe to the fame Families^ in which Foytune permitted all thefe great misfortunes to happen.^ Ariftotle fays in the Xth Chipter, that the Poets may invent new Subj.'6)^s, and thnc 'tis not necelfiry to adhere Icrupuloully to thofe Fa- bles, which have been always received, and from which Tragedies are generally drawn. If that Liberty may be ufed, from whence comes it, that Ariflotle fays ht^» that tlic Poets are obliged to have recourfe to thofe few Families ? This ftems to be a fort of Contradii5tIon, but is really none ; however, rightly to undcriland this matter, 'tis ncceflary to have recourfe to the Origine and J^rinciplesof this Art, Ariftotle m;'uns, that the flrft Poets negleiiing to make ufe of the Priveleges of their Art, which permitted them to bring feigned Adventures on the Sruge, provided they did it under names that were known (as in EpicK PoemJ to render them more probabie, bur they took alio known Adventures with their Nanies, in- fomuch, that the Poets who followed, durl]: noc take the names only, but obliged themfelves to take the Adventures too, fur as all the World knew, what thofe Men of g'-cat Reputation had done, tha: was Tragical and Ex'r.. 01 din.try, they yere afraid, that if they fhould attribute new * ( R 4 ) ■ " A6tion? j?48 Arlftocle'j Artoffoetry] Anions to thofe Men, the Publlck would noc believe thofe things which were really true, and very remarkable : but of which Hiftory and Fa- ble fhould not think it worth while to take notice, and that they rnight preferve in their Pieces, that neceffary Verityv-Similitude, and Air of Truth, they Religioufly followed the fteps of the Antient Poets,andCuflom impoftd thisLaw on them.whofe Yoke they have not yet had the Courage to (hake off, by inventing not only new Subjedls, but new Perfons asthey had a mind to, y^yjthon has done it with very good fuccefs, and that is (u^cient to encourage them to follow his ejcalraple. • This is the explanation of this paflage, which is fb far from prohibiting the Undertaking what Fortune has not afforded ; to produce new Subjects on the Stage, independent from her, as Mr. Comcille ,\vouldhave it. Thacon thecoritrary, it confirms all that Ariftotie faid of the Liberty granted to tlie Poets to invent both Things and Names ; and Avhat makes this pafl.ige yen more confiderable, is, that it informs us that the Poets did not ufe that Liberty, and that all their pieces were takcn^ o;jt o'iiht Grecian Hiftory or Fabi.^s, wliich proves that Euripides did noc invent the Subject of his Jfbiienia Taurica, nor of his Helene and his lorty for if he had, Ariftotie v/ou\d not fall to have done him the honour to mention it. lS. This is enough ontheConJiiiution, Nature nnd Quality of Fiibles^ or the Subjccls of "Trngedyi^ Ari- Jiotle talces care to give notice of the matters he fpeaksof, that the order he keeps, may be always taken notice of, and what follows, niay be not confounded with what precedes. This Suramary comprehends the nine precceding Chapters, for he began at the ych to treat of the Coniticution of the Subject. Thefe Things being explain'd, we'll fee what the Conftitution ofthe Sybjedt ough: to be, fince It is the chief and principal part of Tragedy. AriflodeV Jn ofToetry. 245^ C H A P. XVI. iVbat Manners are in tragedy^ and the jour Qualities they ought to have. How the goodnefs of the Manners ought to he iHh deKjk/l. Euripidcs'^f tranfgrejfwns agairifi the Manners, necejfity and prohahility r>iuft he followed in the Manners^ as in the Suhjcit ; what the unravelling ought to he. Of Machines y and ichen they ought to heufed. A Ruts pf ^xiOioiiQs which is too rigorous. The Fitious unravelling of the Medea, and the Nature of the Greeks. How Incidents without any Caufe may he permitted in Tragedy. How a Poet majt and ought to keep the Re' femhlance in aborning it. (Vhen, and how the Verifi'militude ought to he preferrd to the truth. The Ingenuity d. 2 JO Avidotlc s Jn of Toetry. and bad if it be bad j and rhis goodnefs of Manners is found in all conditions. For a Woman may be {b) Good, and a Servant maybe Good^ tho* the Women hich aregoodoragree(ikley as hath been alrea- dy faid. 4. To Conclude, the fourth is, that they be equal, and if the Original, from whence our Imitation is taken (ej be unequal in its Man- ners. We ought to make them equally un- equal, tho the whole Imitation. ^. We offend againft the Goodnefs of the Manners, when they are not neceffary. Such are the M/w«f n 0/ Menelas, ( f) mthQ Orefles of Euripides. C. The Lamentations of XJlyJJes in the Scylla of the Voet, and all the difcourfe of his Menu- lifpe, in the piece which bears that Name, offend againft the agreeablenefs, for there is nothing more indecent. (b) Is. (d) To be Terrible and Valiant are the Manners of Men, but don't agrie vith * Wtman. (e) Be Sttbje^ to fuck Maanm.. (f) As. 7. That Ariftotle s Jrt of poetry. 2 5 1 7. That Voet has alfo offended againft the equality of the Manners, in his Iphigenia ac ^uh. For the fupplianc Ifhigenia^ whom -we fee at the beginnings is not (^) that COUragCOUS Jphigetiiay which We fee at tlie end. 8. As in the difpolition of the Su^e^!-, fo in the Manners we ought always to feek the neceflity, or the verifimilirude ; fo, that (^h) things happen neceflarily or probably. 9;/Tis therefore evident^;' f/&«r, that the unravelling of the Subject ought to be taken from the Subject it fclf, without waking uje of any Machine, as in the Mcdea^ or as in the Iliad upon the return of the (i) Grecians. If a Machine be made ufe of, it ought to be out of the A6lionof the Tragedy,either to explain fome things which happened before, and which 'tis iinpolfible for a Man to know, or to inform of fome thing which will happen, (^) conceti jng which 'tis necelfary to be inflru6t- cd, for we (/) are all perfwaded, that the Gods can fee all things. 'Tts abfolutely necef- fary, that amcng all the Incidents which com- pofe the Fable, no one be without Reafon, or if (w) that beimpoiTible, it ought to be[o ordered^ that that which is withcut Reafon be always out of the Tragedy, as Sophocles has -prudently obferv -J \x\ his Oedipus. ! ■ ■ ' ' '^ ■■' - {g) is mtllke what jhe appears afterwards, (h) The Perfon fpeaks or not, re hat is ftecefary o:- probMe, and that one thinr be after another projah/y or hcc^Jiarily. {!) S^iilhtg back. (A That want Preduimier a M:pge. (l) Attribute to t^e Gods the power (jlecmgiiU. (?n) Sot. 10. Since ~^ 5 2 AriftotleV Jrt of Poetry. lo. Since Tragedy is an Imitation of that which is mod excellent among Men; we ought to imitate good Painters, who in giving to every one their true form, and making them like, do reprefent them handfomcr than ihey arc: The fame muft be done by aPoct, who would imitate a Palfionate and Cholerick Man, (n) or fome other fuch like Chara6ter, in fctting before our Eyes what fuch Anger might probably produce, rather than what it actually did j 'tis thus, that Hbwfr and A- gatbon have formed their Charadter of AchiRes, 1 1; All thefe things muft be obferved, and befidesthefe, allthofe wiiich {o) thetwoSenfes require, ought to be fatisfied, which are in- feparabiy from Poetry, andtbe enly Judges of it, for it happens, that Poets often err (^) in that refpedt ; but have faid [enough of this in the Treatife which I writ on this Head. (n) See the remarks on this fl/ice. Mr. GoulflonV Edition dttl» rut agree with Mr. Dacier, hut with VitSDrious, ^c. {o) Belong to the two Senfes. {f) According to them. REMJRKS on Cba^. XVl LCT^He firft^ find the mofl important ii^ that they he good. There arc Manners in a. Difcourfe^ or in an Aciion, as I have already /aid ; vfben both of them maks kjioxpn^ the Inclination or R^folution, fuch di it is. Lad if it be bad, and good if it he good.^ There is nothing in all this Book explained more clearly, than this firft condition of the Manners, That they he good, neverthelefs fome have bte'n de- ceived, and thought that Arijiotle would have them be Virtuous, Mr. Qorneille has very folidly refuted that Avliiotlt s Jrt of Poetry. 253 thatexplIcadon,.v/nich would equally Condemn ail the Antiv-^nt Poerrr;, as well Epick as Tragick Poems, in which are lound abundance of Vltious Perfbns, and he fiw very well, tdat we (liould feek for fiich a Goodnt ft, as was Compatible with A6Hons Morally Evil, and with thofe which ar<*" Morally Go>'i:^ • bui' his is what could never be found, the Fx/j: -latiun whu:h he gives to rhefc Words oi Anju '■ o 'ng no ')..'Ctcr chin that of the others, As for t7is, ' s he, I h^lieve that "'tis the fhining ChntA^er^ th... oihnnces a Virtuous, or a Crioiitml H.ibit^ according rs 'tis proper and agrcct- ilr. to the Pcrfon who is introduced. This explication would not only damn a great many Chambers, which the Anticnt Poets have made, and which have neither that greatnels of Soul nor Elevation, which Mr Ccrjtcille requires ; but 'tis certain alfo, that this Qjality woLild not agree with two of the others, vi:(. the likenefs and agreeablenels, 'twtfuld be of no advantage to repeat all the other explana- tions which are made of , this place. What -4r;- Jlotle ftys, That the Manners ought to be good, is what Horace has thus Tranflated Notandi Junt tibi mores, as I have explained, that is, That the Man- ners be voeU adapted. Whether the Perfbn intro- duced be morally Vicious or Virtlious. Arijiotle himlelf explains this very clearly. There .ire Man- ners in a Difccurje, or in an Atlion, when botJ: one and toother, make kjioven the Inclination or ^folution, fuch di it is, had if it is bad, and good if it is good. The Manners will have this goodne(s of which we now fpeak, if they rightly denote the RefQlution, which he, who fJDeaks will take, whether it tends to Good or Evil; that is to fay, if they are well adapted and well exprcflcd, for a greater elucida- tion of this matter; the Philofbpher adds, and the goodncfs of Mantiers is found in all Conditions, for a Uf^omnn may he good, and a Servant 7nay be good. That is, that the moft vitious Charaders, as thole of Servants are capable of this goodncfs, and con- faquently this goodnefi doth confift in denoting truly 2 54 Ariftotlc'J Jrt of Toeiry, fruly their evil Inclinations ; 'tis notar all neceffary* that the Heroes of Poems fhould be Virtuous ; the moft Vitious as Achilles^ Tumuj, Mc:{entius, are aS regularly good, 2iS^neas and Vlyjjes. The Author of the Treatife of Epick Poem has handled this admirably well ; there is nothing more judicious than what he has wrote, and he haih taken Arijlotle for his Guide. a. Iho the f^otnen, are generally /peaking, rather had than good^ This paffage is no more favourable to the Women, than that of Solomon^ who fays itl the Ecciefiaftes^ that he found one wife Man among a thoufand, but not one wife Woman among them all, Virum de mille unttm reperi, midicrem ex otnnibus fion Invent: The Philofbpher affures us, that they are Subje6t to more Vices than the Men, by rea- jfbn of their natural frailty. ^n'/?(?#/ be found, in the known than in theinv/ented Charaders-, there murt be then a more efTrntial difference ; The Alanncrs which ari like, (^(ii)S A- Jl or l.) are thofe which wc have, and ivhnh Fiinie has (pre *d ahroudof thofe P^'^fons who are inirodncedon the S: age, and the agreeable Manners art thefe, which agree with the Chjraclers of thefe Per/orn. By this tis evident, that Manners may be made l.ke and not agreeable, and agreeable yet rtot Ike. If Ireprefentan Emperor who is defa.nd and Vilified by fordid and pittiful CovetouruelV, I Q.o'uld 342 AriftotleV Art of Foctry. give him Manners like himfelf, if 1 ftiould make him z^ and difcourfe conformably to what was really true of him :> but thole Manners would "by no means be agreeable, for nothing tan be more indecent and unworthy of a King. On the contrary, if llhould make him Magnificent, and Liberal, I fhould in- deed give him Manners which were Agreeable, but they would not be Like^ fince they would be con- trary to the opinion which was commonly received of him, what wud be done then, that we offend nei- ther againft the Agreeablenefs, nor the Likcnefs, in the Charader of this Emperor ? we^mulldiflemblc his Avarice without changing it into Liberality. And 'tis thus Mr. CVw 7/f has u fed it, in his HeracUuSy in the Charader of the Emperor Maurice^ as the j^uthor of the Tieatifeof Eplck Poem has lightly' obfcr"ed, he very judicioufly fuppreflcs this evil In- clination m Many ce^sshiolx was not Agreeable, and yet does not attribute the contrary to him, which would be Unlike. To render this plainer by an Ex- ample which is greater, and more Known •, Homer Lis reprefentc- tb^ Gods with all the Paffions ot Men •, he has not oifcndcd againft die Likenefs ^ fincc h loys only, what Fame bad publiihed, but he has offended ?gainft the Agreeablenefs fince he attributes thoL' Paffions to them, to which Men alone are fub- jeft •, neverthelefs PLt« and after him, Prodas, have called what Hoir.er fays of the Gods, divafju'iai /m/^*»- a^-^ctt to imitate irregiiLarl\ ♦ but that is not with re- lation to tlie Idea, which we naturally have, or ought CO have, of an infinite^ immortal andalmi^- ty Being. 8. To comluds the fourth is, that they be equ-d-'] This is what Horace fays. Servetur ad hnum Quails at> Jncxpto yrocejferit^ & jihlCo^jjiet'^ A^ you begin, fo keep oa tp the end. At AriftotleV Art of Poetry, 243 At the fame time a Poet offends alfoagainft this laft fort of Manners, he offends alio againft the fit ft and third lortsj for if the Manners be not equal, they cannot polubly be either agreeable or good. 9. And if the Originaly frdtft whence ^nr ifnitaticn i J taken, be nne^ual in its A^anvfrs^ Tpeon^ht to mnke them alfo unegH>il,thro the whole .■fniration.'J^s wh.it he hath faid of the Manners being equal, might deceive fomc People, and make them think, that they ought to make the humours of the Per Ions always the fame, without any variety. He rakes care to inform them, that fuch a variety is confiilent with the equality he fpeaks ot, provided t'hat it be in the Original, which the imitation is of, and thst they be equally unequal. Children and young People are unequal, a Poet onght then to reprefent tliem unequally, and he will not err againft this fourth Rule. If that inequality be through the whole Charader, Equal and Like, Ti- feliiHSj Mufitian to Afgitjiits^ was the moft Uneven ^erfon that ever was •, Nilfuit ttntjuamfic impar fibi^ iays HoTAce •, 'twould be againft the Likenefs, to re- prefent them always in the fame Manner, and in the lame Condition. They muft be made Unequal then, and he equally Unequaffrom the beginning to the end of the Poem. 10. We offend dgainfi the goodncfs of the Manners when 1 hey are not necejfary.'i After he has explained the four qualities of Manners, he gives fomc Exam- ples of faults which have been committed againft them, what he fays here, concerning their goodncfs^ (Bay fuffice to (hew all his Commentators, that that goodnds doth not confift in the Virtue, but in the txpreftion •, and that 'tis not a Moral, but a Poeti- cal Goodnefs^ which confifts in expreffing the Man- ners, and fo well making them known, that we may be able at the fame time to perceive what they will produce. Tbofc Manners which are Morally good. Q. 2. roay 244 A-iirotlc^' Art of Foetry. may not be neccfTiry , and then, as Jrifiotle fays, th/y are iririous :, if the- Goo inefs of which he fp-'aks were a Mm al Gooinefb, |heii ihey might be both Mora'iy. Qyod and Evil at the fam^ time, which is cont'adi(!^.o?-y and impoUiHle ^ without flaying lon- g r ■ >n a thing; which is fo clear., kt us fee, how the Mann.rs which are jbt niccff^^ry, trcfpafs agaiiift this Gqo hiefs, and 4:hat is not difficult to ThoW. That the Manners of any Perfon may be good, they ought to kt us forcfee what refoku ions that Per- fon will take ; thofe w; ich arc not neccfliiry, offend dire^^ly again ft this Good'ieis Artftotie ipeaks of, becaufethcy can niMth:r be forefeen.nor bethcconfe- quence of thofe which w^.- know^and ihcnfore cannot be Agrefjable or Equ il, for we'carmot offend againfl: this goodnv-'fs, without trerpalTlngon the other three, of which this is the Bafis and Foundation. The Fx- ampk which Arifiotle produces will make it more plain* II. Such are ths 71/^wr/m of Menelas in the O- relies o^ Euripides] AfeneUi arrived at Argos juft as ih:y were going to Condemn O'ffies to Death, O ^fii r l\)pe, that the Arrival of his Unkle would fcj;vhin from that danger, and truly the Manners which Er,r p. f.vthcn gives him, would make us think th.the wijuldnotfo liikrhis Nephew, for he fays, th" his Calamitv and Diftrefs obliged him to take thjmo e ca e of him ; and when T;7.-^7;«/ preiTcd to tiavc rhe Pr'nce executed, that ho might revenge the Death of his Daughter Clytcmrcjhj^ he tells him rh,(t 'ms long ibv among the Barbarians, had made hi.n one too- -UrneUs an(wers, that he aded in that according to the Greciayi Education, who ai'vays ha i great- confiderations for their Relati- ons, and thought ihemfelvcs i-'bliged to do them al! poltihleSeiVtce, Nav, he was fo tranfported as to tell Twd^fTHs^ that Ai-ger and Old Age made him a Fool. Thus are the Manners of Aierulas well denoted, a.l r Lathe fays is Orat.o A^orara, a Alord Speechy Ari ftoti'? V />>/ of Poetry: 2^^ F'p^rch^ and fcem toit'tiimte that he will take a re- lulutifn iioreeahle to them- Bat rhisiscontradift.d the n Yt in tlie Goodnels they ought to have, for the Chara(?ter of that Princels, tiM th.n, madefomething ^lle to be eKpe(^ed, than fuch an" horrible Propo(al. The way by which Mr- Cormilic endeavcurs to juftiti^ it, does not do it, and only ferves to rendei it moreoJious. 1 2. T^e hvipmniorifo' Ulyires •« the Scylla of the r.-jme Poc'^ nnJ all the difcoMrfe &/ his Menalippe, « . he pure which hears thn Namr^ cjftnd ^igairtfi the A- rrfenbhyiel:^ for there is- /iothing nirre iviercnt.'] \Vc have neither <-'f thefe pieces, fo 'tis difficult to t'U the (iibjedscf rhem. 'Ti>^ prob.\h'e that the lam.n- tations of Vhf]' > proceeded from hi* fear of hi> be- ing idevoured by that MonlKM-. .Such lame stations are nidecent in a Man of vSpint. As for what ic- fpcds yl'r?7aippe^ the indeccnce which A' .ftorle tixkci notice of wif?, that (he laid before her Father all A- r :ixngor as\ Opinidns in Natural Philofophy, to pievent his burning two Children, which he had" found in his Stable, and took for Moni-ters brought forth by (ome of his Cattle, ni)t thinking that they were two Children which his Dau^hrer was newly delivered of, and pur into the Stable to hide her ilnme. All ibcfe l-'h\rical realonings, to prove that a Child might be born ot a Beall and not be a Mon- ifer, are in no wife agreeable to a vourgLady, but very unbecoming. And as the Cruick^ have wtU Q^ 5 obferved 2^6 AriftotleV Art of Foelry. pbfervcd, Euripides is often guilty of this fault- y^ri- fiotl blames only A^m/«//pptf s Charafter,but Dionyfu us HalicarnajfsHS who fays a great deal of this Play in his firft and fecond Treatife of Figur'd Difcourfes, gives us an occafion to difcover two other very con- fiderable Defers. The firft is, thst Furipides has defcribed himfelf under the Perfon of MenalippCy and that he might honour his Mafter Auaxagoras by Shewing that he was his Scholar, very impertinently tells, that famous Opinion which was not known in the time of Mendlppe^ That all things were in coyifnfwn- The precaution which this Poet had taken to render this Philofophy probable, in the mouth of a young Princefs, in calling his Piece Mendippe the Thilofopher, Mgj/aAiTTw *-o:«, and making her fay, that what ilie {pake on this occafion /he had learn- ed of her Mother, doth not excufe him. The other fault is yet greater than this, for by that be has de- bafed the Majefty of Tragedy, which does not al- low of Philofophical Difcourfes, which Comedy may indeed ufe for ridicule. Euripides was guilty of this fault, by following the Comick Poets too near- ly, he has a great many good things, but did not always confider that Comedy and Tragedy are Po- ems very different, and that what agrees with one, is not proper for the other. Dionyfins Hdlcarnaffe- ks fpeaksof this piece, only to fliew the Ingenuity of the Poet, who found out a way for MenaLppe to tell her Father her Story, for after /he had run thro' all the Arguments (he could ufe, to fave the Chil- drens Lives, /lie adds by way of Advice ^ but fuppofe fame young Woman ^ who has had a misfortHne^ jhonld have expofcd thefe Children^ to hide her Jljame from her Father^ vjoiddyon then hill them ? by this means flie fucceeded according to her requeft. 13. The fame Poet has alfo ojfended again fi the e- quality of Manners^ in his Iphigenia at Aulis, jor the fuppliarn Iphigenia xohomvoefee at the beginning^ is mt that CoisragioHS Iphigenia whom we fee at the end.1 This AiiftofleV Art of Poetry. 247 This Remark of Jr'ilaflc^ is e3ftraordinari!\ Ju- diciou.'". When hh gfr.'a embraces ber Fathers Knv s, conjuring him not to dJiver her up to Dc^th, Jhc carries her Prayeis even to meaiinc's and bsfereis, and fliews Tucb h love for Life, as is unwvoithy a Higl. born Prince!-, U^: flie favs, TiKre is nothing Tnec acrce.blt tiiMnofce :::e H^hj! of the Siw^ and ncne but Fools can dfji-e Deatr.'^ meitkit (In- ha<' ra- the; live y7; itnefinly than d'.c f^loritHJly. Afrer which (he makes a rhouf.ind complaints, and calls her Fa- ther ■i/.piour^ but iinT.rdiutely iJiC becomes another Perfon, /lie \jves nothing now, fo much as Glory, and begs ui her Mother that Ihe would let her die, for the lafety of the Creeks^ tht glorious V'idory which her Country was to obtain by her Death, llioQld be to her a Husband, Children and whatever dfc was r.greeablt in the whole World- She defires her Mother that llie would not, put her felf into Mourning, cor fufft-r her Sifters to do it, bccaufc fhe was liappy, and her Foi tune def-Tved rather en- vy than pity. Mr. /v7ri;7c has fucceedcd much better in borroW'ing all the Beauties of Euripides^ and a- voidinghis faults, he makes a noble Character of /- ph.gent/t, always fuch, and without any inequality. Bek)re 1 finifli this Remark, 1 ll.ail make one reflexi- on, which ieems to me very important. That after u^rifiotle hasfpoken of th" fauUs which may be com- mitted againlf the Goodnefs, Agvceablenefs and Equa- lity of the Manners, he fays nolhipgof thofe which may be committed againft the Relemolance or Like- nels, did he forget it? or is there any part of this Chapter loft as rtdorins think? ? Not at all, A ifiotle fpeaks nothing of it, becaufe 'tis next roan impe'jfi- bility to be di:feftive in the Relomblance on fet pur- pofe ^ for if the Charadtrs which are brought on the Stage, are not known at all, or at moft very little, 'tis impolllble to err againft the Likenefs then, be- caule the Poet has liberty to m^ke them jult as he pkafes. If they arc known, there is nothing more eafy than to follow them. St. Chryfoflom however has Q.4 obfervetl, 24^ AiiftodcV Art of Poetry. phkrvtd^thati!y€rchylHs has offended againft thistliiid Manner, in bis FhlloEietcs^ where he makes Vlyjfcs a dull and fevere Man, whereas he ought to be eafy and cunning, according to the Idea which we have of him. Mr. Kncwf has alfo trefpaffed againft the Rcfemblance, in the Charaftcr of his HippolytHs\ for he knows verv well, that he deviated from the truth when he makes him amorous, but to hide the • defeft, and in fome meafure to recover the Rtfein- blance, he gives him a fierce and favpge l,ove, ima- gining that our Stage could not endure a Man who bad no Love at all. However, I would notadvTea- ny to follow his Example-, 'tis of dangerous confe- quence to change known and eftabliftied Charafters. 14. Jls in the d.fpofuion of the S/ibjet}^ fo in the A'fa-fwersy we oi/ght alivays to feek the necf^iry qr the yerifimihtnde. ] After having fet down the faults, in managing the Manners, he tells us intwo word?, how we may avoid them ^ by always following the neceflity, or the verifimilitude. The neceility ought always to precede, that is, we ought as much as we can to make the Perfons fpeak and ad as they would necclTsirily or probably do. A young Man ought not to (peak, and aft as an old one, nor an old Man as a young ^ but as it fometimes falls out that an oJd Man may have the inclinations of Youth, anda Youth the inclinations of an old Man, then the neceffity fails, and we mnft: go on to the verifimilitude. If £unpiJes had endeavoured after the neceility and the probability, he had r>ot fallen into thcfe Errors ^• rifiotle accufes him of Thus Horcxe did not forget to take notice of this precept, when he endeavours to denote its extent, by faying, Semper in adjunciis^ (g.voq\ mcrahitnttr aptif. Still to the Age, ?nd Circumftances keep. Foi AriftodeV Art of Poetry. z/^^ For what he fays fimply irs refped to Age, ought alfotobe me^nt of Sex, Country, Quality, and aH thofe other things by which Men are diftinguilhed. 15. So thjt thirgs hcjip(n ncccftrUv or probably.'] The Probability or the Nea fiity of the Aiannersou^ht to be found in all the Aifl^ions they p:ets conform themftflv^s ra- ther to the opinions of the Ssoicks than oth^r Philo- fophers. 20. 'tiV AriftotleV Art ef Foctry, 2155 21. 'TV J ahfolntely neceffary^ that among all the in" cidents which Compofe the Fithle, no one be mthont reafon''] This is the Foundation of what he hath advanced, viz,. That the Machines ought not to be employed, but out of the Adion ^ for fays he, a* mong all the Incidents -which Compofe the SubjeB^ no ane oKght to be without rcafon : and which doth not strife naturally from what preceded^ what is done by Machine, and the affillance of the Gods is fc- parated from all the reft ; for what the Gods are ckafcd to do, is pure Miracle ^ it is without Rcafon 10 far, as it is above Reafon, and doth not come to pafs according to the natural order of Common E- vents, that is, from the Cau(es which preceded, and therefore ought to be excluded from the adion of Tra- gedy.thib is a fure Confequencc. Plays would be more pcrfed, if this Precept was always followed, but this does not hinder, but on fome occafions recourfe may be bad to Machines, even intheSubjed: it felf, as the Ancii.nts fometimes had ^ for there is a great deal of ditFerence, between that which is without Rcafon, and that which is contrary to Reafon. The latter cannot be permitted upon any account whate- ver, but the former would be tolerable, if it were not abufed. This Precept of A-ifiotk's doth not re- gard only thofe Incidents, where Machines are em- ployed, but e-xtends to all others, of what Nature focver, as the following example will amply demoti' ftratc. Whatever is unieafonable, and abfurd, ought to be out of the Adion of the Tragedy. The fame ought to be obferved in Epopxia^ as he advifes in the 24 Chap, where this Precept is more circumftantia- ted, and extenfive. 22. Or if that be impojfihle, it ought to he fo ordered^ that that which is without Reafon^ be always out of the Tragedy^ as vSophodes has prudently obferved in his Oedipus.] As there are Subjeds which cannot be managed without ufing thefe Incidents, which Ari"- !lotle^3.\\i mthoM reafon^ he fays, that they ought to be y^6 AriftorltV Jrt of Poetry, Nc placed .jut of the Tragedy, that is, out of the A- dion which makes the Subjed of the peice, and macfc ufe of, ;is .Soo'joc/f.r does of that which is rritknutrea- jcn\\^ bis 0,-iphf. Twas without reafon ihat Oe^h'- pii lljould be (olotig iMarried to Jocajl.i^ and not kncnv ill what manner r>rf'//j was killed, and making Enquiry after the Murderers, but as that Subjed^ which is o:herwife the finelt in the world, could not ful-'fiil without that,. Sophocles did not think fit to o- mit it, but hns placed it out of tiTe Adion, which iic has taken for the Subjed of his piv;ce •, that Inci- dent, is re'ated as a thmg already done, and whicli precedes the day of the Adion.The Poet is anfwerable, only for thefe Incidents which enter into theCortipo- f'tion of his Subj:d, and not for thofe which pre- cede or follow it. 23. Since Tragedy^ is am m.' tat.' 0^/ o*thaty which i' jmji excellent among Men^ we ought to imitate good P aimer s>^ who ingivivgto every eue rhcir true form and. waking them ike, do always rep^efepft them hand- forr.er than they are, ~\ T his is a very impo; tant pre- cept, for informipg the Charadcrs the F-'oet muft imi- tate the Pai iters, vvho in drawing the Pidure of any Perfon, preferve t!ie true strokes, which n.ay be cal- led the Charaderiltkk Strokes, for without thiin, there would be no refemblance between the Copy, ?.nd the Originals \ but after that, they don't con- fine thernftlves to the Objcd, bat endeavour to find what will make the Pidure fine^ They give it a graceful tnean, Embellifh it with a good Complexi- on, an 1 a Nuhle Air. To conclude they omit no- thing which can encreafcthe Beauty of the Perfon j without changing the true Features, and altering the Proportions of the .-yhr^pe and Face. The Tiagick Poets ought to Ad after the la.ne manner, and with fo much the more reafon > as they imitate more iHu- ftrious Perfons, fuchas Kings and Piinces, and they may makethem fo nuich finer, as they areexalted a^ ,bove other Men, for thofe Charaders are capable of AfiftotleV Art of Foetry. 27^ of all the Beauty that can poffibly be given them, if they are agreeable to the Truth, and don't defrroy the rememorance. ^riflotle tell us how this is to be done. 24. The fame mufi he done by a Poer^ Tvbo would imitate a Pajfionate and Choleric k Aiav^ or fome other fuch like CharaEler^ in feting before our eyes, what /nch tike anger might probably produce^ rather than what it actnally did."] This palTage has given a deal of trou- ble to all Arifiotles, Cominentatcrs. The Author of the Treatifeof Epick Poem, has taken it in Kictoriuis Sence. The Poet aljoonght to fo>m examples oj Good" vefs or HarJJmcfs, when he imitates a Cholerick and f^lolent A4an\ or Sweet and Epijie, or fome other fnch like Character' And becaufe he was not fatiified with this Explanation, he gives us another in the fame Chapter, When a Poet imitates a Cholerick Pcrjon^ or one who is of a Sweet and ea fie Temper^ or any fuch like Character, he ought rather to propofe models of Goodnefs than Rarjhnefs. Mr- Corneille has taken it almoft in the fame Sence with Robertellt^j, for he Tran- flates it, Thus the Poet reprefeatingCholer ick, or lazy perfons, ought to draw a Lofty Idea, from thofc (Qua- lities which they attribute to them, lo that there may be found a very good example oj Lqivty^or Jrifi^xibili' ty. But none of thefeTranflarions explain Arjloile^s meaning. Mr. Corneille was fo little fatisfied both with his own, and the others , tliat after he had run through ail the different Opinions, he lays, There is 1' cry good reafon to reject all the I e Ir/tcrpretatio/is, when a new one fliall offer, that will plea fe better^ j or the opinions of the n;ujl learned are no Laws. 1 (hall not flick to fay, that having explained this l-^a/Tage, in a Letter, which 1 wrote to Mr. Chevreau, about fourteen years a^o, which Letter was read to Mr. Corneille^ who was very well plea fed to ice the true meaning, of a precept, which had ahvays appear- ed very oblcure, andconcerniniMvhich he could ne- ver receive any latisfac^ion : He'praifed this Expli- cation j for he loved the Truth no lefi when it was T foUUvi 2 74 Aiiftotlc'i Artaf fodrj^j, found out by others, than when 'twas difcoveied by himrelf. Tne obfcority of this paffage is cauTed by .thtk two words, fciBviA©- and iTmUeiA : which were n«t rightly underftood •, I-jtihi^o, fignifies often Pro- bity^ hafinefs^ Goodf/cfs, but it alfo fignifies Verifi- militud-j, as in this place; and eo^9t^z^'9- fignifies or- dinc'.nly a Uz.y^ foftt conAefcendhig^eafie Man-^ but it fignifies alfo a VaJfwnate^Vurious ^^w,and excells the word IfyihQ-^ fee Hefychiusy 'tis there in this latter Sence. Thefe words being rightly explained, 'tis-eafietoTranflate the whole PrfTage. Tis thus Word for word. Thus a Poet who imitates pajjio- ■fjate and cholerick Mcn^ or fitch other Characters , OH^ot rather to propofean Idea of Verlfimilitude^ than an Idea of Harflmefs, That is to fay, that he ought rather to confider, what Anger mighc probably make a Man do, than what he did : He ought rather to work after Nature, who is the true Original than toarnufehimfelf with any particulars, which isonly an imperffft and confufed Coi)y, or fo vitious that the Poet ought to avoid it. Having explained the Letter of the Text, 1 /hall proceed, to make the Applicati- on of tlie Comparifon, which Arifcotle has made ufe of. If a Poet would imitate a Cholerick^ VnJ!,t(l and Fafjicyj.ite IVl^ii, he is obliged to keep the true. Draught of that Man, his Choler^ his Injufiice^ his Tajfon ^ but in preferving them he hath the Liber- ty which Painters have, he may Flatter and Embel- liHi them : and in order to that, he ought not to fix on any particular Man that hath been Chole- rick, but he ought to confult Nature, and borrow from her, thofe Colours which may make his Pi- cture fine, without fpoilmg the refemblance. The angry Man, may be Laz^y^ Perfidious^ or aTraitor, U the Poet endeavours, to joyn thefe qualities to his Charader, he willfpoilhisPidure, inftead of beau- tif^'ing ir, and trefpafs againit this rule of ^nTror/.f, Let him then feek other Colours, and Nature, who is the true Original, and model of that which is fine, H'iii nuttailtofurnillihim, (he'll (hew hkathat \'a- AriftotleV Art of Poetry, 275 ibur agrees admirably well with the very Funda- mental part of his Charad:er, and confcqueotly, he iliould give his Hero a large iharc of it. Tis thus Homer has made ufe of it for Achilles^ he has prefer- ved in that Charaifter, all that was necefTary from the FaBle, but when he was kit to his own liberty, ht hath ufed it fo much to his Hero's advantage, and fct it off fo finely, that he hath ahnofl: hid his great Vices, by the Briliant of a wonderful V''alour, which has deceived an infinite number of people. Sophocles ufes the fame Condud, in his OcdipHs. He would defcribe a Man, that is Pallionate, Violent, Ralli ; he always keeps in that Gharae'ter, what is necefTa- ry and proper for the riibjeci: ^ and enhancxzs it, by all the Embellifiiments it is capable of.- Hentither makes him a Bale , nor a very vitiouss Man, that would fpoil the likencls, but he makes him a very good, and valiant King, who negkds nothing^, that ii)ay contribute to the good of fiis People •, This is the way by . which the Poets fet rather before our: Eyes, what thsir Charaders can do, according toi the probability, than matter of fad : And this is the fence of that extraordinary Precept, which Horace has endeavoured to exprefs, by ihefe two verfes in iiis Art of Poetry. Refpicere exemplar fVJia moriim^ue "^hheho Ddctum ImitAtoretn^ • cf Deras.hinc ditcere v<^c€s. . , ^ Take Humane Life for the Original, .,, ; . . , ,, Keep but your draughts to that, you'll never j^Ufj 25. 'Tts thus that Homer and Agathon have for^ med their . Character of Achilles. ] It is in the Greekj and' 'tis thus that Homer and Agathon' hkve made Achilles. This pafTage hath been explained o- thervvife. >4/;^ 'tis thus that Homer hlmfelf hath inade hz\\\\\^%good; For the Word Jl^dthon^ whicH is a proper name, was taken for the AdjecHve which fignifics ^oc<^ -j, and this is. a [eq-id of the fault in T 2 ' trar-;- 2 -jS Ai iftotleV An of Peetry, ti"cinflating the word W/rtKeict, goodnefsy- but here is ro dtfpute about goodnefs ^ but Bdinty^ Jiriftotle thvs that Homer and Aiiathon^ Tragic k Poets, have- irade Jch;lles^ as he has mentioned ; drawn him like, biit much finer. 26. All thefc thh?gs witfi he obfe/vecij befides thefe'^ allthofc which the two Saifes reqnire^ ought to hefa- tisfiL'd^ which are infeparahle from Poetry^ and the on- ly fudges of it.'] This paflage is much more difficult than the former ; and of as great Confequence : 1 be- lieve I have found the true fenfe of it, j^rijiotle teaches us, that it is not fuffici^nt, to dbferve all thofe things he has Ipoken of, and to form the Characters according to the necefiity, and probability, but the Poet muft endeavour to fatibfie the two Senfes,which judge of Poetry, that is the Hearing and Seeing.There are things which the Audience ought to fee, and there are others which they ought only to hear rela- ted If this order is inverted, and that is related which ought to be feen,and that is expofed to the fight, which ought to be only related, 'tis fuch a fault as v^^ill certainly fpoil the Poem. A Poet has need of a great deal of Judgment, and Ingenuity,' rot to leave any of thofc Incidents behind the Scene, which will affect the Audience by being feen : And to hide thofe which might offend by reafon of their Cruelty, or be found fault with for the want of probability. And what is yet worth taking notice of, is, that Horace has explained the fame pafl^ige in thefe Verfes of his Art of Poetry. 1/f^t a^itiirrei in Scents^ mtt a^a refer mr^ Pf^w;V/.j irritant an jmiimdemij] a per aares., Quam qi:A[nnt octtUs fiihje^a fidelibns^ C^ ^«.f, Il'fe phi traditfpeiUtor^ non tatncn intus^ Diffna gcri.^ fromes in Scenaw^ mHlta^ae tollcs Fx ocuUs. qi-ui, mox narrat jacimdin vrjtfcns. Nee pkiros coram Pop/ilo Medea Tnfii^et Jiiit- AriftotlcV ^rt of Poetry, ij-j \Aut HHtnatm vaUwi coqH(U exta nc far ins At reus. Ant in avem.Vrogne vertatnr^ Cadmui in fi?^gticmy QuacunqHb oftendu mihi fiCy incndnlns odi^ Some things are beft toad, others to tell, Thole by the Ear conveyed, don't near fo well. Nor with fuch moving Paflions ftirour Mind, As what we to our Eyes prefented find. Yet there are many things, which flioald not come In view, nor pafs beyond rhe Tiring-room. Which after that, in moving Iar)guage told, Shall plcafe the Audience more than to behold. Let not Aicde.1 fliew her cruel rage. And cut her Childrens Throats upon the Stage, Nor wicked v7/;f//j his dire part prepare, ") Cadmus nor Progne in ne\v forms appear. )* When one a Snakes, to'thciia Birds llmll wear- J Whatever'lo i/icreaVWe Voit /how . • 27. For it hapens that the facts often err in that rcfpect.'] He has good reafon to fay, that 'tis very eafie to err in Dramatck Poem, in that refpect, and to offend both theSeeing, and Hearing. Fur nothing is more delicate;ai>d they may be offended a thoul'and Vv'ays, either by (hewing thofe things which they dif- like, or keeping back thofc things they would be plea fed with. 2S. Bnt I have fitid eno/fgh of this, in theTreatifes which J have written en this head. ] He fpeaks without doubt of fome pieces which he had writ on Dramatick Poetry,and called the Didafcalics. Anflo- tie did not only explain in them the Subjeds of Plays, but when, how, on what occafions, thole Plays were AAed, fo that Work was an exad Hiilory of ' the Ancient Poets, and a fure method to refolvc the Chronological difficulties in the Greek Hidory. ■jThefe Didafcalies which are now at the Head of Tr- rfwc's Comedies, may giveus ailightldea of it ^ 'tis pity thcfe pieces are loff . T 3 c i: A p. 278 AriftotleV Art of Poetry, CHAP. XVIL The different forts of B^emembrances^ of thofc which are mofi perfect y a>2d which the Feet ought to prefer T^. I. \T7E have already explained in that VV which preceded^ what a Remembrance is, there are fever al forts. The iirft (^a) is the the moft fimple, without any Art, and which rnofl; Poets ufe for want of Invention, is that which is made by marks er tohns, Thefe marks are cither natural as the Lance im- printed on the bodies of thofe Theham, who were Earth-born. And as the Stars which Car- r;>// J made ufe of, in his Thy eft es-^ or adventi- tious .' And thefe latter, are, either on the Body, as Scars , or off from it, as NecklaceSj or the little Cradle in the Play called Tyro, 2. Thefe marks may be ufed with more, or lefs Art, as we may fee in the Remembrance of Vlyjfes^ by the Scar of his Wound, for he is reraembred by his Nurfe, otherwife, than by ^js Sheepherds. Thus 'tis certain , that all marks which are ufed, on fct ptrpfe, to eftab- lifh a truth (^) have but little ingenuity in them; whereas thole which produce their cjfeEis by chance^ are much better, (r ) and more invenions^ as that which is in the Odyfjes^ when Vlyffa% Fee^ were walh't. (a) So.'f. (b J Are void pf Art J and all fuck like, (c) ArifefroKi 3.Th? AriftotlcV Art of Poetry. iy<^ 5, The fecond fort of remcmhraacc^ is that which is invented by the Poet, and therefore it is {(T) without Art. 'Tistluis in the Iphl- gtnia of ftiripidcsy Orefies having remembred iiis Sifter by a; Letter, is known to her (e) by certain tokens ivhkh pie gave him : for there (( ) the poet fays what he pleafcs ^ V;j not his Suh- )t^ which ffCfilis and explains itfelf. Thus this rcmcqibrance falls ahnoH into the fame defeft, which I have fpokcn of, for the Poet had the li- berty to malieOreJhs be len^embred by Jphige- nia^ by any other token which he pk^ifcd^ thatO- reftes conld have carried about him. The voice which Sophocles has given to a Weavers Shittle, in his TercHs^ is of the fame nature. 4. A third fort of remembrance is that which is made by the Memory, when (a) an Objcft, Itirsupin us fome thought, which produces the remembrance, as is the Cypriacks of Vicicogcnes^ where he who faw a Picture wept, and his tears made him remember : Or as , in (Ji) yllcinoHs , Vlyjfcs hearing a Man play on the Harp, and remcmbring his former hardOiips could notfor- bear weeping, and fo was remembred. 5. The fourth fort of remembrance is that which is made by reafoning : as in the Coepho- res o{ cyffchyUs^ v/here Ele^ravea^ons after this manner, 1 here is a Man come hither,vYho is like mc, no body like nic but Orefies, therefoi c Ore^ fies is come. And as in the I phigeni a oitht Sophifl (d) Nor. (e) By a Concourfe of Signs. ( t) He fays, rvKit the Foit bids him, (g; iVe fee fonn^hing we remember, fli) Apo.'c.y ^f Akiiious, T A I'nl- aSo ArifrotleV Art of Poetry: PolyUes,w\\erz Oreftes argues thus ; as my Sifter was facrificed t^) Viana^ I muft alio be facrificed too. In the Tydeus^ of ThcodeEles^ jSdrafius ijiahesthis nrtumajtation j Laius was gone to get newsof his Son, he was killed in the way ^ this is his Grandfon^ therejvn ^ns Oedipus'j 5o», and inthc Pbif7eides, thofe unhappy Women, feeing the place, where they went to be flain, cried out with grief, that they faw very well that cruel deftiny had condemned them to die in that place, lince 'twas the very fame where they were cxpoCcd, and ^tis this reafonin^ which made them to be remembred. 6. There is yet a (i') fifth fort of remem- brance, which is alfo made by reafoning, and is followed by Ck) falfe confequences ^ that draws the Audience, as in the falfc Vlyjfes: For his faying that he fhould remember a Bow which he had never feen, deceives the Audience by that (/) propofition, who expeUr that he fhould be rtwemhred by that means ^ but they are catched by falfe reafonirg. 7. The fineft of all the remembrances, is that, which arifcsfrom the {m) Incidents thcmfelves, and which caufes a great fHrfnz.e^ by means of its probability, jis in the (n) Oedifns of Sophocles^ 2Vid the Jphigenia of Euripides^ for 'tis very na- tural, and probable^ that Oedipus (honld be curious^ and that Jphigenia fhould write a Letter to Orefies^ aad this fort of Remembrances, is the only one which is made without natural or adventitious ligns (0). 8. The bell after thefe, are thofe, which are made by reafoning. (i) Compounded, (k) Paralogifm. (\) Taralegifm. {wi) Things them- Jtlvii which aft! fracuh'i. (n) iks fyrant. (0) Qr buciilaceSt &c. Remarh AriftotleV Art ofFoetry. 2S i Remarks on Chapter XVII. I. W/^-E have already cxpl.iined in that which rvem ^^ bcfo-re what a rememhra7;ce isj] In the XII. Chapter vy/^7y?(?r/f explained v^\\^t a remembrance was, and it fcems at firft fight, that which he (ays here, /l]ould immediately follow that, and this is the rea- fon why thlnCiHs did not fcruple to tranrpoio this Chapter to the place where he thought it ought na- turally to be i but if that learned Man had given himfelf the trouble to have examined v^r//ror/(?'s ma- nagement, he would havefeen, that, ashebathfpo- ken of the Manners, in the foregoing Chapter, and hath (iieWed, that the adions they produce ought ro come one after another fo, that the unravelling of a fubjeA fl.ould arife from the fubjcd it felf, fo this was the proper place and time, to fpeak of the diffe- rent remembrances, fmce they generally make the unravelling. We need only take notice of the terms which he ufes here. We have explained before tjp,- Tui TpiTspoj', which could not have been (aid, if this Chapter had followed the XII. immediately. It feems that Arijlotle forefaw what would happen, for he endeavours to prevent it, in Ihewing by thefe Words, that he had not lofl the defign he had in view, but had his reafons for not treating of this matter till after the Chapter of Manners. But Hcin- fins feems lefs to have confulted the Text, than to be prickt with an immoderate defire of changing eve- ry thing, in all the tranfpofitions he has made in this Art of Poetry, as alfo in Horace^ we may fay of him what Horace fays of Fortune. ///>;£• apicem rapax FortHTia cum jlridore aciito^ Siijihlit^ hie poJfHijfe gaitdit. With difmal flirieks Fortune is glad, as 'twere. To move things hence, only to place them there. 2. TLg 282 AriftotlcV Art of Poetry, 2. The firfi is the mofi f'pnple^ whhoHt any Arf^ and whkh mofl Poets nfe^forwaint of invention^ is^ that which is made by nsdrks.'] Tnere is nothing kfs ingenious than the Remembrances, which are made by thefe marks, that are prepared defignedly, and which come unexpected ly to unravel the Plot, when it feemsmoft embaraffed, and bring a very profound tranquility, immediately after a great trou- ble and confufion. Thefe remembrances are ordina- rily ufed in Comedy, becaufe Comedy does not make its principal of the fubjed. 3. Thefe marh are either natural^ as the Lance imprinted on the Bodies of thofe Theban^, &C.1 The firft Founders of Thebeshsd a Lance marked on their Bodies, and as marks and tokens pafs often from the Father to the Son, 'tisfaid that that Lance appeared a Iot}g time on that Race ^ fo long that Plutarch writes, there was one Python of Nifibisy who pafled for one of the Race of the firft Theban Lords, ha4 a Son, who died, and had fuch a Lance on his Bor dy, which had been a longtime loft, till 'twas re- vived again in him. Juft as we fee Warts, C^.d difappear in the Children, and appear again in the Grand, and Great Grand Children. This Lance might give occafion to the Story of the Tlebmis bein^ born armed. 4. jind as the St ar^- -which Carcinus ?}iade ufe of in his Thyefte?.] That Star was a natural mark on Thyeftes, or fome of his Family, as the Lance wasi of the firft FsLmily'of Thebes. But as we have not the piece of Carcinus^ we can't kngw how the Re- membrance was made by the means of the Star, nor in what manner that vStar was on his Body. Rober- rc/coniec^^ures, not without great probability, that inftcad of the Word , 'CarcUiHs. ] There were two Poets of that NamC) at the fame time, one was an Atheiiian^ and a Tragick, the other a SicUim and a Comick Poet. Tis the firft that is fpoke of here, they both hved about the hundredth Olympiad, and were Contem- poraries with ylrifiophofies^ 6. Or the little Cradle^ in the piece called Tyro.] Tyro the Daughter of Sdmoneus and Alcidicc, was in Love with the River Enipcus^ Neptune transform- ed himfelf into that River, and took the advantage of that PrinceiTcs Paflion,for another : Tyro was with Child, and delivered of Twins, rclens2x\d Nelcus^ whom Oje expofed on the Banks of that River in a Cradle, v^hich afterwards ferved as a remembrance of thole Clnldren, who killed Tyyo^ cruel Stepmo- ther, in the Temple of Juno. This Hiftory is rela- ted at large in AppohdoritS' Sophosles made a Trage- dy on this fabjed. 7. Theje marks maybe n fed with mere or lefs Art^ as -we 7nay fee in the remembrance of UlyfTcs, by the Scar of his Woimd^ for he is rcmembred by his Nurfe^ otherwife than by bis Shepherds.^ By this fingle Ex- ample of the Remembrance of Vlyfjes^ which is made two different ways in Homers Odyjfes^ he /hews that thefe marks may be employed with more or lefs Addrefs, according as the Poet has Art to make ufc cf it. in tbe XiX Book of the Odyfes, Vlyfes is remembered by his Nurfe by chance, by the Scar of that Wound, which a Boar had formerly given him in Parnaffns^ the remembrance is very ingenious, be- caufe it feems to be done without defign : But in the XXl. Bookjhe i-s known to his Shepherds, by the fame Scar tho' in a quite different manner, for 'tis Vlyffcs himfelf, who lliows them the Scar, to let them fee that he had not deceived them, but that he had told them the ^§4 AriftotlcV Art of Poetry. the trutbjwhen he faid he was Vlyffes. Ariflotle aflures us, with a great deal of reafon,that this remembrance has little ingenuity in it, for there is no great occa- fion for any great addrels or wit, to have recourfe tothofe marks, which one would have known, and this recognizance, caufes neither any great change or (iirprife. 8. As that which is in the Odyffes^ when UlylTcs Feet were waJJjedJ That is, as the firfl: remembrance of Vlyffesy which was made whilft his Nurfc wafhed his Feet, the Greek fays in one Word, at the wajhing his Feet' The Ancients gave to Homers Epifodes, fuch Names as denoted the Subjeds, that where V- lyjfes is remembrcd by his Nurfe, is called Nyptruy by reafon of the waihing his Feet which gave occafion to that Remembrance. 9. The fecond fort of Remembrance^ is that ^ which is invented by the Poet, and therefore it ii without Art.'\ None has yet comprehended, how a Remem- brance muft be without Art becaufe it is iiivented by the Poet. However Arijiotle iufficiently explains himfelf in what follows :i for there the Poet jays what heplenfes, and 'tis not the SuhjeB which fpeaks^ and cxplaifjs It filf. That the remembrance may be in- genious, it ought to arife from the Subjed, and the feries of Incidents, and not from the fancy of the Poet only, who having the Liberty to invent what he pleafes, deferves no great commendation, for in- venting a fort of Remembrance, which he may do a thouland ways. The following Example will make it very plain. 10. 'Tis thus in the Iphigcnia o/f/?^ Euripides, O- reftes remcmbred his Sifter by a Letter^ ts known to her by certain tokens which J/je gave him.! There is a double Recognizance, in this piece of Euripides^ the" firft is when Iphigenia is remembred by Oreftes, by a Letter which ftie gave to Pylades, that when he re- AriftotleV Art of Poetry, 285 returned to j4rgos he fhould deliver it to Ore fie x^ and told him the Contents of it, leaft if he fhould chance to loofe the Letter, he might deliver by WQrd of mouth what fte had wrote to him. This gavcan op- portunity to Orefies to remember Jphigenm ; u4ri(io- tle does not fay, that this firft Remembrance is with- out Art, for on the contrary 'tis very ingenious,fincc it proceeds from the preceding Incidents, and 'tis natural, and probable that Iphigenia (hould write a Letter to her Brother ^ this appears rather to be fiir- niflied by the Subjed', than invented by the Poet,^- riflotlc fpeaks of the other Recognizance, viz, that of Orefics^ who rcmembring his Sifter, embraced her, and told her that he was her Brother. Iphlge- gcnia at firft doubted ths truth of it, and defircd proofs ; OrrJ}cs to fliew her that he did not lie, fpokc to her of the hatred between Atrcus and Thye/hs^ and how he had taken away the fatal Ram ; he told her, that (he had wrought all this Story in Tapeftry, where fhc had drawn the Sun retiring behind a Cloud, that he might not fee the Murther ri^mitt^^^by j4- trctis-^ tofinifli his pcrlwafioiis^'lfic'told ihe^-tlieold Lance whiih Pdops ufcd in the Combat agamft O^o- mans^ when he fought for Hippodamia. Iphigc- ni.x was convinced by this proof \ for it could only be her Brother that could fee that Lance in her Apart- ment, it being lawful only for Fathers, Husbands or Brothers to come into the Womens Lodgings. The Philofopher has reafon to fay, that this Recog- nizance is without Art, and falls almoft into the fame fault, with Homer % fecond, when Vlyfjes be- comes known to the Shepherds : for the Poet fays what he pleafes here, and no Body contradids him j he. might have faid any thing elfe, and none would have oppofed it. 11.7/ hwrrn to her^ by certain Tohns which (lie g ive him,"] The Names of ihofe things, by \^h\ch Of ejtes was known, arc wanting in the Text. Some have endeavoured to fupply them, but without Rnylucccf's. ^8^ AiiftbtJeV Art of Poet'ry, and I the rtiorc wonder at it, becaufe 'tisreafy to learn it from Euripides, who names thefe proofs in two pLices, TiKfXi'i^iay whichltrauHauTokens'Thc Greek muft-beread thus, "ErMvQ- J'i i'd TzKi*j^pie^. ■ 12. For the Poet had the .liberty to make Orefles he rente mhred ^y Iphigenia, hy my other Toh/u,^ he pleaf- ed, that Oreites could carry about him.'] AriftotU gives here the reafon, why this fecond fort of Remem- brance, is almoft as vitious as the firft, which is made by vifible marks, becaufe the Poet might (ay what- ever he pleafed, and in/lead of ufing verbal proofs, he might have made Orefles ijiev/ fome mari(s, which Jphigenia fliould have remeflabj:^* 13. The Foice which Sophocles has give/2 to a Wea- vers Shittte in his Tereus ts of. the fume' N.itiire,']WQ. have not Sophocles his lerensy fo don't know what to fay, to the Recognizance made by- the voice of that Shittle. Tis enough to know ihzt Arijhtle had rea- fon to damn it, and that he puts it into vhe Num- ber of the difengenious Remembrances, afid truly if it were allowable to give voices to inanimate. things, in order to make a Recognizance, nothing would be more eafy^ but that which feemsvery remarkable, to me, is, that Arifiotle fpeaks of this remembrance^ as of one that is without Art, but I think a fpeak-, ing Shittle, would appear 3 very monftrous thing in a Tragedy, and I fliould be glad to know how Si?- />Wf.f managed the point to make it pafs. j^:Xhe third fort of -Rem^pibrance isythat which, is made by the Memory^ when.an ohjccv fii^-s upiiim. fome thought .which prodMces- ehe Re>/jembraf^'c^-^ as itt the Cypriacks of DicGeogenes where he -who fsw ^ Pifl- urewepty and his Tears made him Remem'b'er.i J have added' thefe Words, ^/vi^ hts Tears j^i^de him Remember, for they are > necefiary to makjC; out the Senfe- Dic^o^fwfjvvas aTragick, and Dithyrambick Poet, he a>fo compofed an Bpopceia^ and 'tis this lall Woyfe Ariftotlc^i Art^offoetry, aSj Work whicl^ Arifiotle quotes. I don't know in Vvliat time he lived j we have only fomc fragments of his. ; .i<. Or in Alcinous ; Ulyfles hearing a MTot^ to the Poet who did not fee the Plan of his piece, and fxh ep^wot, who did not fee, is the fame t\\\x\g?LS ^nTTfoo^.yid.Tcov rM^ivav-, which did not pafs before their Eyes. A/'ifiotle, fays then that a certain proof of the Importance, {and Neceflity of this Pre- cepr,is,what happened to Ccircinns in his Amphiaraus, that Prince, had took Sanftuary in the Temple ; he muft needi. go out : Carcinus declares that he was gone out, but as he had not in the Plan of his piece made him go out before the Spectators, he did not perceive that it was contrary to all probability that he /}]o»Id go out without being feen, by any body ; What a Foet may forget, who hnsnot his firft Plan rehearfed before him, fl:all betaken notice of by the /iudiciice, whodon'c love to be cheated; and beper- iwadcd that ;hey did fee, what they really did 3, Biti AriftotleV ArtofFoelry. 2py 3. Bat when that piece voas acted on the Theatre^ 'twas datnnd. The Audience would not fujfer^ that hefljonld endeavour to perfwadc them^ that Amphia- raus was really gone our, when none oj them hadfeen hi/n.j This pafTage is worth taking notice of. None muft pretend to perfwade the Audience, that they fee what, they don't fee, and that they don't fee , what they really behold : And this Precept is of larger extent, than has generally been thought, for it takes in, all the Probability that ought to be obferved in Tragedy, and which is the ground ofit. Tragedy is the Reprefentatiotiof one Aftion only, from which it necerfarily follows, that, thatAdion, ought to be publjck, and vifible, and not tranfafted in one and the fame pl^ce.How then Hiall any one per- fwade the Audience that without changing the place they can fee an adion which pafTed in three or four differcntplaceSjdiiiant from one another.Iia thcCinna we arc fomctimes in £w?7.';/j'sHoufe, and fomctimcs in A/igt^jlHi^s Palace : Moreover,there isa Council,in that Princes Clofet where the doors are fliut. By what Enchantment is this done. Mt.Comeille fays, that we don't take the liberty iiow,to draw Princes and Princefles, from their Appartments. Why don't we take it, and what is there that hinders us? Firft of all we don't talk of what is done now, but what was done in that time , which we take the Subjed of Tragedy from ; thofe Subjcds are not taken from the Adions of modern Kings, but from the fable or Hiftory of the ancient ones .- Now in thofe days their manners werefimpleand their Kings Went abroad with lefs State and Pomp than they do now. We ought therefore to repre(ent them fuch as they were^ or very like, fuch as they would be in this our Age. I would have Tragedy take its Subjefts new , from the Hiftory of the Kings which we know, thofe v>'ho are moft retired, and leaft feen by their people : ' 1 fay, it would b.* ■ the 298 AriftotleV Art of Poetry, the Poets fault, if he fliould not make them go out of their Chambers. Indeed they fliould not do it for trities, that is unbecoming them , but that which makes the Subjed of a Tragedy ought not to be a Trifle , but a great and a ferious Adion, and there is no Prince but would go out of his Palace on fuch an account as this. There ought al(b , to be good , and very preffing rea- fons to excufe them from not going out at all. The Women in Grece went abroad, lefs than the Kings do now ^ but the Tragi ck Poets find fuch a necef- fity for their going abroad, that they cannot avoid it, without offending againft the Probability, 'tis therefore the Poets bufinefs, not to bring any A- dions on the Stage, but what are important enough, to oblige Princes and PrincelTes, to appear in Pub- lick : sli others are difagreeable to Tragedy, and in no wife proper for the Stage, vvith what Pro- bality or rather, with what ncceffity does not So- ■phocles draw Oedipus, and Jocafia from their Pa- lace, to give to his Adionthat unity of place, and vifibility (as 1 may fay) that was nec^ffary ? There is no Prtnce but may on fuch an occafion , go out of any Country , in fpite of any contrary Cuftom. Dramatick Poem could not fubfift with- out this ^ and there can never be any way of managing it found, which can deftroy this Liber- ty. Thofe which Mr. Comeille has imagined are very faulty. The firft is that what is tranfaded in one Town, has the unity of place •• And that that unity may be preserved, by placing the Scene in Co- vem-Garden, and the Park : 1 had as lieve, it Oiould be at Rome and A'fadrld , for 'tis as eafte to fee without changing the Place, what is tranf- aded at thofe diftant Cities , as to fee what hap- pens at two different places of London : The other is that we make ufe of a Fidion of a Theatre , to cilablifli a place to Ad in, as an Hall, to which i.bisp:ivilegc Ihall be granted, that all that isaded in AriftotleV Art ofFoetry, 299 in it (hall in every refpeft the orobability and ex- ad regularity : but 'twould be oetter to agree on a place to Ad in, where the Poets faults fliould be counted no faults. 1 am afraid that is too much agreed upon already, and that our Theatre is fuch a priviledged place , for we fee very bad pieces, pafs for good. 1 related what Mr. Cor7i€ille pro- pofcd, only to (hew that the greatcft Men may fall into errors, when they violate thefe Rules, and go from Nature and the Truth. Another Confe- qucnce of this Precept of Arifiotie is, that the Audience know, why the Adors come on the Stage, why they go out, and what they do in the Inter- valls oF the Ads. As we have very few pieces , where thib is obferved, and we find nothing io dif- ficult as to follow thefe Rules, Mr. Corneille is willing that the Audience fliould know why an Ador goes out, when he quits the Stage : but he does not think it neceflary that they fliould al- ways know, why he Enters, efpecially at the firfl; Scene of the firfl Ad. This is the Confequenceof that Opinion, that the Apartment of a Princefs , the Qofet of a Prince, may be the place of the Scene. There is nothing more falfe. The place of the Scene ought to be publick, fince the adi- on ought to be fo , and that place being pub- lick, not one Ador ought to ?.ppear there with- out a neceflity for't, and that iicceflity ought to be greater , and more prevalent in the firfl Scene, than in all the others. We may eafily (ee on what necefiity , the ancients always founded the opening of the Scene. Mr. C<7r«fz7/(? is fatisfied, that the Audience fliould know, why the Adors go out of the place where the Scene is laid: but he does not think, it neceiTary, to know, what they do, during the intervals, neither that 'tis required that the Adors fliould do any thing , during the intervals, but is perfwaded, that they nwy Ueep then.j if they pkafe, and not break the conti- «^ oo AriftotleV Art of Poetry, continuity of the A(5tion, we find Juft the Con- trary, according to u4ri(iotles Principles, and that it ceafes to be a Tragedy, when 'tis fo , for this would certainly Tuin all the Probability , if the Audience did not know what the Adors were doing during the Intervals \ and if the Adtors have nothing to do, pray what docs the Audience ftay for ? 'tis very odd to exped: ttte fequel of an a- clion, when the Aftors have nothing more to do , and to be interefted, in a thing, which the Adors are fb little concerned in, that they may go to Sleep. Tragedy never exceeds the bounds of Truth, or Probability \ and thofe who have a juft Idea of it, had rather fee, the firfl Scene of Oedi- pHs^ ElcElra^ or Antigone^ of Sophocles , than the Plays in which fuch liberty is taken. Tragedy is indeed a deceiver .• but not fuch an one as Mr. Cor- neilie means, to deceive the Auditor, and hinder him from perceiving its want of Juftnefs, it ought to have, that he may not be difpleafed at it. it deceives only the Mob in this manner, who have Eyes only forthefliow, or the Women, who judge of all pieces by the Sentiments, and the Paflions, but it! does not deceive thofe who have more knowledge, and for whom Tragedies, are general writ now a days, Puppets, Ropedanccrs, and mer- ry Andrews, will ferve to pleafe the Common Peo- ple. When 'tis faid, that Tragedy is a deceiver, 'tis in praife of the Verifimilirude of its Fidions and Paflions. It deceives fays one of the Ancients, by fuch a deceit , which makes him that deceives more Juft and Excellent, than he who it does not deceive ; and who is deceived wifer, and more underftand- inp;, than he who is not deceived. 'fc>5 4. The Poet mnfi alfo as much at poffihle imi- tate the Gejinres^ and Atiions of thofe, whom he ■makes to fpeak. ] As the preceeding precept is tor the Subjed, this is for the Manners, and the Cha- raders % Ariftotle J" Art of Poetry. 5 o ( tafters : For thefe, and the Subjed, are the moft important parts of Tragedy. He fays then, that v/hcn a Poet Compofes, he ought to imitate the Gcftures, Voice, and' Air of him whom he makes to. fpeak, for by this means, he will .find all that is agreeable to the Character which he Reprefents. Horace has very well explained this precept, in his Art of Poety^ Si vis me flere^ dolendmn ejl, Trimum ipfi tihi. Tunc tfta me infortnnia Luiem'j T^clephc, vet Peleu^ male fi mandata loqueris^ ■Ant dormitabe, ant ridebo. Triflta mdfinm P'ultum verba decent : Jratum, plena min^rum : Liidentem^ lafciva j feverum, feria di5iu. Format enini natura priits ?ios intns ad otnnem FortHnarnm hahitnm j Jnvat ant impelUt ad Iram : ■Aut ad hnmum gravi mosrore dedncit^ Ct* angit : Pofi cffert animi motns imerprete lingua. Would'ft have me Weep, your felf raufl firft begin rdens and Telephits, I'll then tncline. To pity thee, and make your fufFering mine. But if you chance to ad your parts amils, 1 can't forbear to Laugh, or Sleep, orHifs; Let words exprefs the looks, the Speakers wear. Sad, fit a mournful, and diftrelTed Air. The Paflionat, whos full of Threats, mufi: Rave, The Gay, Lafcivious be, the Serious, Grave. For Nature works, and moulds, our frame within To take all manner of Imprefions in. Now gives us Joy, now makes us all on fire Now cafts us down, now Sorrow does inlpire A^d all thefe Paflions doth the Tongue exprefs. 5. Itif' 3 o 2 Arifto tleV Art of Poetry, 5. For 'tis certain, that take two Metj^ vcho tart of a7t EgU'd Genius^ he that is in a Pufjion Jljall nl' ways be the moft perfwafivc. 1 This is a demon - ftration. If tvyo Men of an Equal Genius, fhould write of the fame Subjeft , he that (hould endea- vour quietly, to find out thofe things which were agreeable to that Charader, and Ihould employ only his Ingenuity in that Search, would not fuc- ceed fo well as be, who fhould employ the fame In- genuity, and add the Warmth and Sprightlinefs of Voice, and movements of the Gefture .- and I fan- cy 'tis this that Qnintilum means, when he fays ^ in that fine Paffage of the 3 Chapter of his X* Book. That 'tis not Exercife that makes it eafie to Write, but the method a!fo. ' Si non refupini , * fpedantefque tedum , &: Cogitationum mur* * mure agitantes expcdaverimus , quid obveniat, ^ fed quid res pofcat, quid perfona deceat, quid * fit tempus qui Judicis animus , intuiti, humane * quodam modo, ad icribendum acceflcrimus. We ' fhould write much better if we did nor carclef- * ly Loll on our Beds, view the tops of them, and * negled what comes into our Minds •, But if we * confider what the thing requires, what becomes ' the Charader, what is proper for that time , ' what the Mind of the judi^e is, with due re- * gard had to thefe, we ftiouid be able to Write * Men. That is to Ja)i, If we our felves were touch- ed with the Paffions we would infpire. For that is called to Write like a Man , to Write other- wife, is to Write like an Image. The fame Qjitt- tilian fays afterwards, Tis neceffary to imitate the Paffions often, in which the h;;at does more than the exadnefs. In qnibus fere plas calor, quam diligentia valet. 6, A AriftotleV Art of Poetry. 305 6. y4 proof of this iSf that he who is truly mo- ved, fl}all move thofe which hear him.'] This is a conftant truth, the more a Man is truly touch'd the more impoffiblc is it for others to fee him , and not to be fenfible of the hmt motions which agitate him. For the Soul of all Men is like, the fame Inftrument ftrung, with fo many Strings as there are Pailions. Suppofe two Lutes well fet in Tune together, if one of the Strings be ftruck that which is Unifon to it will move viTibly, and will give fome fort of motion to the other's. Tis the ^me in Mens hearts tomovefuch, or fuch a Paili- on in theirs, 'tis necefTary that I touch the fame in my own. Therefore Horace faid Vt ridcmihus arrideat, ita flemibus adfiwt Humam vultus, fi vis me flare dolendnm eft Primnm ipfi tibi. Where Joy, and Sorrow put on good difj^uife. We with thofe perfons looks ftrait lympathize, Would'ft have me weep, you fure muft firft begin. 7. Therefore a Poet to fuccced well, ought to hive an excellent Genius, or to be Furious, for the enra- ged are eafily fufceptible of all Figures and Chara- ^ers, and the excellent Genius's are fruitful, and Inventive. ] This is a juft decifion. Poetry is fomthing Divine, and to fucceed in it, tls nccefla- ry to have a difpoTition improved by Art, or an extraordinary and quick Imagination •, for that Madnefs has the fame effeds, as an excellent Dii- pofition, the firfl fupplies Sweetnefs and Liberty , the go4 ArifiotleV Art of Poet r}. the other furni flics all forts of Inventions , and thus both of them equally c6nduce to a perfect Imitation , which is the only aim of Poetry, When ^riftotle fays, that there muft be an ex5 cellent Nature, or fury, he means fuch as is no enemy to the rules, but is lead by the Judg* ment. Horace takes notice of the inconveniencies, into which the greateft part of the Poets of his time fell, in not knowing this difference, and not believing that a Man was a good Poet, vvhen he was very Mad. 2, Therefore whether a Poet v)rite c'n a Siihjeti already hnown^ or invents a new one^ 'tis necejfary that he orders his Fable in general^ before he thinks of ?naking his Epijodes^ and to Circumflantiate /?.] He returns again to the Subject, and leaft the Poets fhoHld imagine, that there was feme difference in the management oi an invented, and known Sub. ject, he fays very well, that of what natifre foe- ver the Fable be, they muft follow the fame me- thod, and firfl order the Fable iia general. The Fable which makes the Subject of Tragedy, is in no wife different from ordinary Fables, asthofeof remembred, by what he faid, Juft as he was goina to be facrificed ; that Recognizance has an iniiuire 306 AnftotleV Art of Toetry, advantage over the other, in all refpeds, and 'tis irn- poffiblc not to perceive it. 12. When the Falle is made, the Names mufi be given to the Actor Sy^nd the Epi [odes made,"] 'Tisvery f afie to difcern, the reafon of this management. Af- ter the Fable is formed, the names mult be given to the Adors, before the Epifodesare made •, for if thofe from whom the names are borrov,'ed, have done any remarkable adions, the Poetihould endeavour, to make ufe of them, and accomodate thofe truths to the ground of his Fable,which is a pure Fidion ; And take all the advantages po(lible,to render that feigned adi- on more probable, according to the rules of Art, and to mix it, with the truth of the Hiftory. Horace^ has admirably explained this in the two following V'erfes. Jltqm it a 7nentitwr^ fic verisfalfa remifcety Prima ne medium^ medio ne difcrepetimnm. And mixes Truth and Fidion skillfully. That noihing in the whole may difagree. The Fidion is the Fable, the Truth are the Epifodes, drawn from the real adions of thofe, from whom the names are borrowed. This is the Secret oi Drama- tick^ and Ep.x Poem. If we (liould give to the Peribns of thai Fabk',that Anfioilc mentions,any other names than Iphigenia^ Orejics^ Pylades, and fliould for ex- ample call the Princefs, I'epthas Danghter^ 'tis plain, thai the Epifodes which Euripides hasuied, would not be agreeable, to the Hiilory of that Princefs, and others n.uit be chufen out of vhe Hiliory of her Fa- mily. U Homer might have done rhe lame, and given other names in bis Fable, the Fable had not changed its nature, but the Epilodes mull have been different, for they muft be proper as Arifiotle gees on to explain. 13. But Andoth^s Jrt of Po?try, 507 i^. But due regard mufl be had^ that the Epifodes heprcper,'] The Epifodes muft be proper, that is.taken from the very foundation of the Fable, in relation tO' the names of the Perfons, and that thofe be (o link'C with the Fable, which is rendered particular, by ihi» impofition of names, that the Epilodes cannot be lelt out ^ In a word they ought to be necefTarv, and na- tural parts of the adion it felf ^ fo that if after the Fable was made the names given, and theEpifcdes added, other names were j^ivcn, theEpifcdes Ihonld' not be proper, but muft: neceflarily be changed. The following example will give a great light to this matter. 14. As in Oreftes, the madnefs vohich made him be taken J and his deliverance by expi.itions.'] To ftiew uS what proper Epifodes are, Ar fiolr^ quotes two, which Enripides uled in the abovemcntioned Fable : the firft is the acce*s of ihe madnefs which cauf-.d Orejhs to be feizcd by the Shepherds One of the Shepherds who brought Orefies and Pylades to Iplj.ge- ma^ tells her. That, dnnngtho'e things^ of.c of thofe Strangers fore his H.tir, and trembling caji hinplfin" to a deep fighing^ his fury cncreafed^ and he cricdoHr^ with a terrible noife^ fee that Fury^ fee how fhe falls on me^o deftroy me ! Look hoirJJ^ie excites all the Serpents fi)C is accompanied rvith^ agairfi z?;^, behold the other too, rvhois encompajfed With Fire, and all bedawb'd with blood! Look! fee how Jl:e comes ! She's griping in her arms my Dear Another, whom fije's going to throw on the craggy Rocks ! good Cods Pm loft ! whither fi)nll I Jly ? at the fame time he changed his counte- nance, and did not fe em to be the fame Man. Some- times he bellowed like a Bnll,then fon.e times roared ont, like a Fitry : As for cur part, we were difmald^ and fearing that wc (Ijould all be killed, thot^ght of nothing but hiding our felves, and flying from his fight ; hut m a moment, he drew his Sword, and cajl himfil into the mid ft of our Flocks, where he made fuch a ftaughter, that the foam of the Sea^was red with the blood, and he X % hoped 5o8 AriftotlcV Art of Foctry. hoped by fiich afacrifice to appeaje the enraged Goddef- fes. ^Uo/hs, who were there^ feeing our Flocks thuf tnifufed^ armed for our defence^ and with 9Hr Harm alUrmed the neighbouring p^illages^ not thinking that a few fearful Shepherds werefufficient to refifi two fitch ConragioHS Strangers^ onr number prejently encrettfed, when this youngman being a little recovered from his raging^ fill down forming at the mouthy we taking Oftr advantage oj this jeiz^ed on him that was left alonCy 8tc, This is the fir ft Epifode, the fecond is the de- liverance of Orefies^ by means of expiations : For Jphigenia made ufe of this pretence to fave him. She told the King Thoas, that thofe Strangers being ftain- ed with domeftick Murder could not be agreeable vidims,' till they Were waflied in the Sea, and that the Statue of the Goddeis muft bealfo wafli'd, becaufe it had been profaned, by theprefince of thofe Mur- derers. Thoas commended the Piety ji'and care of the Princefs, and give her liberty, to make thofe purifi- cations, as fhe plea fed. Jphtgenia^ Orejles^ and Pylades^ taking the opportunity embarked, and car- ried along with them the GoddefTes vStatue. We fee plainly, that if other names than Orefies and Iphige- nia^ had been given to the Perfons, thefe Epifodes would not be proper and agreeable to the Fable, they not being drawn from the Subjed, and confequently tnanifeft that the Epifodes ought to be made, after the names are impofed, if we would have them con- venient and make a part of the adion. But you may fay, cannot the Epifodes be made before the giving the names to the perfons ? it may be done, but thofe Epifodes will be gen^-rnl, and univerfal, and no ways contribute to render the adion credible, and give it all the appearance of Truth : This is one of the great- eft defects of mole of our Tragedies^ the Epifodes are general, and would agree as well with the Fable, tho''ihe perfons had other names. The Author of the Treatifton Epick Poem was much deceived in this paflRige. 15. Th* ArifiotleV Art of Pffetrj/i 509 15. The Epifodes are JJjort^ in a dramatickPeejn hut Epopoeia, is cxte^ided and awplijied by thofe that hciong to it. 1 The Epilbdes of a Tragedy, ought to be infinitely fliorter, than thofc of an Epick Poem, for thefe^two realbns : The firft is, That Tragedy is much f]]orter, fince 'tis confined to one Courfeof the Sun, but an Epick Poem iias no fet time. The fe- cond is, becaule Tragedy is a reprefentation, and Epick Poem a recitation, and this is the reafon why it ought to be extended and amplified by its E- pifbdes. 16. ^ndtrulythe fuhject of the OdyfTes, (for ex- (tmple^ is very long.'] I fancy j4rijiotlc writ, and tridyQor exampls^ thefiibjed: of the OdyffeSy is not 'veryiong-^ for if we confider that fubjedbyit felf, without the Epifodes, 'tis not longer than that of Iphigeniity but when Arifiotle fays, that thefubje^F is -very long^ he confidered the fubjeft, with all the Circumftances and Epifodes which make the length of it, and inform us alfo that the Circumftances are no lefs of the Adion than the Subjcd: it felf. yi man is abfem from his Conntry federal ycarsy Neptune per fee me 5 him ^ &c.] This is the Subje(;^ of the Odyjfes, fimple and without any Epifodes, re- duced under one view, according to the method he has taught us : The Fable is general and univerfal, there is neither Name, Country, or Perfbn, and the Poet, may give what he pleafestoit. 18. This is what is proper y the re (i are EpifodesJ Vlyffes's abfence and Neptunc^s anger,the lofs of that Prince's Companions, the diforders of his Family, the Storms he was in, his return, and reftablilhment, are the parts which Arijlotle calls proper, becaufe they arc parts of the Adion, and cannot be chang- ed without overthrowing theDefign, deftroyingthc fable, and making another Poem. Therejl fays he X3 fin 2T© Ari(iot]^*s Jrt of P(^1ry. are the Epfo/iei^ as the adventures of j4ntiphates^ lohphemns^ C rce, the Sirens^ Scylla^ Charyhdis^ CJypfo^ and j4lcinous Homer was at liberty, to bave uled any t)ther Epifodes,inftead of thefe^without changing the Fable ; thus the Epifodes were at firft proper, and necefTary parts of the Subjeft, fince it depended entirely on the Poet, whether he would ule them or no, but Homer knew how to make them proper and neceflary. by rendering them parts of the Adion ^ we mufl take notice, that the Epifodcs arc not added to the principal Adt^ion, but only dilate and encreafe that pruicipal Adion , that is to fay, that every part of the Fable, being told fmgly, is the matter and grounds of an Epifode, but related withallthe Circumftancesof Time, Place, Perfons, *tis no longer a fimple, but an Epifodick Adion, and thv.reby rendered proper and necefTary to the Sub- jed, as the Author of the Treatife of Epick Poem, has very well explained. € H A P AriftotleV Art of Poetry, 5 1 1 CHAP. XIX. Of the Flop and the unravellwg. The four forts of Tragedy^ The hjujlice of the A- thenians. Tragick Poets excellent^ in the fever d fort <. How Plays niay be dike^or different^ whether by the management , or the fubjeB. Epick mixture is vitious m Tragedy^ the reafon^ andproof of this truth. Praife of iEfchylus and Euripides, the reafon of the tllfuccefs of fame of Aga- thonV Pieces, Simple unravelltngs may be Tr/tgical and agr ee able. A.'^diihoii's faying on the verifimilnude. What the Chorus is^ and all it ought to do. "^Tis an efin- tial part of Tragedy, Sophocles blamed^ and Euripides ^ratfed^ for their Chorus's^ Strange Songs introduced by Agathon, Hoiv thofe forreign Songs are vitious^ I. (^) AN whole Tragedy iscompofed, of jfV a Plot, and the unravelling it The incidents which happen without, and very often part of thofe, which the Poet draws irom the Siibjed make the Plot, all the reftis the unravelling. (a) Ibi Flat is in every Tragedy. X 4 2 I 5 1 2 I^riHotles Art of Poetty: 2. I call the Plot all that part of the Tra- gedy, froiu the beginning to that place where^ the affairs change their face. (^.) I call tht? unravelling all that is from that change, to the end. For example, in ihQ Lymcus of TheodeBes^ all that happens till the taking that Prince (cj IS the Plot : and the unravelling {d) begins ^t the place where that Child complains of his Death, and accMjis the Deftinies of Cruelty and In- juftice. 3. We have faid, that Tragedy has four parts. There are alfo four forts of Tragedy, The firit is the implex Tragedy which confifteth entirely in the Peripetie and Reriiembrance. The fecond is the Pathetick, as (e) yliax, and the Ixietis. The third is the Moral as the rhthiotides, and Peleus. To conclude the fourth, as Phtrecydes, and Promethusy and all that is tranfaded in Hell. 4.We .fhould endeavour to fucceed in allthefe four forts, or at leaft T/ ) in the grearefl; part of them, and the raoft important, efpecially now, when every one pretends to (^) Criti- cife on the Poets. For becaufe there have been Excellent Men in every one of thefe kinds, 'tis expected that one only, ought to furpafs all that they have done, in what was proper and particular to themfelves. "T- {b^ To profpercus. (c) leys. (d) From his requirinii of death 9 the tnd. (e) Ajaccs, ( i ) Mcft and the chief -ft. {°) Biame. 5- It AriftotleV Art of Poetry. 5 1 5 5. It feems to me unjufl: to fay that a piece fiS the fame with or different from another, be- ic'aufe the fubjed, is the fame or different. Jn wyopniori 'twould be more reafonable to fay thatj of pieces whofe Plot and unravelling arc the fame or different. 6. Moll of the Poets after they have laid the Plot well, unravel it very ill ^ but thiy ought to fucceed in one as well as the other. 7. Above all, they fhould remember very well, as has been often faid already, not to make a Tragedy with an Epick T/j) Complication. I call an Epick Complication a Complication of feveral Fables, as if all the Iliad fhould be put into one Tragedy. In an Epick Poem (1) eve* ry part receives its juft magnitude, by reafon of the length of the Poem ; but in Tragedy it happens quite otherwife than was expeSed : And (/') we may be convinced of this truth, by the ill fuccefs of thofe who have put ( for example ) all the deflruftion of Troy into one piece, and not managed that fubjeft in parts, as Euripides treated his Niobe^ and Me- dea^ (/) or as eath , &C. ] You may fee what has been faid concerning the Subjed of this piece, in the XII. Chapter-, 'tis probable, that thofe lamentations which Lyneens made, on bis dying, ftirred up the People, and caufed a Sedition, by which that Prince's Lite was faved, and Da-aaus deftroyed. 5. IVe have [aid that Tragedy has four parts, there are alfo four forts of Tragedy J This Article IS perhaps the moft difficult in the whole Art of Poetry. I fhould be too tedious to repeat all which has been faid or, it to no purpofe, and fliall there- fore deliver only my own Sentiments, yiriflotle lays it down as a fundamental, that Tragedy has four principal parts of Quality. The SabjeSl, the Manners, the Sentiments and the Virion : for 1 don't count here either the Decoration or the /vlufick. To thefe four parrs he added, the Ke- cn^ni.z.ar.cc, the Pcripetie and the Pajfion ', but of thcfe feven, there are only three which are com- CTicn to all Tragedies in gei;.°fal -, the Subje^, the Senti'!' Ariftotle'i' Art of Poetry, 5 1 7 Sentiments and the Biclioti, There remain four, viz,, the Peripetie, the Recogmzance, the Tajfion^ and the Manners., and thefe four produce the four forts of Tragedy which Ariflotle here fpeaks of ^ That which hath a Peripetie and Remembrance is the implex Tragedy ; as Oedipus^ EleSlra, Iphigenia Taurica. That which hath neither of them, is the fimple Tragedy, which expofes the Subjed: as it goes on, with a fimple Plot and a fimple Unravel- ing ^ as the Promethens of ay^fchylas, the Phorcydes and all thofe pieces which are made about the Sto- ries of the Infernal Regions. Thefe are the two principal forts of Tragedy, which are again each of them divided into two, for they may be either Pathetick or Moral. Arijlotle calls thofe pieces where there isPafllon, Pathetick-^ that is, where there are Deaths, Wounds, Torments, &c. the Ajax of Sophocles is vSimple and Pathetick, and his OedipHs Implex and Pathetick at the fame time. To conclude,'tne J AriRotle's Art of Poetry. 321 1^, For hecAufe there h^ve hern excellent A^en in. every one of thje kinds.'] Thofe who were excdlent in thcfc kinds Were r-yEjchylm^ Sapl.odes and Euri- pidesj who as Cicero ^vc\\ obicrve?, are all very dif- ferent, and yet very excellent. The entire Paflage in his third Took of an Orator is as follows. I'na fingendi cj} ars^ in qua prie/lmtes fiieruut >/yro, Po- lycletes, Ly'ippus, qui omnes inter fe dij]i?>nles fue- rmt, Jed itat^men, ut neminem jui vclii ejje dij/imile»7, Una e/} ars, rntioque fiSi^rr^, diJJln^Ulinn tamch inter Je Zeiwis, Apellcs, Aglaophon, neqae eornm quifquam efij cm quidquam in fua arte deejjc videtur. Et fi hoc in his qmque tnHiis artibus cjt miranduw, & tarKen. verum ; quanto admirabilitts in Oratione C9' Lingmty qu<£ cum in iifdem verbis JententiiJqMe Verjetur, jun.- fr.OA l.abet dijjimlitudines f non/ic ni dUl vi-Hpirandi fnt, Jed lit iij qms conjlat ejfe la^dan los, in dijlari genere landantur. Idqtie yrirrum in Poetis vas not his Excellence ; he -was much better for the Moral oi:ics, ^vhcre he mix'd the PaflionsaJmirably well. Sopl.ocUs excelled thtm all in the Implex ; lb that wc may eafdy deter- mine, that Sophocles is greater than Euripidss, and oAijchyhu i^h^x Ewipides is next to Sephtclcs^ and that zAjcl.ylus is the laft. This is what I have to lay, concaning the Dificrence between thclc ihrce great Poets, as 'twas in Arijhrus time. .Pcjliaps 1 maybe deceived ; for 'tis no cafy Matter, to decide this rightly, t iliall be very much oblified to any one,that will give a better Account of thefe diftcrent Characters, and free me .from my Error. 14. It jeerKS to wr tmjuj} top.y^ ti at fi pic.ce is tie fiifpte nith, or difftrcrit fnm finott'er^ becaufe the SuljiB is thrjiiwe, or dijftrcnt. In n.y Opinion' 'ttronhi be more reajm^hle., to Jliy tf:at^. of jieccs, wh'fePlU and mrazcllin^ are the p.h/e cr diffcrcn.'] 1 have enlarg'd Y 2 pccicJ.'} 324 Ar'Aoty s An of Poetry. Arijlotks Tliouglit, to render it intelligible. I have alfo added one Word, which was necel^'ary, and wanting ; for I read it, Zv « etvln ?» aXKr. Ari- fiotlc coi;dctnns here another piece of In;uftice in the Athenians j who believing that the pieces were alike, when the Subjcdtwas the famc^and that they were diflerent, when the Sub)t6ls were diflerent, did not rclilli thofe pieces, which were made on thofc Subjects, which had been treated of before : Therefore the Philofopher endeavours, to remove that unjufl Prejudice, by telling them, that they miifl- not look on the 5ubje6ts of the pieces,^ to know whether they were alike or no, but mind the Plot, rnd the Unravelling; for two pieces, tho'on diflt rent Subjects, may be alike it tho' the Plot, and Uiiravelling of thofe two pieces he the fime. (ty^ldylpii^ Euri uies, and Sophocles, all three wrote of the Death cf Egy/lhes z\A Clytcmneftra i but We cannot fay, but that they are three different pieces, becaufe there is neither the fame Plot, nor the fiune Uiiravelling. And to fay fomething that comes nearer to our felves, Sophocles^ and Mr. "Corne'ilte have both wrote ofOcMpm, 'tis the faMe f^ubject,.and yet they « re very different Plays. 'JAv: RjTcme has brought //ip/'o/jf^/^f, and Iphigenia on 'the Stage after £mfzVf J. He hath alfo furnil>ied liis Pieces with all the beauti*.s of the Gnek ones, ,and hath followed a Conduct not very different from that Author; ncverthelefs the Plays are dif- ferent, becaufe they have not the fame Plot, and the Way of Unravelling it. Chryfiyus made a A4e({eA:\kzt Euripidts^ and pretends that 'tis the better of the two, bcc;-.uie t! e other had not given that pifpofition to the 5ubjc6l, which it ought to ■fiave/ We fl-.ould now give feme Examp'es of pieces, which arc alike, though they are made in '. different Subjcdis, bccaufc ti e Plot, &'. is the l^me. 1 don't ki;ow, if there are any fuchamorg thofe of the Ancients, which remain; but 1 don't reniember that I have met with Pk;ts; which Irave been Ariftotle'j Art of Poetry, j z 5 b en alike; but 'tis common to find Unravelling?, which are fo ; for thele whicli arc made b/ Machines are almoft all the fame. The Examples of Pieces, which arc alike althoue;h diftcrcnt in their, Subjects arc very fcarce on our Stage, and this no doubt proceeds from the Dulnefs of our Poets, who not having the Power to invent new Plots and Unravellings, fall into a icrvile Imita- tion, and ulc only thofe which l^.ave been in Plays already adcd. It may alfo happen, bccaufc Love generally bears a great Sway in our Pieces; lo that 'tis impoflible to avoid the fame Intrigues. T5. Moj} of the Poets, after they lave laid tJ:e Plot Tvell, Unravel it very ill ; but they oug_ht to Juccced in one, as vpe I .is the other.'] This Judgment of Ari/htle is very remarkable. The Vo&s mifcariy oftener in the Unravelling, than in the Plot, whether tiip Unravelling be|i]ardcr to manage, bccaule 'tis moic tycd up, and ought to arife from what went be- fore J or whether the Poet be tyred of his Work, and begins to grow dull and lazy. We have very few Tragedies, in which, the la'ft A6t is not the worft^ tliough if any part ought to be better wrought, than another 'tis that; tor 'tis that which makes the lart Impreflionon the Minds of the Au- dience, and either makes them prail'c, Or blame the Pott. Illic cniwy fays Cicero in his Book of Old Age, debet toto animo a Poeta in difjdmiomm nodi agi ; eaoi^c praciptia fabnU pars efi, qna retmirit plurimum diii^cntidi. The Poet ought to employ all his Ingenuity^ in the Unravelling the Plot ; for that is the part of the Fab t', vphich requires the greatejl Care. Ar'ijhtle only lays, that they ought to fucceed in the Uni-avel- ling, as well as in the Plot, and to ufe his own Terms, that both of them be applauded, that is to fay, that they merit Applaufc. He fays nothing here ofthe Vices in the Unravelling, 'tis not a proper place; he Ipake futficiently of this Matter, when he treated of tlic Unity ot' the Action, and how y 3 the 7i6 Arirtotle'i An of Poetry, the Sub;e6l ought to he conllitiited ; for the Un- ravelling is often Vitious, bccaiik 'tis not well pre- pared, and doth not proceed from the Bottom of the Fable, jDr bccaufe 'tis too long, nnd embarraf- fed ; or bec^tife 'tis obfciire ; or i:\i^ly, becaiife 'tis double. Wc have Examples of all tiiele Defeats in Ibme ofour pieces ; but they are fo vifiblc, that there is 'n6 need of ejfpofing them. Before I leave this place^ I think my fclf obliged to take Notice, that foitie fe've given another Scnic to thefe Words of yirijhtlej Afi ^'i l[xz>co ctA kfOTii^cc, for iiiftcad of translating it as T do-, Tkey muft be hath apblmded^thty pietcnd that ^ri/htle rnccm they wujl be both cloje. That is, that the Unravelling folknv the 'Intrigue very clofe. But befjdcs its not being Greek in that Senfe, I don't think that he meant lb. Arijhtle does hot intend to teach % here, th^t nothing forreign or ncedlefs A-iould come between the Plot, and the Unravelling, that he hasdone elfewherc. And to explain -It fo, is wrong. Neither would he tell us, that we ll.ould not be feng in Expectation of the Unravelling ; On the contrary the tarther 'tis removed, the better, and that which comes at the end in the ial-l: Scene, l.didonce believe indeed, that ■yirljhtlt would hiivc the Cataftrop! e begin as Icon M pofliblc, fo that ffom the very firtt Scene we irriglii: expect the Unravelling to follow. This is one of th'e'^rcat Secrets of Dran.atick and Epi k Poem. But when T conildered this I'af'age a little tnore nicely, I found, that that could not be the Meaninc^- for he would not have Ipoke in fuch an Obfcurc and equivocal Manner. He only lays here, that the UnrnAxlling is always more difficult to form, than the Plot. And to rouleup the lazy i^oets, He tells them, that they ought to luccced in both, that is, that a Tragedy wl;ich \\\\\\ havc^ the fineft Plot in the World, y\\\\ be Ipoikd, if the Plot be not well Unravelled. ^ 16. AloHt Ariftotlej An of Poetry. 327 16. Above all ^ tl:ey fhould reiremhcr very mil ,04 f:a4 been often faid already, not to make a Tragedy mth an Epick Complication. I call an Epick Complication a Complication of fever al Fables ; oi if all. tliat Jliadjhculd be put into cne Tragedy."] Ariftotle has told us veiy^ often, that the Action, which makes the Subjedl: of a Tragedy, cupht to be one, and that the Unity of the A//W of j.f.] There are in the Pro- tabiftty feveral things, which happen contrary to the Probability. Arijhtk in his Rhetorick quotes this PalTage of Agatkoris. Though many things fall cat, vfhich fcem to he TrAc J yet, the offend 'gainjl Prohahility. But Dramatick Poem requires the Common and ordinary fort of Probability. And 1 would not advife the Tragick Poets to venture at many extra- ordinary things on this Maxim ofAgathons. The two Subjecls, he here fpeaks of, may be true in ^inoth.r refpe:!-. The moil valiant Men are iomc- iiuies Ar'Siotlc s Art of Poetry, 23^' times conquered, and the Crafticft taken in their own Cunning. 27, The Ckcrjfs nsuft a'fo ttih the partrf an j4Bcr,p that it wake, one ptirt o- the nhoie^ am ontrii. 'He to tt e j4dvanccn:cnt of the ylllicn. 1 As a Tr2ecay is the Reprel'entation of a publick and vii bJc A"^ ion, which is done by IliuHiious Pcrlons, and cf hi.^ii Rank, 'tis impofliblc, that the 7^ 6tion lliculd p..ls mpubhck, without more Pcrfons th-n the AdiorS, whole Intcrdl is conceind, ar.d av hole Forlu re de- pends on that of the chief Peifons: T hell are thole, who compoie the Chirus^ the Spc^iiators of the Acti- on, but intercfled Spectators, and we may alxix, that the Chorus Jays the l-'oundation of the Proba- biUty of the Tragedy. I don't wonder, that wc omit.it; for 'without taking any Notice of the Unity of Place, ■which tlic Ckijriis rcciuires, we can hardly prcfeivc the Actions, which make the Sub- ject of cur Tragedies, they are' not the nioli part vifiblc Actions, but tranla6led in Chambers and Clofcts. how can tlie Chorus enter there, to be Wit- nefs of thcic Actions, which arc ritherlccrct, than publick. The Chorus would not only be needkls, and incommodious there, but alio improbable. The Milehicf is, that the Spciitators can enter r,o more, than the Chorus; and 'tis not a little unna- tural, the Citizens ihouldfec all, that is tranfadted in the Cabinets cf Princes, though theOccafionsof the Prince muft ncceflarily require fome People to be about him. If wt would open our Eyes, and make Ule of our Rcafon^ \\q iliould find the Ne- ccfllty of avoiding this Error, and in fpitc of Cu- ftom rc-cllablilh the Chorus, which is only capable of rcfioring Tragedy to its firll Lullrc, and obliging the Poets to a more exadl Choice of thole A6tions, which they t.-.ke for their Subjeiits. Wce'll explain ylriiotlis'ttxi, and lliew what was the Bufmtis of the Choi us. By what has been already laid, 'tis caly to perceive^ that the Chorus made one part of the 334 AriftotleV Art af Poetry, the ^vholc, fince it was intereffed in the A<^ion.' Making ihus one part of the whole, it could not be dumb in the Courfe of the Ads, but if all the Choms fpoke together, 'twould have made an hor- rible Confufion on the Stage, and been a breach of 5;ood Manners towards the principal Perfons ; 'tis for this Reafon, that the firltPerfon of the Clioms, who was called the Ccrypkeus, fpoke for thein all, and as Arifictle fays, playd the pan of an Actor. Which Horace has cxplain'd in his Art of Poetry thus. AEloris Partes Ch'Ortis^ ofjciumque virile Defendat. The Choms too muft a6t a noble part. The fecond Duty of the Chorus was to iLow by its Singing, the Inter\'als of the A61?. This was its proper Office, and to which 'twas particularly dc- ftined ; for is it natural that thofe who were inter- effed in the Action, and expedfed the If!'ue with Impatience, fhould (land with their Arms acrofs, and fay nothing, while the Necefllty of the A6lioii obliged the Actors to be oft the Stage ? Is it not rea- fonable, that thefe People flioidd . entertain them^ felves with what was paft, and talk of that, which they either feared or hoped for? This was the Mat- ter of the Songs of the Chorus, during the Inter- medes, and there ArifiotU very aptly fays, that the Choius ought to fing nothing but what is agreeable to the Subjed, and concurrs to the Advancement of the Action, or to ufcArifiotles own Words ; they cughttoworkmth the Others (ruvetyuvi^icr^cu^and tend to the fame end, and thus Horace has very W^ell tran- llatcd. _ ■ ' ■ Neu quid n-edios intercinat aUus, Quid mn propofito conducat^ & hizrcat apte. For nothing We between the A6ts fhould fee But with the Play exa6i:ly will agree. Such was the Conduct of the Ancients in all their Tragedies. The Chorus and the Actors both advancU AriftotleV Art of Poetry. 335 advanc'd the fame A Why,inftead of fmging Things agreeable to thcSub- jcclijthe Women who compofe it,amufe themlclves by AriftotleV Art of Poetry. 337 by demanding of the Winds. Where mil ye carry in I Sh.M ne go to he SUvcs in Doris, crTheOaly: or p/kere Eiidanus fattens the Earth? JJmU it be to Del OS, rpkcrc the fir li Lanrcl and. Pa\n:trce extended their Branches, to aid Latona in the time of her Child- hirthf Wve'l imploy ourjclyes, lay they, to praijethe fine Drejs md FeatrrJs of Diana ? Shall it be in Atliess, Tvhere MinQWd. hath a 7hrone of Go'd; and vJere in the fine/r Silk ivecH worh on the n.yfleriOHS Tapijhy, the Chariot of that Goddefs, and the Hifrory of the Ti- tans, ^/o Kere Thmidcr-ilmck /•;' Jupiter ? and end, by the unlappy State of themrdvcs and their Counliy. 'Yis cafy to perceive, that this Chorus is not drawn from the Subject, asalfo that 'tis not proper; for there is nothing in it, but may be transferr'd into any other Piece, where the Chorus is compoied of captive and iirange Women. Sophocles doth not lo; we will take his firft Tiecc alfo, that >ve may not feem to be prejudiced. In the firft Ad of y^jax we fee yi^//;7fr:/,ould takc^ Songs from the Opera, to make the Intermedcs of the Cid, ylndroTKackcj and Phedra. 31. Homvcr ixhr.t Difference is there ^ hetiveen fng-- ing juch Adventitious Songs, and tranjpcrtinj any ion^ Difc&url'e, or Epifode cntirel;)\fro>7! onePice to another^ Ariftotle could 'not defcribe the foreign Chorus'^ better, than by laying, that a Poet niight as well transfer long Recitations, or whole tpifodes from one Play to another ; for Example, liippofc he fhould tranfport an Epilbdc oF Andrcn:Mhe into Ptedra, or Hipi^clytius Death into Andronmche. That Change would not have a worfc Effeil in thole Pieces, th;n thcfc borrowed ChomsV; for the Chorus's arc as much parts and Members of theTra- ged y,as the Epiibdes and Imitations. If Ariftotle lb ablolutely condemned thefe Ihange ChomsV, tlicfc infcrted Songs wliich made the Intervals, what would he lay to our Violins, which arc Ten Thou- fand times more vitious ; lor though the Chorus did not fmg any thing, which agreed with the Subjcd, it ferv d at leaft to link the A ::s together, and to keep the continuity of the Attion, and by its Pretence obliged the SpeC^:'tor to t<^rry, lo fee what would become of that Chorus, which bad a fliarc in the Adion, during the Courie of the A61. ^ 2 CHAP. J 40 Arlftotle'^ Art of Poetry] CHAP. XX. Of the SentimentSy and in what they confifl. The Reafons, from whence the Poets ought do draw them., as the Orators do. The Difference be- tween thofe things ^ which the Ora^ torsy and thofe things which the Poets treat off. Of the ASlion, which comprehends the Prommcia^ tiony and the Gefliire, To whom it belongs to treat of it. A Trifling Criticifm of Protagoras on Ho- mer. I. 'T~^H ERE remain only the Di(Slion, and X the Sentiments to be fpok en of; foiwo hiWe fitffidciitly explahied all the other parts of Tragedy* As for the Sentiments, 37-ou may fee, what has been faid in my Books of Rhetorick 5 for they are properly, what belongs to that Art. The Sentiments is all, that makes the Matter of the Difcoiirfe, and (a) they coniift in proving, refuting , exciting the Palfions, as Pity, Anger, Fear, and all the others, to (b) enhance the Value off, or debafe any thing, I L 'Tis evident -then, that 271 the SiihjeBs of Liamatkk Poems , the Poets ought to make ufe (a) Their ^arts are w^ &c .(b) Jmfify or dm'mnjh. of AriftotleV Art of Poetry. 341 of die fame Reafons, which the Orators do, when they would make things appear worthy of Pity, or terrible, or great, or probable. III. There is (c) however this Difference between thofe tilings, we treat of, that fome are naturally fuch, as we would have them ap- pear, without the Alfiftance of (d) Artj but others are made fuch by the ht^enultyofhwi^ whofpeaks, and who (e) gives by his Words fuch a Form to them, as they feem to us to have ^ for what would he have to do, if all things were (/) affeiting of themfclves with- out the Help of his Difcmirfes. I V. As for the Diction, there is one part of it, which is for Show and the Stage ^ that is, the {g ) Pronunciation and the Gelhire, but that properly Regards the Comedians, or fome fuch like Profellion. For 'tis their Bujmefs to teach, what a Command, a Petition, an Inter- rogation, an Anfwer, and (h) fuch other like thir.gs are. V. And truly (f) whether we obferve, of violate thefe Rules, 'tis nothing to the Poen), which can fuffer no reproach on this Account, that is worthy of Confideration. For Exam- ple^ (k) I Ihould never allow o![ Protagoras' s (^ri- ticifm, who accufes Horner^ of commanding the Mufes, whereas he fhould have petitioned them, under Pretence, that he ufes the Impera- (c) Only, (d) The Teacher, .(e) By his Oration makers ihsmfuchttf, (f) Ple.ifani (g) F{^nres of, (h) any fuch like, (i) The Knorvled^e or Ignorance of thef^ is &c. (k^ what fi^riifies, Z 5 tm 54^ Axiilotlc' s Art of Poetry. tive Mood: Mvfe ]mg the Arger^ &c. (l) and his Reafon is, that to order any one to do a thing, or not to do it, is a Fovmal Comnvand. But (in) as the Jiidginent of this Criticifm depends on another Art, and not Poetiy, we Ihall not tarry to examine it. R EM ARKS on the XX. Chaper. I. J\S for the Scnti?re)its,yoH way fee , rd at hath been ■*~^ jaid of them in my Booh of Kketcrick^ for they are properly k hat belongs ^ to that Art ^ As the Paflioiis are theCaiife and Source of the Sentinicnts,aiid the Sentiments the Matter of the Difcou fc, 'tis Rhc- torickjthat ought to lay down Rtiks,to teach what Expreffions otight. to be us'd, to excite fuch orfiich Sentiments,and the Manner,how it ihould be done, and this is what Arijhtk has ihow'd in his Books of Rhetorick, of w^hich the firii Treats of the Pai- fions, and the third of Elocution. 2. 'Tis evident then,that in the SuljeEls of Dramatich Pocrys^ the Poets ough to t/Je the jir.me Ftrrr.s, the Ora^ tors do.'] Arjjiotle calls Fvr?fi's a certain fund, and QLiantity of general or particular Propofitions on all the Heads', that belong to thefe forts of Rheto- rick, and from which they may take all they have Occafion for in the Bufincis they treat off,as out of a common Trealury. And he lays very well, that the Poets otight to make Vie of thefe as well, as the Orators, fince they treat of the fame tilings, and aim at the lame Defign '; for the Poets endeavour to praiie, and blame,' to perlwade, or diflwade, to accuie or defend, as the Orators do, if they would prove (1) Tor fays he. (in) But this may he omitted not hi^g n Theorem of Poetry, AriftotleV An of Poetry. 343 prove, that a thing is Good or Evil ; Hone ft, or Dis-honcrt; Great or Small ; ]uft or Unjuft : of little Importance, or great Connderation. They mud then haverccourfe to thefaid Forms, whether common or particular, in order to uic only pio- per and neceflary Arguments. 3. Thre is however this Difference Ictrreen thofe things we treat of, that fc/y,e are naturally Jtich, as v:e rvoma have tkcm appear^ nit out the y'jfijlance vf Arty but others ere made fuchy by the Ingenuity o( l.im^ rvho fl'eaks.'] This is the Difference between thofe things, an Orator,and thofe, which a Poet treats of Thofe, that belong to the I'oet arc in ihcmfclves terrible, and pi;yful, Avithout the Alhftance of Art. The Hidories of Oedipus^ ^j^-'-'-, Hculaj have no need of the Ornaments of- Art, to appear terrible, or pilyful : befides the Poets chulc their Subjedb. The Orators have not the fame Prlviledge, for they don't chulc theirs. And as they are obliged to fpeak on all fcrts of Subjects, they arc very often obliged to change the Forms of the Matters, to make that pals, for pityful anj terrible, which is not fi, and to palliate and dilguile that, which i?. Thus they by thcr Words give luch a Face to Affairs, as they feem to us to have. But it oftentimes happens alio, that Orators treat of ibme Subjects, which are naturally fuch, as they would have them appear. Tiie Poets alio manage thofe, that are quite diffe- rent, and in which they have Occafion, for all the Colours, they can borrow from Rhetorick • fuch is the Dilcourie made by Clyten:nc(lra, in the Elcfha of SvphccleSj to prove, that flie did a juft Adiou, in killing her Husband, and had nothing to anfwer for, in Committing that Murder; but as tl is fcl- dom happens, it does not deffroy the Difiercnce, wliich Arijhtle makes. 4. For what w uU he have to do^ if ^.U things were afficHng of ther/^fckeSj without the Help of his Difcrtir- Z 4 ' M 544 AriftotleV Art of Poetry. j'es.'] If all that, which affords Matter to the Orato-,^ n'a? touchinG; in it Iclf, he wculd have notliing to doj hiS Art would be lUperfluoiis, and all he could fay, wouli been vain ; for the mort fimple Ex- preffions would be the bcft. Anflotles Exprellion is Well worth taking otice oft. He fay? properly, if itll things ere jvpvct of then-Jdvis. The Word Swci't, fiQnitie^Tomh'wg^ and 'tis what Horace has imitated in thefe Veiies of his Ait of Poetry. JS^cn Jiitis efl pulchra cffe pce?K^ti', dnlcia Junto, Et qu{Cun-}He vdunt, anin.umapiditLris agnnto. 'Tts not ffffficicnt Poerr;s Jhculd he fine C incline, Jj^t Poiimthc Readers Minds, - where e'reyoH pleaje <^. As for the Diction, there is one fart of it, vchich} is fcr fhm and the Stage, that is the Pronm/tiation and the Gefinre, hut that proper :y regards the CcfKedi- fi.ns^ or jomefuch like Pro\'jfu.n.\ The Ditlion is di- vided into two parts, the Elocution and the Ad:i- on. The Aclion comprehends the Pronuntiation and the Gefture, but neither of them are the Bufi- ncfs of Poetry, or Rhetorick, they belong to a fc- parate Art p thefe belong to the Comedians, or thofc, whole province it is to give RuKs fov it. The A6lions of Orators received almoll: no Im- provement in Arijhtlcs time : only one 7'hrajy- p^achm fpake fomething of it, in a little Treatifc, concerning the ways of exciting pity. Not long zhcx Glaticm c^ Teos, and fome other Aclors be-r gan to lay down Rules for the Theatre and for thofe, who recited Epick Poems. This proceeded from ihe preceding Poas acting their own Pieces: and what they did in Rcipei^l: to the A6tion, was r>ot as Poets, but as Comedians, Soon after the Poets had quitted the Stage, and given their Plays to the Comedians, thole latter had all the Advan- tage on Account of the Action: arid made the, J^ric.i Ariftotle'^ Art of PocUy. 345 Price appear infinitely better, than the Poet could have done. 6. But that prnprrly regards the Comeduins, tr fome fuch like Profeffion.'] Quintilinn in the XI. Chapter "of his fivft Book explains this Place very well. Debet enim do-ere CofKcedm, qmn;cdo narranduni^ qua fit autcritA e fnadendamy qua concitationc conj'4r\2/.t Ira^ qui flexus deceat ir/ij'eraiioncm ? &c. Et ne illos quidcnt reprehcndeyidos putem, qui pmhtm ctiam PuUfiricis va- cavcrint, id mmen ej} iis, a quihtis gcfius motajqiic for- mantur^ >'.t rdia fmt brac.hia, ne indotia ruftiidive ma^ mis, ne jiatus indecoms, ne qua in rroferendis pcdib'^fs injcitia, ne -a ut oculique ^b alia corpori incJinatione dij- fjeant. A Comedian lUght to teach, h:v tvc jhoulifpeak, yvith rvhat Authority we^f.^ould perjwadc, with rvhat £- TKOtion Anz,er Piomdbe n^ifcd, and nith what Change of Voice m may exci:e Pity, Sic. And J c^int blame thofc, whofpend feme tim: mth the M^/lers of the Palejtrick Art, that is, ihcj'e, who Form the Gcshures and Moti- ons, ter.ch how tc hold the Arms, and the Hands, that wefcem mt to he ruHlch, or ignorant, to have no un- feemly Caryiazc,no unbeccmAng Pojiure of the Feet, and, that the Head and Eyes dont differ from the other Mo- tions of the Pody. Thus when Aristotle fays, kcu tb TctclvTiiv iyovjoi dfictTtKJoviyJiv, and he, who is offome fucli like Profcjjion, he I'peaks of thofe, wliom jQ«/>/- tilian, c^\h Pal^.jiricos, PaUf;ritaf, Mailers of Exer- cifc, Dancmg-Mafters, thofe who drefs out for Balls, and Masks ; for 'twas thefj, who formed the GelUirc, and taught, how to exprcls- the Pallions by the Motions of the Body only. 7. For 'tis their Bujinejs to teach, what a Command, a Petition, an Interrogation, Szc. are.'] All the fccrct of this, as Ari;lotle fays clfewhere, depends on the Voice ; for it'confifts in knowing, how to make Ufc of every PaOlon. For Example, when we have Occafion to raife, or fall, or to fpeak in the ordi- nary Tone ; liow W? mm. ufc the ditlcr? nt Toiier, 54^ Av'Aotlcs Art of Poetry, as the Acute, Grave, Low, Circumflex, to manage them the better in every particular Movement ; for 'tis certain, that thole, who fluJy Pronuncia- tion, oblcrvc theib three things, the Body, the Voice, and the harmony or Number ; but thoie arc not iufticient ; 'tis neceflary, that the Voice be accompanied with a Decent, and proportionable GeRure. Arijhtle faid, that the A6tion was of iuch Importance, that of all the Orators, who appear in publick, thofe, who have the bell: Pronunciation, andlpeakfincli", arc generally prefer 'd. This is of as great Prevalence now adays, when we don\ ^udge of things as they are, but as they pleafe. But this docs not regard the Art of Poetry. 8. And truly J nkether ixe ohjerve, cr viol Me tkefe RhIcs^ 'tis ncthing to the Poem, vahich can ftiffcr no Rc' ■preach, on this Account, that is wcnhy of Confideration.'] The Poet is no ways concerned, whether a Verfe be ill pronounc'd, or accompanied with a bad Geilure, whether a Petition be made as it 'twere a Com- mand, and an Interrogation as an Anfwer ; the A6lor only ought to be accufed here, as deficient in his Duty. A Poet may alio trangrtls the Rules of Grammar, and all other Arts, and yet the Faults ought not to be imputed to Poefy. They are Fo- reign, as Aristotle has proved in the XXV I. Chap- ter, on which lee the Remarks. 9, Fir Example, I Jhodd never allow of Protagoras Criticifm, vaho accufes Homer, of con^manding the Mufes, vphereas ke fhonld Lave petitioned thcw, under prete/ice, that he ujes the Imperative Mood ', Mufc (ing the Afjger,'] This Protagora< wsiS 3. Sophifl:, all whole Do61:rines had a lort of deceitful Probability, and Appearance ; though he really faid nothing, but what was falfe, and far diftant from the Truth. AH the Objections, which he made againii Homer, were of this Natvire ; he accufes him of having ipoiled his Poem. For tb^t inftead of beginning ivith an Invocation, he b^ins with a Command, becauie Axi&otlc s Art of Foetry. 347 bccaufe he made ufe of the Imperative. But Gram- mar informs us, that Imperatives are not always formal Commands, and denote the Superiority of thofe,who fpeak. They are very often Praycrs,which are made by the Imperative, inftead of the Opta- tive, to lliew the prefling Neceility, or the greater Confidence j and thus it is that, we fpeak to God. CHAP. XXI. The Pans of Diflion^ and their exaSb Definition. I. 'TpHE parts of (a) Didlon properly fpeah- JL hig are eight (b) Letter, Syllable, Con- junction, Noun, Verb, Article, Cafe, and Speech. I I. A (c) Letter is an indiviflble Sound, not of any fort, but (d) articulate, and intelli- gible, that's to fay, cf which we underftand the Signification. For the Sounds of Beafts are alfo indiviiible, and yet none of them are called (e) Letters. III. The (/) Letters are divided into Vowels, Demi- Vowels, and Mutes. A Vowel is that, which (g) makes an intelligible Sound alone, and without the Help of any other Let- ter. (a) j1!1 the B'lHions are thefe. (b) Element, (c) Ele- ment, (d) But of which a Voice vi.iy he framed, (e) Elc- vients. (f) Sorts are. (g) Hath an eafily andihle Sovn o AriftotleV Art of Poetry, he goes, or lie Iiath gone, (t) I mark the time preient, orpaft. X. A Cafe both in Nouns and Verbs ^ we call a Cafe or Cadence ijtNoum^ th at which marks th& Sequel^ or Relation^ (ii) ^s this is of fuch, and this is to fuch, and which denotes (x) the Kumher, as a Man, Men, this is alfo common io Verbs ^ hut what we call Cafe in Verlis, is the different Inflexions, according to the Tone and Gefture, as when we aik, or command -, as, is he gone? or go you, are the Cafes of a Verb according to the different Species. XI. Oration, or ^DzTcoh;/^ is a compounded Sound, which iignifies fomething, and (y) whofe parts though feparated, have their Signi- ification •, for 'tis not to be imagined, that a Difcourfe fliould be ahvajs a Composition of Nouns, and Verbs, as the Definition of a Man. There are Speeches without Verbs,but that does not hinder every one of the feparate parts, from having their Signification, as well as this Cleon Walks (%). XII. An Oration is called one after two Manners, either becaufe it lignifies one thing only, or (a) elfe being compounded offeve- ralparts, it makes only one and the fame Body, by Reafon of the Connexions, wJiich put them together. Tlie Iliad, for Example^ ^ ' is (t^) One Jipiijies. (u) Jiid fuch like as Hove, time iovejf, the other, {%) More or lefs. {y) Some of whofe parts, (^) The JFord Cleon fi^nifics fomething. (a) Manfly Co7ijiinciion, Aiiftodc'j Art of Poetryl 3 5 1 IS one by Connexion, and the Definition of a Man is one by the Signification of one thing only. REMARKS on the XXL Chapter. I . 'np H E Parts of DiSiim properly fpeaUn^ are -■- Ei^ht.^ Without doubt a great many People will admire, that^-i/Zoffehavrng Occafionto fpeak ofDiilion and Elocution, goes back to its firft Principles, and accufe him of making a Gramma- tical Treatife, inftead of continuing that of the Art of Poetry. Tis neceflary to ani^ver that Ob- ie6lion firRof all. Both the Grammarian, and the Poet examine the parts of Division, which arc the Foundation of their Aits ; but in a very difterent Mannci ; the Grammarian examines them in order to fpeak correctly, and according to Rule ; the Poet to render his Dilcourfe more polite, foft, and hannonious, and to imitate more exaiUy by his Words, the Nature of thofe things he fpeaks off, and all this depends on a perfeft Knowledge of the firft Elements. And thofe Principles are lb much more the Bufmefs of Poetry, as the Poets were the firft, who improved the Didion ; from whence it came to pafs, th it the Poetick Diition was ufed by the Orators, Aiflale has then done nothing hercj but what was agreeable to his Defign, and profitable and neceflary in his Language. Dionyfus Halicarna{fjus in his little Treatife of C^ompofition gives a luore^ particular Account of Letters, Syl- lables and WorJs, and difcovers the Treafury,from whence the Poets, Orators, and other famous Writers have drawn this Knowledge. Arifloth does not engage himfelf in that Detail, but leaves it to thole, who teach how to make Veifes : foe after he has given an exadt Definition of the eight part 3 5^ AriftotleV Art of Poetry i pitt of DifcoUrfe,hc pa^es in the following Chapter to tlie Nouns, of which he explains all tlie Quali- ties and Dirtcrences. 'When he fays, there are eight parts of Diction, it fecms, as if 'twas contrary to what Qifintilim tells us after Bionyfus Halicarna(jeHSy that Ariftotle and TheodeEics made only three, Vctc- res, fays he, qwrum facrnnt Arifioteks quoijue^ atque Theodef a Mute and a VomU he calls all the Confonants Mutes ; for the Demi-Vowels are in efteil Mutes, wlicn tliey arc compared with the Vowels. 10. ConjunEiion is a Sound, nJjich fgnifyin^ nothing hy its Jvlf^ neither Caufcs, nor hinders any of the others, it is joyn d nitk, to have a Signification, hut only deter- n:ins them to have one only-, and mhich makes one, and the f^iwe of all the different Sounds, it unites.'] The Con- junelion neither adds to, nor takes any thing from the Words, it is found with, 'tis only to uriite thon, and make one tiling of thofe Words, which are AriftotIe*j Jrt of Poetry. 355 are about it, and which wnu'd be othcrwife dilii- iiitcd. Conjunctions writ, or omitted give awon- derflil Ornament to Poely, tor in ufmg ihcm one thing is ifn.idc of a great niany ', and in leaving thein out, many aic niadc of oiic. ir. 'T'ts generally at the e//r/, or in the A fiddle ^ hat Jomctimcs ai the beginnin^.'l Our Language has in this RcfpevSlal moll the lame Advantage with the Creek ,• for there are Conjunitious for t!ic bef^.in- iiing, for the Midilc, and for the End of a Dil- rourfc. But thole, ^vhicll arc at the End, arc not io niany as for the others. 12. An Anicle isaSomdj which /t^nifyin^ nothing hy itfclf, fcrvcs only to jh.'W the Be^^innir?^ or End o- a. JJifcomfe!] An Article is cither Prcpo'itivc, orSub- ^uil6livc. The Prcpofitive, asT/e, denotes the Bc- J^ittning of a Dilizourfe ; that is to fay, thit it points out the thing of which We {peak, and which it prcceJcs. As, the Booh, the Lmv^ the Kinj^. Perhaps the Z.^/ wis the Only Language, that hath not this prcpofitive Article ; It puts the Pro- nouns ilillead oi it, as hie, ijle, ille j whicfi has al- moft the f iiTie BcaUty. TheSub;un«5iive Article is that, wliich fhcws the end of a DiicoUrle; th:it is, it follows the thing it denotes, as r>ho>?!, which. Tiiat which follows, cr to fip^vate one thinj^ from Mnother, as I l\y, or to thisSubjedl:, is much Inorc oblcurcj it ILems Arifiotle comp'el,enJcd under the Articles thole Tcrnis, which were ulcd to lepa- ratc GDC thing from another, as / mali fiy, or to this SdjeEl, which Expreflions ^rc ufjd to prevent the Auditor, from changing his Thoughts. 1 he lecond Definition, which Arif.otle gives loan Ar- ticle, is almoil: the fime, as that of a Conjunilion, and fo plain, that there is no need of laying any- thing to it. 15. 5 5^ Ariftotle'j Art of Poetry. 13. A JNoun is a cowponnded Sound ^ vphich (ignifies fimething^ m:ho:^t denoting the timc^ c^nd vchojc parts^ fygnify no.hing rf/owr.] A Noun is a compounded Sound, 'tis compofed of Letters and Syllables ; for there is no Noun of one Letter, jvhich Jtgniftes fomething, that is to dii>ir.£^iiil>i it from a Syllable, which tho* itbe a compounded Sound, yet it fignifies nothing, mthctit den tUng the tiwe, becaiife 'tis 'ambling and indetermiiate. And ^kofc parts figni'y nothing alone. For if 1 Oiould disioin the Word Letter, the parts would Aenify nothing; and rhis'tis, wl.ich makts the Ditierci.ce between a Noun, and a Difcourie; for the pins ofaDifcourfe fignify ibmetiiing, when they are taken by thcmfelves. i^.. For even in double JSIoun every Noun feparate- ly Jurs no Signification, as Theodore.] A certain Proof, thai rhe part:^ or Fr> gments of Nouns, which are dis-join'd "crnify nothing is, that even Double Noun?, v/ hi ch are compofed of two Nouns, that have brtb their proper Significations, when they are ufed alone, yet the two parts fignify nothing when they are leparated ; for Tkeod:rus, Theocritus, Demo- rrirw, denote certain Men; but if 1 feparatethe two Nouns, which comp' fe thcfe Nouns, neither of them will have any Siv'nihcation, or give any Idea of them. 'Tis by thele Compounded Nouns, as 'tis by the Siinple, the taking away one Letter entirely deftroys them. This is not true in piopcr Names oiiJy, but in Appellatives, and Ad;cclives alfo. !«;. But the Verb has this Advantage of the Noun, that it determins tie time^ which the Noun doth not. \ The Term wdiich Arijhtk iifcs here, is very remar- kar-le, he does not lay .^c ^V-^. It denotes but -re? ''•7^ '■«, it denotes with that is, that befide the primitive Signification, a Verb haslomething elfe, which denotes the time 3 for there arc Nouns,which figmty AriftotleV Art of Poetry. 3 57 fignify time, as a Day, an Hour, Old, New, 0-. but in the Ncuns the time is the proper Sigiiinca- tion of the Word, which 'tis not in the Verbs. 16. ^ Cafe is loth in JSlcms an4 r.r/i.] The Word Cafe fignifies properly a TerrrAnmon^ C^d:nc:^ and agrees' as well with Nouns,as Verbs; fcrthe Ve-Vs have diticient Cadences, as well as the Ncuns. ^ri~ fiotle gives the Word a larger Extent, thr.n it has in the Latii, and then we give it in ours; icritco.u- prthends the Number as the Musal, and the Mood, as the Indicative , the Imperative, the Optative, &c. Our Language is unhappy in this, that its Nouns have no Caules, and aie indeclinable. 17. Oration^ or a Bifcourfc is a compoan.kd found ^ ivhich ft^nifies j[methin:.,a)id T\hcfe parts, ii.i fepanucd, have their Sigmfi at'wn!] Oration has th's in Com- mon with the Nouji and the Verb, that "tis com- poicd of parts , but that which diliinguifrcs it fiom the Noun and the Verb is, that the parts of thele figr.ify ncth"ng, whereas the parts of Oratioii do for Nouns and Verbs; which arc parts of Dif- courlc, have each their particular Signification. 18. For 'tis nit to le ir::agi}:ed, tf.at a Lifcrirfe P;oiild he always a Con.pofition of Nouns and Vcrls^ as the Definiticn cf aAdan.'] Having fai J, that a Dil- courfe has fome parts which h:ive their Sienihca- tion when Icparatcd, he refutes the Error of thofc, who taughtjthat all the parts of Difcourfe had the lame Qualincation, becaufe a Difcourfe beiig cnm- pofed of Nouns and Verbs, which have their Signi- fication apart, did not loofethem by being join'd together; he fays, that the whole Difcouricis not a compound of Nouns and Verb?, as that wh-ch makes the Definition of a Man, A A'! an is a rtafo- pahle Creature. For \is certain,that in a Dilcouric, vshich is compounded of Nouns and Verbs, all the A a 3 r^^^^"^^ 5 5<^ AriftotleV Art of Poetry, parts do (i^n\£y IbmethiiiG;, but there are other?,' \vheic there are Nouns without Verbs. When f lay, O n-ijj} J}irpriz,ing n^ Miracles ! O <^/}oni/hing. Prodigy ! Here is no Verb, and yet fome of tlie parts have their Signification leparatcly, and others not. This in iny Opinion is the Scnlc of the Pal- lage, which is very oblcurc in the GreeL ip, y^n Oration is called One a^ter two Manners.'] For an Orition is One, when 'tis a iimple Enun- ciation of one thin^, as Socrates ta^^ght Vrrtm to Men. And 'tis Ont^ where it gathers together fe-» veral Orations, or Difcourfes, as Members, which it unites by proper Connexions. The Orations of Vemofihcnes, thofc o£ Cicero, tlie Iliad and the Odyf- (es ai£ all after the fame Manner. Arifiotle liaa ufed the lame Divifion in liis Analyticks, and \x\ his Trcatifc of Interpretation. C H A R Ariftotle'i Art of Poetry. 359 CHAP. XXII. Of Simple and Compoimded Nouns of the different forts of Metaphors^ and all other Qtialities of ISlouns. I. ^TpH E R E are two forts of Nouns, Simple X andDouble ^ the Simple are tliofe, which are compofed of parts, which iignify nothing, and the Double arc formed of one Word, which doth, and another which do not lignify any thing, or of two Wards, which have each their Signification. There are alfo Triple , and Quadruple Nouns, many (j) «/Wjf t7; are to be found hi the Dhhyrambkk Focts. JI. Every Noun is either Proper,or Forreign, or Metaphor, or Ornament, or an Invented NounjOrprotradtedjOr fubftra6ted,or changed. III. (b) A Noun proper is that, which every one makes Ufe of in the fame Place. The Forreign is that, which is ufed elfewhere, from whence it follows, that the fame Noun may be Proper and Forreign (c) by its Relation to different Perfons; for the Noun Srgmwii is a Proper Word to the Cyprians^ but Forreign to us. (a) Of the Mexaliotes,iu Hermocaje^-X.wthw. (b)/ djlt th.tt. (c) But not tothe fann P(o£h. A^ 4 VI. 2 ^o Ariftotle'i An of Poetry^ IV. A Metaphor, is the (d) Tranflation of a Konn, from its ordinary Signification, t/;f;-6 are fmrfons cf Metaphors ^ from the Genus to the Species, from the Species to the Genus, from Species to Species, and that which is founded on the Analogy. y. I call a Metaphor from the Genus to the Species, fiich as this Verfe of Homjr. My Ship flood in the Port at a Diftance from the Town, (e) For the irord Stood is a Geveri(;al Term^ and is applyed to the Species^ hf'^y^'^'S-> t'^^ hi the Port. VI. A Metaphor from the Species to the Gcr nus, as hi this Place of the fame Poet. Certainly Vlyps has done Ten Thoufand good A(itions j for he puts a Thoufand for man}^. VJI. (/) _^ T^ifcti^p/jor from Species to Spec ieg confifts in the Refemblance, as if li^eaking of a Man, who in hopes of rnaking great Advan- tage, carried fomething to his Houfe, v/hich was at laftthe Caufs of a coniidcrable Lofs, we might fay, 'tisthe Carpathian with his Hare. VIII. To Conchde^ an Analogic al Metaphor h^ when of four Terms the Second has the fame llehition to the Firft, as the Fourth to (d) Illation of another Noun, (e) For to he in Port, is tQ ftand to he jn a Station, (f) front Species to Species drew out his Soul with Br ifs, a7id afterwards cut with fierce Snifj, where he vfcs drew, for cat and cut for drew , fur ioth fipiify to take away, ^he Ariftotle'i* Art of Poetry, 3^1 the Third ^ for we may equally ray,the Fourth for the Second, and the Second for the Fourth - as alfo the Thjrd for the Firft, and the Firft for the Third, IX. Sometimes alfo we add the thing, to which the Refembiance is made, and put it inftead of tliat which is proper. For Example, the Cup is the fame to Bacchus^ as the Shield is to Mars-, we may fay then in fpeaking of a Buckler, that 'tis tlie Cup of Mars^ and in fpeaking of a Cup, that 'tis the Shield of Bacchus, or thus •, the Night is the fame to the Day, as old Age is to Life 5 we may fay then in fpeaking of the L/cning, that ^tis the old Age of the Day, an^; ''peaking of old Age, that 'tis the Evening, or to ufe Evipedo^ cles's Exprelhoii j 'tis the fetting of Life. X. It falls outfomethnes, that we meet with thofe things which hav^e no Analogical Term ^ however, 'tis ufed in tlie fame manner. For Example, tlie Word to ibw fignifies the Adion of an Hufband Man, who cafts the Seed into theBofom of the Earth ^ (g) and becaufe there wanted a proper Term to exprefs the Action of the Sun, when he diffufes his Beams oA-er all, yet the thing, which he would exi:)refs, liavingthe fame Refembiance to the Light, as Sowing has to the Grain, a certain Poet faid in fpeaking of the Sun, fowing the Light Di- "vine. C^) As Li^htfrom the Sun, which wants apv^cr Term. XL y^2 AriilotleV An of Voetryl "^ XT. There is yet another Manner of ufing fhis Metaphor, when (h) after the Metapho* rick Noun \ve add an Epithet e, w-hich de- (troys fome Quality, that is proper to it. For Exa?nple, as after having called a Shield a Cup, we ihould fay without Wine, infteaci of adding oiAlars, XII. The invented Noun is that, which the Toet hiinfelf creates ^ as if inltead of faying it.ifa.1 - , Horns, he /lliould fay, kiorcti Branches^ and inftead of j?e4«t, a Prieit, he fays ei?»THf«t, that is a Man, who makes Prayers, XIII. (i) The protra6led Nouns are thofp, when a long Vowel is put inftead of a fhort one, as T^Aiof for -oaso?, or when a Syllable is added, as -'£;^<:i^£». for t£a«^«. And the Sub- tracted Nouns a're thofe,from which a Syllable as taken away, as ^.f f , for (k) Ktiy.voVi Jm, tor JlafjLU, iiij for 6Wf. XrV. The changed Noun is, when one half remaias, as it was before, and the other halt is new made, as irZ/^/, Homer 7nade the Word (I) (h) He calls fomethinr tlhit is foryeipjj and denks th.it vh'ich is J>roper. (i) Tbc protraBed atid fubJlr^Bed,, (k) Kei5)), andofl'Qth if b-i for c4'f, /* CoJintenriue. (1) Jli^'iTifoif Ki/.jcl ^ct^ov for J\i^lOV* 3CV, AriilotleV Art of Poetry. 353 XV. There Is yet another Difference between Kouns ; Some are Mafculine, fome Feminine, feme Middle, that h to fay neuter. The Mal- culine are thofe, which end in 's f» <^> and by one of the double Letters, which are compoun- ded of two Mutes, as 4i and ?.^The Feminine end always by the tw'o long Vowels, "? and «> and*» I'-np, fo that the Number of Termi- nations of t '^e Nouns Mafculine and FeiTiinine is equal; f r Is and ^. ought to be reckoned among t]:L Terminations in <^- There is no Noun,which ends in a Mute, or a fliort VoweL There are only three which terminate in '» Me- •]i, Co;njni, Pipej-i, and five in ^-y Pou, Napu, Gonu, Doru, Altu. The Neutres end with thefe two latter Vowels, ' and ^t and with !■, p, and cr. REMARKS on the XXII. Chapter. I. 'T^HERE itre tm forts o^ Nouns, the Simple 'anil •*• the Double. The Simple are trnfe^which are cont- ■pcsd of parts ^ rvhkh fzmfy noihinjTj and the Double are formed of one Word wjch doth, and another which doth 7iot fignify any things or of tnoWcrds^ which h,vc each their Signification.'] Jhc Dificrence, which Arijiotle puts here between Single and Double Noun is, that the Fragments of the fird fignify nothing ; of the others, one part docs fignify, and the otli^r docs not; and there arc thole alio, of which both the- parts fignify. But is r;Ot this contrary to wliat he laid. 2 64 AriftotleV Ari of Poetry, laid. That even in the iVmhle Nmns^ every Noun lulfj^ Jeparated fignified nothing, ^J Theodom-. This is no Contradiction. A-i/otle fpeaks in tlat Place, of Nouns, which after they have been join'd are diiunitcd again, for then every part fi^rnifies no- thing, and gives no Idea ; but here he Ipeaks of the Signirication, which thofe^Words have before tl^ey enter into the Compofition. The Difference then, which is between Double and Simple Nouns is, that the parts of the iirlt fignitY "o^'^i^S ^^"^ ^"Y Account, as he elfewhere explains it; but thefe other fignlfy -^^.I'ii -"-ix^jeio-y. •, that is to fay, both before they are fcparated, or either into the Com- pofition of the Noun. 2. Of one Word which doth, and another rvhkh doth mt fignify any thing.'] That which fignifies nothing is only an Extenfion, or Termination of the f rii " 3. There arc aJfo Triple, and QMadrnple Nouns. '\ The Greels were very licentious in this Ibrt of Com- poGtion, and efpecially the Dithyrambick Poets. The Latins did not give themfelves near lb much Liberty ; and therefore Qiiintilian fays, that 'twas not permitted to ule Triple Nouns in the Latin Tongue : Nam ex trihus noitra utij^ne Lingu£ non concefjcrin'/. And for thlt Reafon he condemns thisVerfe o£ Pactivim, Nerei. Repar.diiifrojirfiw, incHrvi Cervicum pecas, Wc are more modcji-, and refcrved in our LangMge, than the Latins Tycre in theirs. 4. A^any of which are to he found in the Dithyrar,t- lick T^ofi/.] there is one Word in the Text cor- rupted , cti'-iV id, 'TToKhA 7av u.iycL>'.iiS]S'-. I CQ;|:r rcd^ it, 7w^ yiyxtt^'.vltJi'. .Among tkofe nho fay great emngSy ArlftotleV An of Poetry. 3^5 things^ that is, among the Dithyrambick Poets, vvhofe property is, to elevate themrdves to the Skies. Hefychius calls uiya.i l^-^'m, uiyeiKa, ac- <. Every Noun is either Prefer, or ForreignyAri- Jiotle takes Notice here of the eight Qiialitics of Noun?, which he explains in what follows, the Latins had not fuch a plenty of them, as ib^ Greeks^ nor wc as they had. 6. A Noun Pnper is that^ which etiery one 7?iahs ufe of in the fame Place.'] A Noun Proper is that, which any People make life of in their Language to fignify the fame thing : Tis that which renders a Difcourle terfe, and intelligible ; bat as it makes it fomewhat mem and low, they found out the way of exalting it by forrcign VVords, and thofe other Terms, which Aristotle here explams. 7. The Fcrreign is that, wf:ich is fifed elfewhere. "] Forreign Nouns are thele, which are borrowed from other Languages. Thele Words extreamely elevate the Di.:tion, and make it Majeftick, of which Ariflotle gives this Reaibn in his Books of Rhetor ick. As we feel a certain fort of Pleafare at the Sight of Strangers, vphich rve do not at that of our own Conntry-Aden^ wkom rve fee every day, fo 'tis in the Virion. Therefore 'tis very proper to difguife the wanner of f peaking, and to cloa:h it, as I may fay, like a Stranger; for that which comes from Strangers appears admirable, and that which is admirable, pkcfes and de- lights m. But as we can't now diftuiguilTi in the Works of the Ancients the Forreign Nouns from thofCjAvhich are proper, welooic one of the greateft Plealurcs, the Reading of them could give, and confequently cannot know all their Beauties. The l^atins had fewer ftrange Words, than the Greeh j and wc have ahnoli: none in our Language ; and that -^66 A riftotleV Art of Poetry; that is the Reafon, why pur Pocfy is fo flat, and falls fo much below rliat of the Greeks. Homer ufed the moftRude and GrolS words of the Bcotians ^With a wonderflil Grace, and Diony fius Haiuarnajfeus wcM obicrved, that it gives a very great Ma j city to his Poem. S. From Tvhence it foJlms, that th fame Noun may be Trotxrland Forreign, hy its Relation to different Per- fons.'j Tis impofliblc, that thisHiould be othenvifcj that Word which is forrcign to him, that borrows it, jnuft ncccflarily be proper to him, from whom 'tis borrowed. p. For the Noun Sigunon, is 4 proper ]Vord to the Cyprians, bnt fcrreign to w.] The Word Signunon, fignifies a Dart made ill af Iron, Anjhtle faySj that 'tis Cyprian, and is follon"cd in it, by the Scholiaft of Appflkmius j Suidas cxWs it Macedonian^ & EuHathins Btotian. 10. A Adeta^hor in the Tranfation of a. Noun from its ordinary Signification.'] Soaie of the Ancients biamc Ariihtle, that he has put the two firlt under the Metaphorical Noun, when they are properly Synecdoches ; but Ari/htle fpeaks in general, and wrote in a time,; when the Figures were not fo refined,as to be nicely diftinguilli'd, and have Names given to them, by which their Nature was bed ex- plained. Cicero lufliciently juftifies Ariftotle, when he writes in his Book of an Orator, Itaijuo. Gracl 9enm hoc appellant Allegoricum^ nomine retre^ gcnere n;eliiis ille (Ariftotelcs) qui ifra omnia Tranflationes vocat, IT. I call a A-fetaphor from the Gentu fo the Spcciefy fu:h M this rcrfe of Hoiner.] l\iWi At'Aotle s Art ofPoetryl 367 My Shipjiood in the Fields, far from the ToixnS ^ Where he ufes tlie Word Stood, \vhich is a pcne- rical Term, and coipprchcnds all the ^vays of being free from Motion; to be at Arc: or: in Port : 'Tis the fame to fay, the Iron for a Snordy Mortals for Mefjy a Star for the Sun, tSrc. 12.^ Mctaphr from th Species to the CentirS, as m this PUcc of the fawc Poet : Certainly UiyJJes lias done a thoufandgood Adion?.] 'Tis a Verle of the fecond Book of'the //m^, -when the Greeks praife Vlyjfes, fen- beating the infolcnt Therftes, i;=^>» //t/et i'i\v7ix'.{jii 1 ; • . ,X 7:..-;oiq o;i j^nr/it. 1 6. Sometimes nlfo we add the thing to which the i(tf- femblflnce is mnde, nnd put it irfiead of that which is proper.'} Heivfius gave himfelf a necdlefs trouble to corred: this Palfage, which is ib clear, that it had no occafion for it j but iuppofing it were faulty, his Corrediion is intolerable. Arijhtle means only, that oftentimes the thing to which the Refemblanceismade is added, and put inltead of that, from which the Re- femblance is taken. For Example, Inltead of faying fimply, A Cup js n Shield ; I fay, 'Tis the Shield of Bac- chus, So inftead of Mnys, to whom the Sheild is pro- per, I put the Name of Bacchus, to whom I make the Relemblance : And in fpeaking of n Shield, I am not fatisfy'd to fay. That 'tis n Cup ; but that, 'Tis the Cup ofMars ; putting Mars for Bacchus. To ufe another Example, I fay, Heaven, Stars, Meadow, Flowers : The Flowers arc the fame to the Meadow, as the Stars to Heaven. I fay then, in fpeaking of the Stars, Thar they are f/;c Flowers of Heaven. And m fpeaking of Flowers, That they are the Stnrs of the Meadow. And thus in all others. 17. IJ^'e fay then, in fpcakjng of a Buckjer, That 'tis ihe Cup o/Mars.] Arijiotle had without doubt, a Paf- fage q{ Timothcus in View, and another ot Antiphanes, both which call a Buckler the Cup of hiaxs.;. hut- I-» don't remember to have read any' where, that a dp B b was 370 Ai'Aodts M of (poetry, was callctl,' T-fje. Buckjer of- Bacchus. 'lis probabfe, rhat At4}eneus tookfiom this pjace the- hint of ealling- Kejhr's C«p, /;/; Shield. i2. It fiills out JhmtttiricSy thnt' vt>e meet roith thofe things which have no Analogical Ter7», however "tis ufid- in the fame manner r\ As he hasfhow'd the Analogical Metaphors to be perfedt, ought to bear an Invcrfion 9. and that tlte two Subjects from whence they are ta<^ ken, have each of them a reciprocal Term, whiclir may be- trahfpQSxi from onp. Subjct^j to anetherj.lo now bo tdls us, That Subjcds^ire often found, which, having no proper Term borrow it from another, with- out being able reciprocally to return it. For Example, Whtn- an Hiasbaindnian eafts the Seed- on the Ground,.. thtre is a proper '-Term' to denote the A^ion, which is- to'Sow ; but'w:hcn the Sun cafts his Bcam..s, there i<; no-- proper Term which- expreflcs th^at Aclion : Wherefore , in fpeaking of the Sun, we arc obliged to borrow the- Tetm of the Hvisb^inJman ; but in fpeaking of An Husbandman, we can borrow no Term from the Sun^- becaufe it has none which is proper to him, the Ana-; logy is then impcrfed;, becaufe the fame Term fervcs- two Subjcdls ; but however 'tis ufed, an Ancient faid.'- ofthc Sun, Sowing the Light Divine. Virgil fays the' fame in fpeaking ot Aurora. Et jam prima novo Jfcrgeh/it lumincterrnsi And, - P'ofiern vix fummos Jpargchat lumine monies^ Orta dies. And Lucretius fays of the Sunj,- Et'lumlnc confer it arva. 1 9. There is another Mr.mier of iifing this Metafhtrr^ when after the Metaphorical Nou7i, vpc r.dd an Epithet^- ■fvhich deptfys fome ^ality that is proper to it.'} Ari- jiotie Ariftotk'j Jrt offmry. ^71 fiotle has taught in what manner nn Analogical Meta- phor is ufed, and fays that the Name of the SubjcCl to "♦i^hich the Reiemblance is made, is often added, in- flcad of that from which it is taken ; as when a Buck- ler is called, The Cup of Mars. He tells us here, That thef"e is Another way of uling this Figure, when in iieii of ufing the Nanie of the Subjecft, we add a Ne- gative Epithet only ; tliat's to fay, which denies the Quahty, that is m'oft proper to the Metaphorical Term which is ufed. Thus, if inltead of calling a Buckler, The Cup cf Mrtrs, w'c fliould call it, n Cup Telth'out H^mCy (:;t^np a-'>i\'<^v 'i and in lieu ot calling a Cup, The Buckjer of Mats, it iliould be called^ a.^'n'iS'A rtOTAoi', A BuckJer vehich is not tniide for Cctn- i'nts. Arijiotle defilgns this Metaphor; when he fays in his Rhetorick, T-^oj' (p'^.^y.iyz: c?, oe^t^v a Bow is rn Harp without Strings. And When he calls a Confort of Voices only, ju«a<^ et^fff-Tov ^M'f'y^ A Covfcrt with' out Lt^te nnd Ifijlriim-ents 'j arid the Sound of the Trum- pet, >.'i^& a.Kv^c'-, An Hnnno7iy which is without a Lute. This Figure is common, cfpecially in the Greck^Voczs^ who have ufed it very happily. Vi^oius quotes feve- fal Examples : Euripides ufcs it twice in the fame place, when he makes Iphigeni/i fay, T <'< at iv/>i7H fy.oK''a.< 0oa.v d.)'\j^s>s iKiyci<;, for hc calls thole Com- plaint^ and Regrets, Elegies without n Lyre ; and rliG Groans, Sarigs without Muflck^. Thc fame Poet in the Chorus of the Phccnicinn iVowen, calls an Army, yvuov Avavharajoi', A Fenji without Flutes. /iri/iotle fays very well in his Rhetorick, th.lt tho' thefe Nega- tive Terms expiefs nothing of thcmfclves, becaufc they Hgnifie nothing that is pofitive, that they are very much efteemcd in thofe Metaphors which are founded on Analogy. Our Language fometimes can ufe thefe Metaphors accompanied with the Negative EpithcteSi but not fo often as the Grccl(^. 20. yti Invented Ndme is thr.t which thc Post himfelf creates, Sec] After the Metaphor, that which >^r//?fl' tie Z2\\sOr7inmcnt, kojuov. fhould follow; how comes he then to forget it ? Is it becaufe the Ornamenc B b I fpringc 5/2 Ariftotle' 5 Jrt of Poetry fprings from the Mt t iphors ; fo chat having esjplained their diifercnt Species, he thought there was no need to explain what an Ornament vv'as? 'Tis not the u- fagc of our Philofopher to advance any thiiig without explaining it. If he had had a defign to mix the Or- nament with the Metaphors, he would not have made a fcparate part of it. I rather think, with Madius and Vittorius, that the Text is defedlive, and that by the Negligence of ibme Copyift, what Ariftotle faid of Or- nament is loft, either where he had explained it, or refer 'd to the place where he would do it j for 'tis pof- iible that he might have referv'd the treating of the Or- nament to the Second or Third Book of his Art of Poe- try ; it appearing by a Paflage in SitrifUcius, that he fpokc of Synonyma's in thofe Books. However it be, what he means by the word Ornament, is the Epithete which he calls oi-.aov-, in the Third Book of his Rhe- t-orick ; that is to fay, paper. The rcalbn of this dif- ference of Names, is, that the Orators ufe f ;w Epi-> thcts for Ornament. They employ them only to ex- prefs the things they fpeak of the better, whereas the Poets ufe them at every turn to grace and adorn their Dili-ourfes : ¥ov as Qinntih/in fays after Arijiotle^ an Epuhct is a very great Ornament. Whcfefore the Po- ets" fay, fVhite M'llk^, Moift iVntc, Shc.meful Poverty, Melancholy Old y^ge, &cc. But thq' thclb Epithets are properly made lor Poefic, andvia, Difcourfe which has none, appears naked and difagrceablc, the ule of them is iimlicd by Rules and Roundsi If a Poem is too full "©f Epithets 'tis flat ; if they are ill chofcn, and not well adapted, 'tis ridiculous and difplcafing, and the Poet is guilty, of the Fault, which" Arifiotlc accufes tleophon .oi, ".who would thus adorn the leaft ,Dif- coLirfcs, and cxprcfs himfelf fo Ridicujoufly, that he l^iid. Venerable. Eggs. But to come to the Invented Names. „ II. -^n Invented Nnme,, is thnt vej.uch the Poct Jjim- jilf crentet,- 6cc.] ^rz/^o^/f* fpeaks-hereof limplc words enly, and nor of compounded ones, becaufe properly {:j:>caking, theiiajplc cnes alone can be Jnventeij, the other AriftocleV An of Toetry ^7.^ other being formed of thofe which are already known , and in ufe. The Ancients obierved, that Homer In- vented fevcral j Arijlotle gives us two, the lalt is in the Firft Book of the Hinds, but I don't know where the firft, efi't/Ttf., or k^vCy-jn;. Brr.yiihcs for Horns is found, for I don't think 'tis in any of Hcmers Works which now remain. 'Tis probable that on this Virgil fays, J{amof/t Cornua. Et I^ftmofa Mycon vivncis Cornua Vcrvi. And elfewhere. Cornihus arhorcis. 21J The protrafied Nouns nre thofe where a long Vovosl is put for n Jhort one.~\ "What Ariftotlc fays of protra- d:ed, fubftravfled, and Invented Nouns, is proper to the Greek, only, which diverfity made it fo copious, florid, and proper to fill up all the Characflers of Poe- fie, and Eloquence, that it can exprefs ev'rv thing ve- ry happily. The Latins endeavoured to imitate this copioufnefs, by their Apocopes, Syncopes, (3c. but 'twould not fuccced j for what is very agreeable to one Language, is not fo to another. The different Di- ale(5ls which were properly the ufages of the different Countries of Greece, gave them the liberty of ufing all thofe ways of fpeaking, and which were not allowed to the Poets only, but to the Orators, Hiftorians, and Philofophers ; and this liberty of changing Letters, and new cafting, as I may fay, the words, which how- ever altered they were, were ftill known by the com- mon ufage, is one of the chief Caufcs of that admira- ble Variety, wonderful Harmony, and inimitable E- nergy, which are found in the Greeks Writers. They were not fatisfied to ProtracfV, Subtrad, and Invent Nouns, but they ufed the fame Changes in the Parrs pf Periods ; nay, even in the Periods thcmfelves. If we confult Dionyfius Halicnm^Jfcus, we fliall find what Graces and Beauties they knew, to give ro their Pie- ces. A here's an infini-o n;ft^nv;c betwixt the Copi-* B b 3 cuncfs ^f 4 Ariftotle'; Jrt of foetry. ouffiefs and Sweetnefs of that Language, and the Pe- nury and Stiftncfs of ours. This in rcfpcd to the o- ther, may be compared to a Tyrant, who commands his Architects and Workmen to build him a fine Hoiife, and gives them only a fniall quantity of Stones as they came out of the Qiiar^ y and 1 imber without being hewn, with a ftrid: Command to ufe them as they are without any Alteration. Juft fuch is their Condition who write in E7igliJloy if it happily falls out that the Materials arc pf a proper Figure rp be adjufted toge- ther, 'tis very well; bait if there be any knotty, un- equal, rough, as often happens, they have no liberty to correct:, and make them fmoorh. This is alfo the Reafon, why we have nothing that is perfect and finifh't, that can come into Comparifon with the fin^ Works of Ancient Greece, which always excel ours, efpecially in this refpetfi j that is, the Compof^tion and the ranging the Words. %%. The Suhjir/tBed f^ouns, are thofe from vrhich a Syllable js taken aw^iy."] The J^atins have the fame, frtm, fos, fiSf for fuam, fuos, fuis. Ennim faid gan^ for gdudiunij Coil, for Ccclum, Do for Domum ; but tl^^^t was not followed : They now fay only mi for mihi, caldum for calidum, dixri for dixijli, furpicrat hv fur" rij^uer/tr^ dcceffe for deceffffc, and fuch hke. 2,4. Tijere is yet anotlper Difference hctvocen Kouns, Jome are Mafcul'me, fome Yeminine, and fame Neuter."} I have chofe to follow the Scnce rather than the I^^t^er, in Tranflating this place, .ind what jirifiptle meant than what he faid, for the Words haye been altered, and fpoiled by the Copyifts : And thus we fee what he wrote. 'Tis certain that there is no Gree^ Nouns that ends with any of the Nine Mutes, or by ^, a, v, any jnore than by the two fliort Vowels t, and 0. There remain then only ten Letters ; and ofthefe ten the three long, v, »*, e^j are j^or F'eminines; /, v, ar? for Neuters -, and the five others, ",^ , f, ) make this Tranflation: ot one thing to another as it ought to be, is to ieeat oncCj what is alike in very different Sub- ^Jcas. ij'. -■ ■ ''11. The double Words agree particularly fto Dithyrambicks. The Foreign Words to vjSefoick, and -the Metaphors to Iambic k Ver- '(fes. But the double, and Foreign Words, the Metaphors, and all the other forts of which we have fpoken, may be of ufe in Hero- 5ck Verfe -, whereas the lambick, which .Imi- tates only the Familiar Style, can employ no Terms but fuch as are ufed in Converfa- tion •, that is, proper Words, the Metaphor, 'and the Ornament. 12, What we have faid^ is fufficient for Tra- gedy, and the Imitation, which doth confifl in -Ad ion. (0) Good, (p) To know tv transfer in li^e Jntuithn. \ REMARKS A rift otle s Jn of Poetry. ^ % \ R E M A R K S (;// Chap. XIII. ..■;-;..^J 1. The Virtue of an Exfr^JJion confifis in its Pur^tjl^ And Loftinefs ; Thnt which is Cemfofed of Simple H^vrds is very clear ^ hut 'tis alfo /otv.] That which nioft con- tributes to render a Difcourfe clear and intcHigibje,, are the proper Words, becaufe they are known by t\ey^ ry Body : But they make it common and low by thjsj fame Reafon : For whatever is common, is generally} mean and defpicable ; wherefore to take away thai; Bafenefs, 'we muft have recourfe to thci Terms whijohu Arijlotle has explained, and which render the Di(5t:ion Noble and Majeftick. a. As is feen in CleophonV and SthenelusV Poetry^ They were two Tragick Poets: I don't know when the firft was, the other lived in the time of Lyfi^s and Pericles, about the ninetieth Olympiad. The- Style of thcfc two Poets was low, becaufe they ufed only common Terms. Arijlotle in the Third Book^f; his Rbetonck charges Cleofhon with another Faulti- for he accules him of ufing the Ornaments fo uncouth^. ly, when he endeavoured to add them to his Di(ilioi:\„ that he was Ridiculous, and his Style perfcdily Co- mical ; for that is generally the Effe(5t of Ornamcnj;*^ when they are mifunderftood. . -,^ 3. But if thefe forts of Tnms v^ere employed throughr. out J voejloould mai{r. either Eingms, or BarOarifms. ThCr' Metaphors too much vfe4, vor. ..' degenerate into a RiJ-i die.'} As he has taken Boiice of the Fault they arej ■ guilty of, who lifc only proper Nouns; he Ihews them alfo, into which they would fall, who fliould em- ploy the other Terms only, and this Error is greater than the firft. For a Riddle and Obfcurity in Diction^ are the greatell of all its Vices. This is the Fault <]^ Ly cophr on nmon^ ihciGreeks^^ikud Perfius among t;iig. Latins. t\ - • , - 4..^A.? jSl Ariftotle'i Jrt of Toetry. 4. jifjd the Foreign U^ords t/il^en front Jlrafige Lnn^ fringes, would frnduce obfcure Barbnrifmsr\ For this larbarifra conlifts properly, in the ule of Foreign Words, as when CntuUus faid Ploxinor?, which is a Gnllick, Word ; and Lnhienus ufed Crffir.r, which is Thufcnn, and Virgil, Gn:[a and Mapnlin, the iirft of which is Perfinn, and the other Cnrtbaginian. Thcfe Foreign Words, give a Loftinefs and Majefty to the Difcourfe, when they are ufed with Moderation and Difcretion, but make it Barbarous, when they are u- fed too often j the Barbarifm then confifts in the too frequent ufe of thefe Foreign Words. 5. For a Riddle properly covjijls, inf/iyirig things, in fuch n manner, that it mnk.es than appear impojfiblc, thn cannot be done, by n fimple Compofiticn of iVords, for only Metaphors, hnve the Power to make an Enigm^ This Paflage is remarkable, becaufe it reaches us two things, which are neceflary for an Enigm. The one is a Metaphor, and -the other that it appears impofli- blc ; for if we propofe a thing that fecms impolliblc; without the Metaphor, or ufe the Metaphor without making the thing appear iitipoifible, 'twill not be pro- perly a Riddle. There is a third Condition, no lefs neceflary to a Riddle than iho^ two others; and that is^ that the SubjecSt of it be natural and known to every Body. ForrhisReafon that Riddle ofSampfon's in the fourteenth Chapter of Judges, Out of the Eater came forth Meat, and out of the Strong cnme forth Sweet nefs, appears not to be a true one, becaufe it wants the i;wo laft Conditions. That in the Third Eclogue of Virgil. Die t^uibui in Terris, G? eris mihi Magnus ApoUo^ Tres patent Ccclifpatium non nmplius ulnas, Is no true Enigm, becaufe all the Tertns are Simpli*, and there is no Metaphor ; for he fpeaks of CccUus^i Tomb. However that which is obfcurr, is cal- led Ariftotle ^ Art of Toetry. 5 8 j I<{d a. Riddle, after what manner focvcr it be ex:- prefs'd. 6. As is feen in this CeUhr/tted I^iddle, 3 fato a ^an t»t» glueQ ^Ttn, to anotbet fl^an toftb iPJte.J Arijlotle cites this Enigma again in the Third Book of his Rhetorick, Demetrius quotes it after him in his Trcatifc of Elocution j but they have taken only the firft Vcrfe : Athenevs gives us the Diftich en- «ire. ifiVf n Mitn who glev»'d Tin to another with Fire, fo- thr.t the Blood ran, into the Tin as into the Mati. He fpeaksheri of the Applications of (iohat we call) Cup- ping-giaflcsj which were not made of Glafs in thofe Days, but of Tin. *Tis pl.iin that this Riddle has alJ the nccclTary Conditions : The Subjcdl is known, the Propolition appears impoilible, and the ExprclTion is Aletaphorical j that is to fay, Tin for a Cufping-glafs^ that's the Genus for the Species ; to Glew, is alfo a Mc- t.tphor, for there being no proper Term for the Man- ner of applying Cupping-glafles, and to glew being a means of making one thing ftick to another, he who made the Riddle, ufcd that Word the better to cxprefs the Application of the Cupping-glafTes ; and nothing can be more exa<5t than shan Relation. 7. But there is a certain way to render it, at the fame time clear and noble ; that is, to make ufe of the frotra- BeJ, fubftra^cd, and cha7iged H'^ords!^ For we find in all thofe Words, the proper, which make the clcar- ncfs ; and the Foreign, or Extraordijiary, which make the loftinefs ; but I have already faid, thefe Beauties arc found only in the Greeks, the Latins have little ad- vantage of us in that rcfped:, fo that they were redu- ced, as well as wc, to look for that loftinefs of Style,, in the choice of the Words, in the good and proper ufe of ; 84 AriftotleV Art of J^oetry. of Similitudes, Comparifons, Metaphors, and all the Figures. 8. 'Tis for this re/ifm, that thofe Vf ho condemn this foYt ef ExfreffiOTif tind blame Homer for ufwg it, do it mttji cut any reAfotty as the Ancient "EvicMdr^ 'Tis not only now, that Homer has found unjuft Cenfurers, he had themalfo in the moft refined Ages, but they both thai and now had only Confufion and Shame, for all th© painful Labour they underwent. There was an Anci- ent Eucltdy not him, who was Contemporary with Plato and Arifiotle ; whofe admirable Propofitions we now have, whom Arifiotle particularly diftinguifhes, leaft we fliould be miftaken, and that any one fliould be fo Injurious to his Friend, as to believe that he would writ€ againft the greateft Poet. This Euclid,' in order to make Homers Works ridiculous, had com- pofed a Poem in Heroick Verfe, in which he ufed at almoft ev'ry Word, thofe Figures which Homer ufes, in due meafure, and very much to the purpofe, Ari- fiotle refutes this Writer Iblidly, by fliewing, that he •wrote either thro' Ignorance or Malice. -9. Either following the fame Method in his Verfes!^ Arifiotle quotes two Verfes of this Euclid's, I have not rranflaned them becaufe they are corrupted, and tell us nothing which is new. Heinfius has endeavoured to corred: them ; but his Efforts have been fatal to the ' i?afrage of Arifiotle it felf, of which he has fpoiled the Senfe, and made it unintelligible. As forme, I believe that thofe Verfes oughrto be writ thus.* And, In tlie firft Euclid ridicul'd the prorrading of Words by Md'-adw:'"^ , and the changing of fliorr Syllables into long, by /Srt/((^ f?*, for &a is Ihorr ; and in the fc- cond Ariftotle'f Art of foetry. j 8 5 cond he laughs at that liberty by thefe two fhort Sylla- bles f©-, iy of which he makes a Spondee, and by £AA5.'?6e<»/0 for 6AA.5/?cifK. • '' I o. 'T« not the thing it felfy rohich makes the AjfeBa- f^ion, *tfs the continual ufe of thefe Maimers of Speech.'J This is a Reflitation of Euclid ; for Ariftotle tells him. That Homer us'd thefe Manners of fpcaking, which he blames, in a juft proportion, and much to the purpofe, but you place them without any mcafure, and when there is ho oCcaiion for them. Tis you therefore, and nor Homer who arc ridiculous j for thofe prorraded, fubftra6led, and changed Nouns, arc not blamcable but according to the Vicious AffcAation you employ them with, and this is what he proceeds to prove. ' 1 1 . For there is n mcrjure common to nil thofe diffe- rent Species, and which fhould never be trnnfgrefs'd.'\ There is nothing but ought to have its juft meafure, and if this be ncceflary in every thing, 'tis much more fb in thofe which fcrve only for Ornament. Every "Word which is not proper, is of this Nature : That's to fay, 'tis only ufcd to embellifli, and elevate a Dif- courlc ; and confequently, as /Irijiotlc here fays, there is a meafure for theie Ornaments, which is common to them all ; and that is, not ro employ them but to the purpofe^' when tlie Subjedl requires it ; and they add'fome Beauty, for there is nothing more requiCice, than this good Management. Th?re are a- thoufand Opportunities, where thefe Ornaments may be ufed Ridiculoufly and Impertinently ; but they make a Poem Flat and Infipid when they are uled too often; and when they arc not ncceflary, they arc not rclifh- ing, and proper as it wCre to excite the Appetite, 'tis a Dilh which cloys, and gives an horrible Difguft. 1 1, T/j/y is fo true, that if we fhould ufe after the fame manner, Metaphors, Foreign HVords, SccJ To fhew ' Euclid, that the Ridicule did not conlift in theFigures thcmfclves, but the too frequent ufe of them : He fays, that the fineljt tlyngs, and thofe the World admires C c mol^ J i6 Ariftocle'j Jrt of foetry, moft, may be made as ridiculous, if they be ufed with that Dcfign. 13. To he Convinced of the Beauty rvhich the figured Speeches give to the DiHion, provided they he agreeable^ Vfell pUccd, and in jujl proportion^ vpe need only take an Epick^ Poem or Tragedy, and change the Tenns^ After he has refuted Euclid, he confirms his Opinion by au Experiment, and fays very well, that if we take the Sublimeft Verfes of an Epick Poem, or a Tragedy, and put proper Words inftead of the figured ones, it will lofe all its Elevation and Noblenefs of Style. 14. iEfchylus made his Philodetes fny, ^Tl^iJt Ulcet \aW\) (IPat« rap jflcfl).]] In .^fciylui's Verfe, The Word i^i-V'> to Eat, is a proper Word, and con- fequently more common and mean, wherefore Euripi- des changed it, and put into its place ■dcivdlcu, which is a Metaphorical Word, and lignihes,_^o fcalt, to de- vour, to feed: When yirgil fpcaks of the Serpents which devoured Laocoons Sons, he fays, .. ■ ■ liifcroi mcjfu depafcitur artm. And renders the Exprcilion much more noble by the compounded Word. 15. J^^ejhould dejho) the Beauty of mojl part o/Ho- merV Verfes, if in the place of thofe choice and noble Terms he has ufed, vee fhovld put proper Pfords.'} Ari- flotle quotes two of Hcme/s Verfes, which I have not Tranflated, becaufe our Language has not figured Words £0 exprefs them : But HoTfier is full of otfeer Examples, which may be put in the place of thole I have fupprefled : We need only open his Book to find them. 16. There Ariftode'j Art of Toetyy. ^ 87 1 6. There Xfai alfo oni Ariphrades, ri>ho Inughed nt the ^r/igii'k Poers.'} As Euclid had found fault with Ho- tncr'5 Compolirion, there was one Arijihr/ides^ who condemned the Tragick Poets, by reafon of the liber- ty which they took, of putting the Propofitions, after Nouns, and fay y find fprighlly Gcniui. For to make this Danfiaticn of sne thing to ayiothcr, as it ought to bt!, is to fee all at once, what is aliks in very different SubjvBs.'} The Fo- reign Words are borrowed from other People. The Language fumifhes the double Words ; thofc which are lehgthncd, fliortncd and changed, as alfo that Epi- thets they arc drawn from the ditlercnc Dialecfts, neW Words, made nccording to fancy, which fhouid be al- ways condudled by Imitation. 'Tis tiot the fame with Metaphors, for they in order to be agreeable, fhouid be new, and taken from thofe thiags which are neither too common, nor too rare ; 'tis for this realbn AfijlotU Cc 1 fays, ;88 .Ariftotle'i At of Poetry. fays, That it is the only thing which cannot be bor-*" rowed elfewhere ; and confecjuently there muft bfl more Ingenuity to invent thele Metaphors, than to make a very proper ufe of all the other Ornaments. . Thus we fee, that thofe who have had the ' quickeft . "VVit and Imagination, have excelled in thofe ways of fpeaking, and the more, as their Language has been filled with Metaphors. And truly fince a Metaphor confifts in the Relemblance, and in the Proponion, they only who have an Ingenious Invention, and fpnghtly Imagination, . can (ec all at once the likenefs of very ditferenc Subjedts. Thus we fee that a Metaphor car- ries the marks ,of its Original.^ for it appears only to fcnlighten, and always communicates to theMind iorae new Knowledge, which the other Ornaments are in- capable of doing. For Example, when any one tells me that Comfnjfwn is an AUnr^ by that I underftand that CompjJJion is in the Heart, that which an Altar , is in the Temple, that is to fay an Azylum, and refuge .jfor the Unhappy. Arijiotle proves in the Third Book , of his Topicks, that whatfoever we cannot acquire ■ but by it felf, is preferable to -that,, which we, can ac- ' quire by the airittance of another, by which he fhews ,the excellence of JufticV," beyond "force. This _R.uJe 'which, is excellent in Morality^ may ferve admfrably well to fhew xht Advantage a Metaphor has overall the other Figures of Difcourfe. 19. The. double T-Vords agrjie pnrticulnrly to DithyraiT^' •Ct'ickj, '&cj Having (licwn the diftcrent Qualities , of • Words, and the Advantages of Scnce beyond others, he takes -care particularly to fiiew, in what Works each of them ought to be employed. And this is what he has touched on in the Thir^^obk.of his Rhctoriclc; where he fays,' That the double Wprds are, entirely .^^olitlck, and that they agree pcrfccliy well with the *Dithyrambick Poelie, bccaufe its Style is very lofty, -and its aim to found great, that the Foreign Words iire moft proper to Heroick Poem, becaufe it is Noble, • and loves that which is fo: And that the Metaphor a- grees bell with lambick Verier, and. the Stage. But .' 'V""* ** ' ■ -' • -y^^ Ariftotle'i Art offoetry. % 89 he tcU^us here, That the Heroick Verfe ufes that which is proper to the Dithyrambick and lambick ; but the lambick Verfe does not ufe all, that enters in- to Epopoeia, and the reafon is drawn from the different Charaders of thofe two Poems. Infomuch that he who has this different Charader in view, will never tranfgrefs 'the Bounds which Arijiotle prefcribes, nor employ that in Tragedy, which is proper for Epick Poem only. Our Poets have not always obferved this Management. 20. Thnt is, proper iVords, the Metaphors, and the Ornaments.'] By Ornaments he means the Epithets, which belong alfo to the Familiar Style. 21. U^at wehavefaid, is fufficient for Tragedy, and the Imitation vehich does conjijl in AlHon."] Arijiotle takes care to inform us, that he is come to the end of the Trcatife of Tragedy, which he had promifed and prepares us, for what he is to do in Epopccia, in fet- ting before our Eyes the difference of thofe two Po- ems, one of which imitates by A<5tion, and the other by Narration. C c 3 CHAP. y J JO Ax\^otW s ^rt of foetry, :',.:<: HA f. XXIV. The Application of the Rales of Tragedy to B^ pick ^ Poem. The Difference of thU Poem Jrom Hifiory, The Art of Homer, in which he is rvonderfuL The defeci' of the Cy priacks, and the little Jliad, How mmy Suhje^i of Tragedy the Iliad and the Qdjjfes can fwmijh, 4nd how many JjAve k^en t/ken from the little Iliad. r. \ Sfor the Imitation (a) which conlifLS in jt\. Narration, and is made in Hexametpr Verles, 'tis evident that f^f Fables of it ought to be formed as that of a Dramatick Poem, as Tra- gedy, and ought to include one only Adion/ en- tire, perfed, and finifhed^ and -ivhicb conjee^uently has a beginning, middle, and an end. For 'tis neceffary that it give the Pieafure which is proper to it, as one Li'ving and Animated Body: And to efted that, it fhould not toll ow the Rules of Hifl:ory,where we are obliged to relate not one Adion only, but all the Events which happened in fuch a fpace of Time, either to onje or more Perfons, and which have very little Con- nexion with one another. For if the Sea- Fight at Salamine, and the Battle of the Carthaginians in Sicily^ which were about the fame time, have 110 relation to the fame end ^ much lefs, fl-all thofe things which fa'd out at different Times, and after one another, tend to the fame Dehgn. (a) Of the Poetry which imitates in A'etre only, 2. Hpweyer Ariftotle'j Art offoctry, ^ 9 1 2. However 'tis in this, that mofl of (p Poets offend ^ and 'cis in this as 1 have faid, that Homer (c) appears Divine in refpccl to them, for having a \\\ir before him which had a Beginning and an End, thinl^ing that it would be too great, and could not be comprehended (as it were) at one View, he did not undertake tn treat of it entirely. (^) He was feufible al- fo, that if he fhonld have found out the Secret of reducing it to a jufl: extent, yet he (0 could oot have avoided the Diforder and Confufion, which fuch great Variety of Incidents would have thrown him into. For this leafon he took one part only, and draws from the reft a great Number of Epifodes, as the Lift of the Ships, and many others, by which he enriches and diverfifies his Poem. 5. It is not fo with other Poets : They tma- gine they prefer've the Unity of the Suhjtft, when they confine themfclves to the Adions of one Man only ;, or the Accidents which happened in a certain fpace of time, or one Hiftory only, tho' it has divers Parts, fuch is the Condutl of the Poet wiio made the Cypriacks^ and of h/m who com' fofed the Eittle Iliad. Thus ive fee, that neither Homer's Ilia's nor Odyflcs can furnifh but one Subjed for Tragedy, or twoatmoft, whereas a great many may be taken from the Cypnackty and the Little Iliad will afford more than eight, as the Iutigmcntof3nn0, l^iiiloctctccf, ii^c- optolcmiisf, (i:unjpplu0, CIjc 'Beggar, iDf- fcnc7, Zi)t ^nf^iniT of Zvov, Cf)C Ectticn of {h) Ccmmon Poets, (c J Ought to. (d) Bwifitbiidltefimoiracrly en^er, (k) Would bate Icin pcrplcKcd with tie Variety. Cc4 REMARKS Jp2 Ariftocle'y Art of foetry. REMARKS c?;; Chap. XXIV. t. y^s for the Imitntion whifh conjijls in Narrntioitf /ind is mrJe in Hexameter Verfes, 'tis evident thnt the Fnble cf it ought to be formed, as that of a Dramatick, Poem, as Tragedy.'] Arijlotle told us in the fifth Chap- ter, that Epopoeia has this in common with Tragedy* that 'tis an Imitation of the Adlions of the greateft Per- fons, and took care to inform us, that all the Parts cf this Poem are to be found in Tragedy ; and now ha- ving explained perfedlly, and particularly, all which regards the Compofition of the Dramatick Poem, he has little more to fay of the Epopoeia, and that is the reafon, why he is fo fhort in his Treatife ; it takes up but two Chapters, which are properly fpeaking, only a fummary Recapitulation, and an Application of thofe Rules to Epopoeia, which he has given for Tragedy. The firft Precept which he lays before us, is, That the Fable of an Epick Poem, ought to be Dramatick; that is Adiive, as that of Tragedy ; and this he fays, is evident ; and truly 'tis a Confequence of the Difini- tion of Epopoeia, that 'tis the Imitation of an Adion. The only difierence between the Dramatick of thefc tvvo Poems is, That Tragedy Imitates without Nar- ration, and Epopoeia Imitates by its Alfiftance j that is to fay, that it does not bring Ad'ors before the Specta- tors, 'tis the Poet only that fpcaks, but he often inter- rupts his Difcourfe, to make his Pcrfons Speak and Acft, that he may give the Ad:ion to his Poem, which i: requires. This is the Dramatick of Epopoeia ; ind 'tis in this Scnce that Arijlotle faid, 1 hat Homer made D-amatick^ Imitations. A Poet ought at firft to form his Fable that it be A(3:ive; and therefore Arijlotle condemns thofe who fcarch Hiftory for fome true He* roc, before they have dene that. The Foundation of thofe Poems, is no Fable, and confequeiitly they can- not be I pick Poems. Sec what I have Rcmark'd on }jGrti(e\i\tz of PcecrVj and on the icnih Chapter of Ariftotle's Jn of Poetry. 59 5 2. And ought to Include one $nly AHion, entire^ fcr- feBy and finijhed, and which confequeyitly has a Legin- ningy middle^ and an endJ] For Epopoeia as Tragedy, is the Imitarion of one Adlion only, and not of many. The Subjedl of all other Imitations is only one alfo, as he fays in the ninth Chapter. If Epopoeia fliould imi- tate many Actions, 'twould be an Hiftory, and not 4 Poem. See the Remarks on the eighth and ninth Chapters. 9. For 'tis necejjnry that it give the Pleafure which is frofer to it, a< one living and animated Body!^ The Greeks fays. As an Animal, &c. he ufcd this Compari- fon in the eighth Chapter, and nothing could better explain his thought to us ; for as the whole Animal is compofed of different parts, which make the fame whole, without any one Parts being of a different Na- ture, and which give the Specftator the Pleafure ic ought to give; fo muft it be in Epopoeia and Tragedy, they muft be compofed of different Parts, which make one and the fame whole ; and give to the SpeAator the Pleafure which is proper for theiTi to give. Thofe who ircfpafs againft this Rule, will be guilty of the Fault which Horace condemns in the firft Verfcs of his Art of Poetry ; They put an Horfes Neck, to a Man's Head. 4. And to ejfeB that, itjhoutd not follow the I{ulcs of Hiftory, where we are obliged to relate not only cnc A^i- cn, hut all the Events which happened in fitch a fpnce of time"^ This Paffagc is much corrupted in the Text, or at leaft 1 don't undcrftand it, for I can't know what )(\ f/v ojo'icti Jroe^f v(*< (Tuvn^c-ii H"a/, means, word for word, 'tis neque fimiles Hiftoriits anfuctoi eJfe:A believe it Ihould be thus Corrected, k^ ^n qiaoIcu ircek< TAf (Tup'iicriii e,vcu\ or thus, ;i) /uw o/Jo/^t i^'^Sxn to. ffyiuiy^fl Hi'tf/, neque fimilcs Hiftoriis Compojitioncs effe. jHe fays, That in the Compofition of the Incidents, the Connexion which unites the Parts that make an Epiclf jPpcm, ought nor to be like that which unites the Parts of ]94 Ariftotle'5 Jrt of foetry. of an Hiftory. For ih an Hiftoty many events are ga- thered together, which have only a forcuitous Connex- ion, and depend not one on another, but by the time in which they happened j whereas the Incidents of an Epick Poem, ought to be fo link't one with another, rhat they make one and the fame Adrion. If a Poet fliould infert any Incident which was not a Natural part of his Fable, nor Matter proper for Epopocia, it muft be at leaft neceffary to give an account of fome part of the Adion. This is entirely oppofiite to the Rules of Hiftory, and fufficiently clear, 5. And Vfhich hnve very little Connexion with one anO' therT}^ That's to fay, which have no Connexion, but by the time in which they happened, for in other re- fpeAs they are very different^ and one is not the caufc of another. 6. Toy if the Sc it-Tight at Sal amine, and the Battle of the Carthaginians in Sicily, ■which veere abeut the fame time^ have no relation to the fame end, much lefj fljall thofe things which fall out at diffe cut Times, and after one anotl:er, tend to the fame Defjgn.'] Arifiotle had no better way than this Comparlfon, to make us underiland rhe difference which is between the Inci- dents that compofe an Epick Poem, and thofe which enter into an Hiftory. Among thcfe latter, thofe which feem moti alike, and are very near, are very different, and tend not to the fame end : For example, HeroJetiu tells us in the fame Book of the Fight at Salaminc, where the Greeks beat Xerxes, and of the Battle which Gelon gain'd in Sicily over the Carthaginians, who were led by Amilcar. Some fay, that both thefe Fights happened the fame Day. There is nothing more dif- ferent, for as they have not both of them the fame Caufe, neither do they concur to the fame end ; fincc therefore there is fo vail a difference between Adlions, which happen in the fame Hour, what ought we to ex- pedi from thofe which come to pafs in different Ages. They all find a place in Hiftory, which docs not con- fine it felf ;o relate one Adion only 5 'twould be ridi- culous Ariftotle'i Art of Toetry. ^95 culous to make them enter into an Epick Poem, when only thofe Incidents are admitted, which altogether make the fame whole, and aim at the lame Dc- 7, However *fis in this thr.t mofi of the Poets ojfenl and ''tis in thts^ tti Ihavef/iid, that Homer apj^ears Di tine in rrf^efl to them, for having n iVar before him which had a beginning and an end, he did not undcrtal{e to treat of it entirel;/.'^ What Arijiotle fays here of Homers taking only one part of the Trojan War, fccms fo contradict what he had advanced, vi:{. That the A^ion of an Epick Poem fliould be an entire and per- fccik whole ; but the Author of the Trcatifc of Epick Poem has plainly fhcwn, that thcfc contrary Expreifi- ons agree very well in their Senfc ; for the Anger of Achilles, which Homer hath taken for the only SiibjcdJ: of his Poem, is a part, in rcfpccl to the War of Troy^ and the Hiftory from whence it is drawn ; but 'tis en- tire and finifhed in the Fable, and Poem, which he formed. The Poet may take the entire Action of an Hiftory, or one part only ; but he is always obliged to put an entire Action into his Poem, and not a part. Homer in his Odylfes, and Virgil in his ^'Efieids, have taken an entire A(5tion. Homer propofes IJlyJfes s re- turn, who after the Dcftruiflion of Troy, arrives in his own Country : Virgil propofes the Change of a State, which was ruined in Troy, and rc-eftablilhed in Italy by >€«f<« ; Each of thcfc Atflions is an whole, as well in the Hiftory from whence they are taken, as in the Fables in which they are employed. Tisnot the fame with the Ad:ion of the Ilia s, that is only one part of the Hiftory of the War oiTroy ; but it becomes a Re- gular whole, in the Poem, by the good Management of the Poet ; for that Anger of Achilles has its Caufes, Hffctfts, and End ; and to ftiew that the War of Troy is not the Subjecfl of the J/»Vs, Homer ends his Poem with Hector's Funeral, before the twelve Days of Tnicc were expired, and the Fighting re-commen-v .'cd. And ^5)6 Aridotle's Jn of Toetrji. 9. And draws from the rejl, a great Number of Epi- fodes, as the Liji of the Ships, and many others, by which he enriches, and diverfifies his Poem."^ Arifiotle doth not fay, That Homer ufes a great many Epifodes cf the Atlion, xphich he had chofen : For what Epifodes could Achilles's Anger furnifh ? But he fays, that that Poet ufed many Epifodes which he took from the Tro- jan War, and whence he had his Subjedt, ajjd truly this is a great part of Homer's Cunning : He docs noi; Sing of the Trojan War, but draws Epifodes from it, which he renders proper to his Adlion, by accommor dating them to the ground of his Fable, as has bceti taken notice of elfewhere : The Lift of the Ships which is at the end of the fecond Book of the llias, is an E-. pifode of this Nature ; and 'tis evident, that that Epi- fode is drawn from the fame Hiftory that the Subje^ is taken from. 'Tis the fame of all the reft, and this tis which makes the Fable the more probable, in gi- ving it all the appearance of tmth : See the eleventh Remark on the nineteenth Chapter. 10, 'T/f not the fame roith other Poets, they imagine they freferve the ZJnity of the Subjeff, when they con- fine themfelves to the Anions of one M4h only. 2 This is a Confirmation of what he faid, in the eighth Chap- ter. For this reafon.it feems to me, that all the Poets, who have made an K^eracleltie, or a W^ziti^z-, or anyfuch like Poem, are deceived very much ; for they vpere in the yvrong to think.y that becaufe ^Tftcfeutf VDiis one, and IpcrCUlcg rvas one, that all their Lives ought only to make t>ne Subjefi, one Fable, and that the Vnity of the Heroe, made the Vnity of the Aflion. Statius fell into this Mi-, ftakc, when he fung not one AAion of Achilles, as Ho* mer has done, or Virgil of JE,ncas, but all Achilles's Adions. .. II. Or the Incidents which haf petted tn a certain fpace eftime.2 A certain Sign that the grcatcft part of the Poets were deceived about Epick Poem ; and that they h^fdly diftinguifhcd it from Hiftory, isf thauhcrehave been Ariftotle'i Jrt of Toetry. 397 been as many forts of Epopoeia, as there are different ways of writing Hiftory. The firft is that which re- lates all that happened to one Man only ; fuch is the Hiftory of Quintus Citrtius. The Poets have alfo made Epick Poems of the Life of one Man, as the AchiUeU^ the Thefeidy the Heracleid, 8cc. The fecond Ibrt of Hiftory is that which takes for its Subjedt all that fell our, in fuch a cenain time, as in that of Polyhius. We have no Poem of this Nature, but 'tis probable by this Paffagc, that Ariftotlc had feen fomc. To conclude, the third fort of Hiftory is that which defcribes one on- ly, and entire Adlion, which hath different Parts : as the Hiftory of Snlujl, which gives us the Jugurthine War, or Cutalines Confpiracy : And 'tis this laft fore of Hiftory that Lucnfi, Silius Itfllicus, Valerius Flr.cctis, and ihofe who writ the Cyfriackj, and the Little Iliad, have imitated in their Poems. 11. A fid fuch is the Cendufl of tJ)€ Poet who made the Cyprlacks.3 Aiijlotle has already ,mcntioned the Cy- prit:ckj, in the fevcntccnth Chapter, and attributed them to Diccogenes ; . fomc fay, that this we now (peak of, is different from the other ; that thi? is an Epopce^d, and that a Tragedy. This is certainly grounded dn his calling this Poem in the feverit'centh Chapter, Tet Kv-reta, Cyfrin ; and here he calls , it, ya-^f/:! *, Cypriacn ; but this is no confcquer.cc fince this Poem which he calls nv-exaKcCy Cjfrinca; is quoted by the Ancients by the Name of xi)Te<^, Cypria, z^ Herodotus jitkcneui, who cites forne Verfes of it which are per- fedly fine. We know hot the Subjei5l of this Poem; all that appears, is, by a Paffage in the fecond Book of Herodotus, where he fpeftks of the Rape of HeUna. I believe that this Author had coUtifled the moft ejctra- •ordinary Accidents which had been caufcd by LoVe^ and called iz Cyprinckj, zs if we flicuid fay Cyprinck,, or Love Adventures, for Venus was the Goddefs of Q- f'us. And tba'- Which confirms me, in this O^ inion is, that K.rvius an Ancient L/r/j'n Pocr,. made afccr rhis ^ odd, a Poem of the faroe Nature,, which he called Ilins Cyprin, the Cypuamjliad*., ,Wil^eJ;c iirit part of the Fable ; that Ambiti- on and Difcord ruines not only the People, but the Princes alfo who arc divided. Thus I (hould only treat of the Quarrel between Achilles and Agamem- noti, and the difmal effcAs of it, in ruining the Greet- fin Affairs, and cauling the Death of Pntroclus. J can alfo make another Tragedy on the fecond part of the Fable, which fhews that when a JMilunderftanding is removed, a good Intelligence re-cftablilhed, what that Difcord had ruined. 'Tis the fame in the OJyJJes. A Prince is abfent from his Country, the Lords of that Country taking the opportunity of his Abfencc, com- mit great Diforders, lay Snares for his Son, and would oblige his Wife to chufe one of them for an Husband. During thefc Tranfacftions the Prince comes home, kills his Enemies and rcftores Peace and Tranquillity to his Kingdom. This is the Subjed: o{ the OdyJJes^ which can make alfo two Subjedls for Tragedy, by taking for one the firft part of the Fable : That the Abfence of a Prince doth infallibly caufe Mifchicfs in the State; and for the fecond, the happy Effe»ils of his Return. This I take to be what Arijlotte meant. The llins and the OJ^JJes, can furniih each of them but one or two Subjevi'h for Tragedy ; that's to fay, when they are ftript of their Epilbdes ; for if we take thefe Po- ems with their Epifodes, they will afford a great many, I 5. IP^ereas a great many mny he taken from the Cy- priacks, ayid the little Iliad will afford more than eight ^ For there was no principal and chief Fable in thofc two 400 Ariftotlc'5 Art of foetry, two Poems. They treated of feveral Independent Adiions, ev'ry one of which, might afford a Subjed: for Tragedy. 'Tis .the fame with the Achilleide of StAtius, 1 6. As the Judgment of Arms."] J^fchylut liiadc a Tragedy on the Difpute between VlyJJes and Ajnx, for Achilles s Armour : Pacuvius and Accius brought it on the I{om/}n Stage. The Ajax of Sophocles, is only a' Sequel of the fame Sub|e6t. : :o :: 1 7. The Philocftetes.] This Subjed: has been hand- led by JEfcbjlus, Sovhoclcj, and Buri fides. We have only Sophocles's Tragedy. 18, Neopolemm.'} 'Twould be diiHcuk to deter- mine what part of the Story of Neoptolemus, he took for the Subjed of this Piece. 1 9, Eurypilus.'] There were two . Captains of this Name, at theSiege of Tr^)', one the Son oi Evamon of Ihejfaly, who brought forty Ships ro that Siege, and the other ' the Son of Telephus King of Mjfiit. The Tragedy which Ar.ifiotle fpeaks of, was made on the firft, for 'tis without doubt that which a Lntin Poet Tranflated afterwards, and is quoted by Cicero, in the fecond Book of his Tufcukjie Qucftions ; but we don'^ know the Subjcdof it. ._.....■, • . ' i. Til .,■ ■ -1 20, The BeggarJ\ This was the Subjed of a Tra-: gedy ! Vlyjfcs put on the Habit of ti Beggar, and went into T/oy, where he killed a great many brave Trojms, and returned again to the Grecian Camp, without be^- ing known by any Body but Helen. Homer relates this Story in the fourth Book of his OdyJJes. Euripides fpeaks of it alfo in his Hecubay but adds fomcthing of his own ; for he fays, that Helen difcovered hitn to Hecuba, and that fhe being moved by his Tears, fuf-, fer'd him to efcape. This deferved the Cenfurcofthe Scholiaft, who has reafon to blame him, for having imagined a thing fo improbable and unlikely. And . . wliac AriftotleV Art' of /Poetry. 40 1 tvhat appearance is there, that Pn/iw's Wife would kc go a Spy, and ib confiderable an Enemy as^%Jlj(j[ff^. Was, when Ihe had him in her, Power? ; , ,, < ^ , ; ■ " ;, ■ : - '. , ; :■■ .. -i-.f . ■ ■ ^. .:■■'■ ■ ■'•■i Z I . Helena."} The Greel{. f^ays, The LflcedemontAh $' that is, Htlenc, Helena Lacicnn. Arifiotle cites thefe Pieces by their true Names, , fo that 'tis eafie to fee that he doth not fpcak of that Tragedy which Earapi-^ dcs left under the N^me of Heloia : Belides the Subj'edt ■ oi Euripides Piece, wai oot taken from the Little Iliad* For what likelihood is there that the Author of this Po- em, ihould imagine chat Paris carried away a Phan- tomc inftead oi Helen r Thole who will take the Pains to read the falfe DiEl^s of Cretc^ who has without doubt enrich'd his Work with many things that he has taken from this Poem, will find a great many Parti- cularities of Helen's Life, enough to furnifh out the Subjed of a Tragedy. 12. TJje tnkjhg 0/ Troy. 3 We muft remember that uiriftotle docs nOt fpcak here of regular Pieces that comprehend one A6iion only. This Tragedy was mAde on the burning of Troy ;"and 'tis probable, that Kero took from this Piece all that he fang, when he fet Bory^e on Fire, that he might the better rcprefenc the Horrible Sight which the Poet had defer ibed. 23. The Return of the Greeks.] This Piece is loft : 'Tis the fame of which we have fpoken in the feven- tecnth Chapter, and which Ariftotle calls the I//W, or the I{cturn of the Greeks. It contained the Sacrifice of Polyxenn, whom the Greeks Sacrificed on Achilles s Tomb, to get them a free Palfage into Greece^ as they had been forced to Sacrifice Iphigenin to open a way to Troy. 24. Sinon.'] Siti07i having on let purpofe been taken by the Trojans, tells them that the Greel^s would have Sacrificed hirh, but that he was efcapcd from the Al- tar, he pretends to tell therh all the Secrets of the Party he had defer ted from, and by his fraudulent and D d artificial 401 Ariftotle*i Art of Poetry. artificial Difcourfe perfwaded *em t. .:ji 5. As for what regards the Verle of EiSbposiki Experience fhew$, that the Heroick is the only one that agrees with it j for if any fhould at^ tempt to make (c) an Epick Poem, in any other fort of Verfe, (J) 'twould be without any Beau- ty, and vfouU not (ucceed ^ for as Heroick Verfe, is the mod (f) Grave and Pompous, fo it (/) has a particular way of admitting ftrange Words, and Metaphors, 2nd that Imitation which con- fiRs in Narration, ufes them much more than all the others. The lambick and Tetrameter Ver- fes are proper to give Motion ^ for the Tetra- meter is good for Dancing, and the lambick (c) An Imitation vbich coiififts in Nunation. (d) Or feveral mixed, ie^ Solid iwd a luted, ( f) Moft of all, adtniitcd, O 4 I 'for •li' 4 ■■..;. 4©^ Ariftotle's Art of foetry . for Aftion ; but 'twould be more Ridiculous to. mix them altogether, as Cheremon has done ; wherefore no Body has undertaken to make a long (g) Poem in any other fort of Verfe than Hexameter, Nature it felf liaving (m hath been already jaid) taught how to make a jufi Divifion^ and to give it what is convenient for it. 6. Homer deferves to be commended for ma- ny others ; but above all, for being the only Poet, who knew exaftly what he ought to do. (^) The Poet ought to fay little himfelf, for in that he is not an Imitator. All the other Poets imitate but rarely, and dont pulh their Imita- tion (/) far enough *, whereas Homer fays little himfelf, but introduces prefently fome of his Perfons, a Man, or a Wbman, or fomething elfe that has Manners : for every thing in his Poem has Manners. J. The Marvellous ought ^o be (/&) in Trage- dy, but much more in Epoposia, in which it goes even to the (/) Extravagant : For as we don't fee in Epopoeia the Perfons who Ad, whatever partes the bounds of Reafon, is proper to pro- duce the Wonderful^ and Admirable. For Exam- ple : What Homer fays of He^or when he was purfued by Acb'tUes^ would feem Ridiculous on the Stage-, for who could forljear Laughing to lee ihtGrecK^ns op One fide Handing ftill, without any Motion, and on the other Acbtlles purfuing Hcilor, and making Signs to his Troops. But (g) Confiitution. (b) Fiion. (i) But in fe w places. I'ij Feigned. (/) Void of Reajan, this Ariftotle'i Art offoetry. 407 this does aot appear fo in Epopoeia. For the Marvellous is always agreeable, and a Proof of it is, That thofe who relate any thing generally, add fomething to the Truth, that it may the better pleafe thofe who hear it. 8. Homtr is the Man who hath given the belt Inftrudions to other Poets how to (m) tell Lyes agreeably, and that is properly a Paralogifm ^ for as all Men are naturally perfwaded, that where fuch a thing is, or is done, fuch another muft Jiappen, we may eafily make them believe, that if the laft is, the firft mull confequently be. But befide, the latter, which we lay down for Truth being often falfe, the iirft is oftener fo ^ and truly it does not follow, that becaufe one thing is, another mult neceflarily be ; but be- caufe we are perfwaded of the truth of the lat- ter, we conclude falfely, that the former is alfo true. 9. The Poet ought rather to chufcImpofTibili ties, provided they have a Refemblance to the Truth, than the Poflible, whiph are («) Incredi- ble with all their Podibility., 10. He (hould alfb endeavour to admit nothing unto his Suhjcd vyhich has not its Caufe ; and if that beabfolutely impolfible^ then that which is -iT'nreafonable,nuifl: be out of the Subject as in Oe4i- fus^ihQ Ignorance ohlvAiPrmce^'-onamittg the Man- ■ I . . ■ I I ■ , I I * < l ■■■!■ < I . I II I ) II ■ ' • . . ■ .--»V■*'lV^''■■■ ' '" ' '.,1 Cm) To u/efalfeR^afons. . ^, (v) Not tipt 'to icrj'va(iy. * '■.'•"■ 'I * Dd4 .1 4o8 • Ariftotle'5 Jrt of ^Poetry, ner o^ Laim's Death. That fhould (0) not be feen in that which appears on the Stage, and makes the Body of the Action, as in the EUBra, where one enters to inform thew of Oreftes'j Death, -ivko TVta killed at (^) the ?ythlan Games. And as in the Mjfians, where we fee a JVleflen- ger, who comes trom Tege'a tK) Myfia^ without iaying one Word. 11. It deferves tobe Laugh'd ai^ oiily {cj) tOffay that thisExadnefs will deftroy the Fables^ for all Efforts imaginable ought to be made to form the Subjed rightly from the beginning •, and if it be done in fuch a manner, that feme of thefe Piaces which appear abfurd, cannot be avoided, they mufl: be admitted, efpecially if they contri- bute to render the reft more probable. 12. (r) In the Odyfles, the place where Vly[~ fes is expofed on the Shore of Ihaca^ by the Vheo- cesj is fo full of thcfe Abfurdities, that they', would be intolerable, if a bad Poet had given us them. But that (i) great Man has hid them under an Infinity of admirable things, with which he has fprinkled all that part of his Po- em, and which are as fo many Charms, to hin- fier pur perceiving that defeft. 1 3. Thus ought we to referve all the (r) Or- naments of the Didion, for thefe weak place§ (0) By no means be, $cc. ip) Of the A8ions at, (y) How Ridiculom i£ it ? (rj The Ahfurdities in the Qdyjfes, would he inicUeyclle, if J lad Poet^ &c. (s) Fvct. ■■ " {tj To ta^e great pairxs about the DMioji. Ariflotle'i Jrtoffoetry, 409 parts: Thofe that have either good Senti- ments, or Manners, have no occafion for. them. A BriUant, or Glorious ExprefTion, damages them rather J and ferves only to hide their Beauty. REMAR'KS ^;; Chap. XXV. ci. . , .,.' I. There mujl ncccjfar ilji be (is mnny forti of Epopsia,, /IS there nre cfTrngcdy -y for Epofain Jloould be Sim fie .or Implex, Morel or i'athetickj] Since Epopoeia is the ,Iinicadon of an Adtion, as well as Tragedy, icmuftof fieceHlty have one nt thcfc four Conditions, and be cither Sijnplc or Implex, A'loral or Pathctick j for no .Adlion can be imagined, which has not one of thcfe Charadiers. See what has been rcmark'd on the twentieth Chapter. 2. The Epopcria hns tilfo the j time Verts as Trngedy^ except the Mifuk^, mui the Decorr.tion7\ Fpopocia like a Tragedy, hath Fable, DitfHoii, Manners, Senti- ments, Remembrances, Peripcties and PalTions : That's to fay, Wounds, Violent Deaths, Pains, Griefs, (3c, It hath neither Decoration nor Aluiick, bccaufc it imi- tates by Recitation only. er 3. Homer WiU the firfl, who ?nix'd nllthefe in his Po- try, find has do7:e it with c. grcnt deal of P; udence nncL Judgmcnr."] This ExpreiTion of Ariflotlc fcems to me, worth taking notice of j he fays, That Homer ufed both firfl, r.yid fiptly, k, i-^fi-rn^., K) )>tu.vSi^ which in- cludes two great Commendations, vi::^. that of In- vention, and that of Perfecflion, which are rarely found together, for never any thing was ever invented and perfected at the fame time. Nihil fimul inventumy pe>fe8um'que efi. Homer alone had this Happinefs ; he was the firft that ufed all thofe Parts in his Poems, and did it fiptly : That is, he ufed them a propos^ and as ihcy ought to be, for he ba:h admitted neither too fe^v. 4iO -Ari/lotleV Art of Toetry. few, nor too many, which is the juft Perf^^ion in all things. 4. And truly if we examine his tvoo Poems narrowly, wc fijaH find, that the Ilia's » Simfle and Pathetick^, and the Odyffes Implex and Moral."} There can be nothing more Judicious, than Homer's Management of thefe two Po- ems : The Ilia's, where Choler and Fury bear fway, is Simple and Pathetick : 'Tis Pathetick, becaufe we fee almoft every where Deaths and Wounds : 'Tis Simple^ becaufe it has neither Peripetie, nor Remem- brance. Two Captains of the fame fide Quarrel, who after they had fuffered much by their Divifion, are re- conciled again" j one of thefe revenges the Death of his Friend on his Murderer, and kills Him with his own Hand. There's nothing here but what is Simple. Some fay there are Peripeties in the Ilia's, becaufe Af- fairs often change their Face, and fometimes the Greeks, fometimes the Trojans are Conquerors : But that which falls out according to the ordinary Courfe of the World, is never called a Peripetie ; tor if fo, there would be a Peripetie in all forts of Accidents. The Odyjfcs is Implex and Moral, becaufe it is a more fedate, and flow Poem, as being made for a Model of Wifdoip, Moderation, and Conftancy j for in hath many Peripeties and Remembrances, and the Heroe of the Poem is an Example of Virtue. But it may be objeded, That the OdyJJes is alfo Pathetick, fince V- Jyjfes'i Companions are loft, that he himfelf fuffers in- numerable Evils, and at laft kills his Enemies. How comes it then that Arijlotle found the Pathetick in the Ilia's only } This is eafily anfwercd. Arifiotle quotes thefe two Poems, only in refped to what is the prin- cipal, and moft cflential in them : Simplicity and Paf- iion, are the two Charaders of xhtVins, for they reign from one end of it ro the other • he for this Rea- fon therefore, calls it Simple and Pathcritk • and tho' this Poem has a Moral InftruAion,' as well as the Odyjfes, yet he doth nor call it Moral, becaufe the Mo- lality is Icfs frequent and more bidden.. "■ The Peri pc- li^s. Remembrances, and Morality, arc "tiie Eirential Characters Atiftotle's Jrt offoetry. 41 1 CharaAers of the Odyjfes ; wherefore Ariflotle calls it Implex and Moral, and tho' it contains Murders, and Violent Deaths, yet he calls it not Pathetick, beCaufe thofe Deaths take up a very fmall part of the Poem, and are found rather in the Epifodes, than in the prin- cipal Action. Virgil in his jEneids, has imitated thefc two Poems ; he has taken both the Simplicity of the the Iliady and Morality of the Odyjfcs : The yEneid is Simple as the Iliady it hath neither Peripetie nor Re- membrance ; or if there arc Peripeties, they are out of the Action, they are in the Epifodes, and 'tis Mo- ral, as the Odyffes ; for the Heroe of the /Encid, as him of the Odyjfes, is an Heroe in Morality, and fees forth to Monarchs and Rulers, a perfcdt Model of all Vir- tues. This is furely the Scnce of the Paflage. Lovgi~ nw has alfo laid down thefe two different Charad:er» of the Ilia's and Odyjfes, as well as Ariflotle, and hath alfo given the reafon, when he fays in his eighth Chap- ter, at 4 uiTAKfAi) Ta "TTA^tif, iv 7 oii (jny Af' ot ' ■, avyj^~ fivi3-of iahvil'Vd ; IVhen great Poets and fVriters cannot teach the Pathetick^ they defcend to the Moral ; for he endeavours to prove that Homer compofed the Iliad, when his Iiigcnuity was vigorous, and Wit fprightly, and that he made his Odyjfes when he grew Old. This Difference of the Charadicrs was fo well known, that thofe who made it their Bufinefs to recite thefe two Poems in publick, rcprefented the Iliad in a Scarlet Robe, by reafon of the Bloodflied contain'd in it ; and the Odyjfes, in a Sea Green, be- faufe of the Voyages it is filled with. 5. ^e wfo far from neglcHing the Sentiments and the DiEiicn, that he excels all the other Poetsr\ Arijlotle has told us already, That Homer is the only Poet that has eniployed the four forts of Epopoeia, in 'his two Poems, and he has alfo given him the Preference in the Conftirution of his Fable, for the.'jWanners, the Peripeties, Remembrancer, and the Palfion. There remain only the Sentiment* and the Didion ; and he avouches here. That he furpafTcs all the other Poets in |hefe two alfo ; and certainly nothing equals 8he •''■■" ■ " Scrcngrtx 412 A riftot Je / ^-^^ <^ Toetty. Strength and Svgeetnels of Homer's Didion :, He iiai- mates even that which has no Life, and gives''A'(ftion to that which is moft uncapable of Jylotion. ..TheSen,- timents anfwer to the Beauty of the Exprefiion, anii we may fay o( Homer, that he has the jufteft, andmpft exacft Idea's of any Man in the World, and knows how to infpire his Reader with whatever he pleafcs. The Praifes which fo great a Critick as ^ny/of/e gives to this Poet, will be always a fufficienn defence againft'all the foolifh Infults that can be. made on him. 6. Efpfccia differs then from Tragedy only _ in the length, nnd the Verfe.'\ For Tragedy makes uie of lambicks, and Epopceia of Hexameters: Tragedy is confined to one Day, but Epopoeia is not fb li- «iiiited. - 7, *T(0Ould he needlefj, to give any other hounds to {t'^ that what vce have already fpok^en of, is fufficieht, if vp'e can. have the beginnii g a^id end under one View ]] Tho' Epopoeia be more extended by its Epifodes than a Tra- gedy, yet there is the fame Rule for the length of thofs Poems J both of them muft come under one View, fo that the Memory may ealily retain them ; for if we rlofe the Idea of the Beginning, before we come to the ■ End, 'tis a certain Sign that the Poem is too long, and this length deftroys all its Beauty. See the Remarks on the feventh Chapter. 8. j4nd that would he done without doubt, if the Plays were laid Jhorter tT:^n thofe of the Ancients."] Arijiotle rs not farisfiedro give-us the Rule only, but the means al- fo of putting it into Pradice : And fays. That to ob- tain the juft Extent which Epopoeia requires, the Plans ought to be lliorter than thofe of the Ancient Poets, who made the Cypriackj and the Little Ilias, and had embarraffed the Matter; for the Subjeds of thefc Po- ems could never be brought under one View ; but as this Precept was not nice enough, the Philolbpher adds a fecond, which denotes the Bounds of Epopoeia a lit- tle more exadly : He adds, And fo ordered, that the Recitan'on ''^ Ariftotk's M of foetry. 41 5 y^e^^^^f\^naof.:^n.]Epi^Jhich.j 'Twas not Chance that found out this agree- ablenefs, 'tis Nature, aflifted by Experience and Cu- ftom. There were Poets before Homer, who wrote Heroick Poems in different forts of Verfe, mix'd toge- ther. That great Poet perceiving that thefe dif. pleafed, chiefly on the account of the odd Mixture of their Verfe, which agreed neither with the Grandeur hor Majefty of Epopoeia, began to ufe only Hexame- ters, which is the moft Serious and Pompous of them all : And for this Reafon, Horace gives Homer the Ho- nour of this Invention. J{es gejice I{egumque, Ducumque, ^ trijlia bella^ ^0 fcribi fojjent numero, monjlravit Homervs. Homer firft taught us, how a Poet Sings, Of Wars, of Gods, of Captains, and of Kings. 13. For the HeroickVerfe, is the ifiofi Grave and Pom- pous.'} The moft Grave, the Greel^ fays : The mofi Sta- ble, becaufe it is compounded of a Spondee, and a DaAyJ, which have each of them two equal Times, and which are confin'd to their Feet, if we may fo fay ; and for this Reafon Horace calls them, Sfondaos Stabiles ; whereas the other Feet are unequal, as the Trochee, and lambick. 1 4. So it has a f articular way of receiving ftrangt iVords and Metaphors.'] This 'tis which makes the Pomp and Grandeur of Heroick Verfe, 15. And that Imitation vohich confifts in 'Narration, ttfes them much more than alt the others^ Writers have been much deceived by this Paffage. Arijiotle doth not fay, That Epopoeia is the moft Noble of all Imi- tations J for he was perfwaded of the contrary, as will be feen in what follows. The Word meiTiv, which hath been Tranflated, The Moft Nolle, fignifies alfo 41 6- Ariftotle'i Art of Toe try, alfo, The Moji Excejfwe. Arijiotle fays Word for Word, This ImitatioTi which^ coiijijls in the Knrrntion, u m that the Moji ExceJJlve of r.Jl. He gives die Rcafon why he fays than the Heroick Verfc. is moft agreeable to Epopoeia j that is, becaufe it admits in a particular manner Metaphors, and foreign Words ; and this is alfo the reafon why Epopoeia makes a better ufc of al{ thefe forts of Ornaments than any other Imitiation, antT employs a much greater Number of them : And this he proved, when he fliew'd, that the double Words a- greed with the Dithyrarabicks, the Metaphors to lam- bicks, the ftrange Words and Metaphors to Epick Po- em. This latter proceeds on this Score, even to cxcals," becaufe it is more Pompous than the others, and ufes. more of the Sublime. 1 6. TJ^e Ir.mpicli, /ind Tet'rnmeter Vefcs, are-profer. t9 give Motion, for the TetrAmeter is good for Dnncing, and the Innibick^for Action.' Having Thewp the Reafon why Heroick Verfc is the moft agreeaBl'e'tb Epopeda, he tells us for what Redfohs, the others are not at all agreeable to it ; j(i'/<..) becaufe they are.proper to give Motion, which is not agreeable to a. Poem that ought to be Serious and M'ajeftick. ' The Tetraincter Verfc' is compofed of Trochees, which are proper for Danc^cs^. 6nly J and as-he fays-in his Rherorick, there is noNum- ' berrribre skipping and lively than it ; w hercforc 'tis not proper for Epopoeia. The lambick Verfc! is good for, another fort of Movement, ' for 'tis made to A(5I: i wherefore Hbr^ice calls it, Natum -lebus eigehdis ,' zrid: on that Accotffit,.,it fliould be agreealjle to Epp- poeia, but 'tis 'too Me'dn and Low, .and* has too ihuch of ofdiriary Converfation : It cannot then, agree with Epopceia , ' that admits nothing but ' what is Lofty and Grandiloquent. Ariflotle has al- fo fliew'd us, That 'tis not proper for fine Profe, which requires fomething to heighten it, and to give it Majefty. l*). But Ariftotle'i Art of Poetry, 417 17. "Bitt it xoQuld he fnore ^idiculous^ to riiix them al- iogethet at Chcremon has done.'] However contrary the other fotts of Verfe may be to Epopocia, yet ^ri- fiotle aflures us, That an Epopoeia entirely compofed of lambick or Tetrameter Verles, would be more tol- lerable than that where thofe fort of Verfcs, were mix- ed with the Hcroick, for nothing could be more Vi- cious than this Mixture, and the Heroicks which were mixed with them, would only fcrve to makeihe others appear more Ridiculous. ,ji i: Jri il ; : j ; •• -'"-I - • : 1 8. Pl^herefore no Bod) has undertaken to make a long Poem in any other fort of Verfe thJox nnrret fncundia frxfens : Kec puercs Cor/im fopulo Medea trucidet, jlut Humana palam Ctquat exta nefarius Atreus, Aut in avem Prognc vertatur, Cadmus in anguem ; • ^odcunque ojlendis mihijic, iticredulus odi. Yet thcrt are many things which fltould not come In View, nor pafs beyond the Tiring-room ; Which after in expre{five Language told. Shall pleafc the Audience more than to behold. Let Ariftotle'j Art offoetfj. 41 Let not Medea (liew her Cruel Rage, And cut her Chiidrens Throats upon the Scage^ Nor Bloody Atreus his dire Feait prepare, Cadmus or Progne^ in new Shape appear. To this a Snake's, t'other a Bird's doth-wcar. Whatever fo incredible you Ihowy . • ' ■ . . Shocks my Belief, and ftraight does Nadfeous growl 1 Since Tragedy receives into its Narration, the Worvf derful, which furpafles Reafon, 'tis evident'that it irfiay more conveniently be admitted into Epopoeia, which is only an Adive Narration, and hath the Advantage of leading the Reader by an Infinity of Miracles, which would be Ridiculous, if they were cxpofcd to View. Homer in the Odyjfcs, relates how VljJJes's Ship was Mctamorphofed into a Stone : And Virgil, how Lucas's into Nymphs,aiid both I'ucceed very well. This I take to be the true meaning of this Paflage which was lpoiled,vby reading, diAAsy v in frofortion^ iov othoycv without rjetifon. • :•'. '.h : '■ . . ■: 1 255- For Exnmjrle : ' W6/tr Homer f^ys of He(flor; when he was pcrfucd Ij Achilles, would Jeem ridiculom en the Stage ; for veho could forbear Laughingy to fee the Grecians©;; one fide fii7ndingj}i/f, and on the other Achilles Jiurfiu fig lienor, mid makjng Signs to bisTrcoVs ; but thh does jiot appear Jo in Eptipaiar\ The lixample which AriJlotL: has chol'cn to prove what he laid, is ta- ken from the twenty fccond Book of the Ilias, where Homer defcribcs the Combat between Achilles and HeBor. This latter fled from the Enemy, and ran round the Town, Achilles fearing, that the Icaft Alii- ftance of the Grecians^ would fully the Glory of his Yidtory, makes Signs to the Troops not to move ; fo chat we fee on one iidc He fi or who flies, and Achilles who purfues, and making Signs to his Troops not to move, that he might have the entire Honour of the Vidory : On the other, the Soldiers with thjir Arms acrofs, Idle Spedaiors, waiting chc llfuc of the Com- bat. Homer means by this, that all Humane Sti-'ci.gch prpcecds from i^e Gods; that their Courage >^'t £ e 3 ft i 411 Ariftotle'f /Irt of Poetry. when they abandon them, and that their Ailiftance is far froni difhonouring the Heroe they favour j that on i,he contrary it enhances the Glory, which the Aid of Men deftroys. For this reafon, Achilles who was Jea- louis of his Honour, forbad the Greekj to affift him j but he received that of Minerva with Pleafure, he boafts of that and tells Hecior, Don't thinks to efcafe : *Tis Pallas veho mnkes you fall by my Hand. But how-r ever fine the Allegorical Sence^ which Homer has hid under this Incident, may be, 'tis certain that it would difpleafe, if it were feen on the Stage, and was tranf- a(fled before our Eyes ; for none would endure to fee fuch a Valiant Man run away like a Coward. It fucceeds in Epopceia, becaufe it is only a Narration, aud we don't fee the Perfpns. This is what Arijieitk calls, the unreafonahle Wonderful^ 'tis rcafonable in one Serce, fince the Poet put it in defignedly, and with a pcrfedl knowledge pf the Nature of his Poem, which admits that which a Dramarick does nor. "Tis afto- nifliing, that after fuch a formal Decifion , Homer fliould be reproached with this very placp, as a diftio-: nour to his Poem : But may fuch a thing be put into an Epick Poem now? Apleafant Argument, as li Ho* mer muft become Ridiculous, becaufe we dare nor dp it now. In Homer*s Time 'twas the Cuftomto fpeak to. the People in Fables and Allegories, but 'tis not fo now; and confequcntly, if we would put any Allego- ry into a Poem, it muft be under the Incidents whicl^ are raoft conform to our Manners, and this Virgil has nicely obfervcd. He imitates the Combat of AchiUci and Hcfior^ in that between yEneas and Turnus, but has changed all that was not according to the Cuftoms of his Country, where Allegories, how limple foever they vvere, would no| be received. Turnus flies from j£nc/is, but not till the Sword which he had taken in- ftcad of his own, t^nfortunately broke, they nofooncr jjave him his own, but he returns to the Fight, and faces his Enemy ; you may fee the reft in the fame p'ace of Virgil, who doth admit the Allegory, but un- «ler fuch things as may b€ iintJorftood iimply, and ^"" . ' " ' • ■' ■ ■ - - withtfwt Ariftotle'i Art of foetry 4 2 ^ without any other Myftery, and this, we may do now. 26. Now the Marvellous is always agreeable.'] The Agreeable it infeparable from the Marvellous, of what Nature foever it be, and this proceeds from the Incli- nation Men naturally have to know fomething new. There's nothing newer than that which is Wonderful ; and confequently there is nothing more agreeable; this gave occafion to the invention of Fables, which are al- ways the firft things that excite the Natural Inclination Men have of endeavouring to knowcv'ry thing. What is a Fable ? 'Tis a new Story not of fomething that i"?, but of fomething quite contrary. That which is new, and unknown, is agreeable, and ftirs up our Curiofity. To which, if we add the Prodigious and the Wonder- ful, it makes it perfctftly agreeable, and gives a Plea- fure beyond compare, 17. ylnd n certain proof of it is, that thofe vf ho relate finy thing, generally add fomething to the Truth, that it may the iietter fleafe thofe rvho hear it."} And truly no- thing demonftrares better that the Wonderful is always agreeable, than the Application they ufe, who in rela- ting any thing, endeavour to fet ott' the Truth : This 'tis which produces Fables, and which caufcd the hrft Hiftorians, as Hecat^us, Herodotus, Ephorus, and the tirft Natural Philofophcrs ; as Xcnophanes, Parmenides, Empedocles, to mix Fable with their Works, j^ ht tp-T- 7o/ /< ic.'fix / Jti 9'jaiK'i uohoyf^a.toi, (a.ys Straho ; asKtf- mer mixed the Truth with his Fables, to render thcni the more probable and ufeful ; thele Writers mixed fables with the Truth, to make it the more Wonder- ful, and confequently more Agreeable. xS. Homer » the Man who hath given the hejl hiflrur ^io'>s to other Poets hoV to tell Lies agreeably.'^ Arifl>tle dorh not fpeak here of the Mixmre which Homer has made of Truth and Falfehood, in the Plan of his Po- em ; who when he had difpofcd the Fabk which is t pure Lye, had made the Epifodes of Incidents f^ e i^ which 424 Ariftotle'j Jrtof^miYj, whichhr took from a true Hiftory ; which made Ho- rate fay, „ . 1 'yit^uey^ttte^ttiiturfji'c vertt f/ilfa Vemtfcct, - rr;:,'/"^.'' .■jyA.-jm.' : '.'"■"•. -■..' y. ■■:_>. Thus he tells Lies,- and mij^s them • with ' Tnith/ As hath bfe^n explained ort the 19th Chapter, btitlfc fpeaks alfo of ithofe particular Falfehoods, which Ac hath ufed in; adorning the Truth, and which Horace call Spectpfa- Mirecula, PlauJiMe, :Agfeeable Mi^acler,^ and truly in all his Fid:ions, which iappea:r riioft extra- ordinary and Wonderful, the're is always fome 1 rurfi, which he difguifes after his Manner, that it may -give the mere Plealure ; for as Strr.ho has very wdl re- mark*d> i-A ftn/! i'^< ^ am^k aitt^'}Hv,i.a>vl'ji' 7i^a'].M'if'tAt% iv y 'Qi-rciK'iv. Tis HomerV xoay, to joyn fome Truth. with his FicliSiiK Therefore he compares him to XJlyf- fcs, who talking to Penelope^ as if he were Idomeneus's Brother, relates an Hiftory, in which he mij^es Truth with Falfehood. Be told her Lias, y at made themfeem lil(e TrUtff, : ' He made them probable, by the Mijcture of fome Truth : This is the Character of Homer, what he fays of the Cyclcpf, the Lejirygones, the Cimmerians^' Chd" rybdif, ScyHa, JEolus, &c, arc Homers Lies, but fuch as have fome mixture of Truth, which ferves for a fenndacion to render them in fome fort probable; and 'tis.rhiis that Polybius, and after him Str/iho, refuted the Opinion of Ertitofthenes, who aflerted. That al| that Humer Writ, was only frivolous Lies without any- Truth, 2nd faid, that we fhould find the place to which ?.'/v//bv.as carried, when we knew him who fcw'd UP rhe Ssrk, in which* the Winds- were in-= cU.d, i'^, Anri Ariftotle'i Jrt of foetry. ai< ". i'z9. ^n^ '/^'JA is.froferly n Paralogifm, for as 4ll Men 0re n/iturallj ferjxvacieiiy that where fuch a thing is^ cr is done, fuch another mujl hafpen^ vee may eajily inaks them 'Believe^ that if the lajl is, the fi>Ji mtiji corfequently bc^ JJpiTier Reaches the other Poets to tell Lies as they fliould do. Thefe Words, ai they jhould do, denotes the Mq^ ihod which fliould be obferved in miaking thelc Lies ; j^nd that Method confifts in making ufe of talfe Rea-' ibnings, or of Paralogifms, whith Arijhtte calls ^- TS^t^bMSfsi-jjWhich is to prove a thing by the Confe- qucnce ;, as if when we would prove a Man to be in Love, we are contented to fay. he is PaJc, The firft Philofophers have obferved, that the long Expericce Men had had of fome things following conftqucntial- ly from others, perfwaded them chat they would al- ways happen after the fame inanncr, and knew that they couJd calily draw the Means of deceiving them from that natural Perfwafion, and that, too as much as they plcafed, in giving probable Signs for certain Cau- fes ; and truly they are perfwaded continually of the Truth of that which is moft Abfurd, and receive what is told them as true effetfts of the firft, which are oftcn- umes as falfe as the others, for there are two ways of ufing this Paralogifin .- The firft is when a falle thing is infer'd from a true one i the other when a falfe thing is ufcd, to make another pais, which is a neccffary con- fequence of it. Homer is full of thefe Turns. Thus he makes us receive the Fables of the Cyclops, Scylla and Charybdis, which he has changed into hideous 'vlon- fters I of the Leflrygones, who carry on their Shoul- ders Men on a String , as Fifli , and cat them, G?c. This is, in my Opinion, the Scnfc of this Paflagc, which was very dark and obfcure. 3». j^nd truly it does not follow, that becavfe one thiti^ is, another miifi neceffarily be, but becnufe we ate, perfwaded of the truth of the latter, we conclude fr.lfcly^ that the former is alfo true."] Homer knew that all iVlcn were convinced, that all things were polfiblc ro God : And 'tis en this that he undctakes to perlwadc '.js. Than 42< Ariftoclelj Art of Toetry. That AchtHes\ Horfe (pake, bccaufe the Goddefs M/- »ffry/i, had given him the ufe of Voice. This is a Pa- ralogifm : For as Arijiotle rightly takes notice, that be* caufe one is, it does not follow, that che other muft be. Homer vmderftood how to make ulc of ouf Prepoflefli- on to his purpofes, to make us receive fomewhat that was falfe, without being able to convince our felves that it was Co. And this was the Manner in which Art- Jiotle fays, a Poet ought to lye. Viftorius fays, that af- ter Arijiotle s Words, there are in fome Manufcripts, 'TTcf.af^J'eiyuoi An Example cf this is in the Place of the OdyJJeSy rcfjere Ulyfles'/ Feet are may'<[d. If this be Arifiotle's Text, he refers the Reader to chc fame Example, which he quotes in the Third Book of his Rhetorick, where fpeakuig of the fameParalogifm,which is made by that which is known, we draw Confequences and Conjec^ures,for that which is not known ; and cites thefe Verfes of the nineteenth Book of the Odjjfes, where Homer, to render his Story •probable, by a iimple and natural Circumftance, which is the Confequence of a Paflion, fays, ; .' ■ f And vpith her Hands the Old Nurfe hid her Tace^ Ti^en /bed warm Tears r- ^or thofe who Weep, generally hide their Facd with their Hands, and Homer would by that Sign rcrfwade his Reader, that it is no lefs falfe than the reft, 'lis more likely that 'twas an Obfervation of fome Critick^ who had Writ in the Margin, that this Example of a Paralogifm, was found in this Place of Homers as Anr Jiotle had faid in his Rhetorick. 3 1 . The Poet ought rather to chufe Imfoffibilities^ frm vidcd they have a refeynblnnce of the Truth, than the Foffible, which are Incredible veith all their Pojfbility^ This Paffage is of great Importance, to fhew us, that the Wonderfulin Epopccia,tho*iitran^endsthe bounds Ariftotle'5 Jrt of foetry. 427 af Reafon, ought pot to ckftroy the Veri-fimilicude ; amd Arijiotie ^ys very well. That the Poets ought to prefer the Impoirible, which is probable to the Poifible that is not fo. The lHas, Odyffes^ and jEnsjs, are full of things that are humanely fpeakiiig Impoifible, and yet they continue to be Probable. There are two forts of thefe ImpOiiibilities, that are within the Bounds of Probabihty : The firit, which may be called theGrcar and Incredible, a'pe thofe which require all the Divine Vcri-fimilitude ; as the Horfe which fpeaks in xhtlUns^ the Metamorphofis oiVljjJes's Ship into a Rock in the Odyjfes ; that of yEncds's Ships, into fo many Nymphs in the /Eneid. Thefe ought not to be too frequent in a Poem, leaft they be abufcd. The others arc thofe, which rho* they are Impollfbie, are humanely fpeak- i'ng Probable, either of thcmfclves. or bft'the Credulity of thofe, to whom they arc told. ' lis, by this laft way that Homer has brought into Humane Probability rhofc things which are not fo ; as the Hiftory of Circe and is rhc 4 1 8 AriftotlcV Jrt of Toet^y, fame Precept which he gave for Tragedy in the fif- teenth Chapter. 'Tis-ahfoluteljf neeejpiry^ that in^Stht Incidents which comfcfethe Fuble,- there he nothing-Tfith- put lierjon, or if that is Impoffihle, it mujl be fo ordered, that that which is without I{?afon be found out of the Tragedy, as Sophocles has prudently ohferved in his Oe^ dipus. There Were great Abfurdities in the Hiftory of that Prince ; for what likelihood was there that He Could be fo long ignorant of the Manner of Laius'i Death? Was it pbflible that he (hould be Married twenty Years to Jocafldy and neither of them make the leaft Search after the Murder of that Prince ? This ■was utterly incredible, and contrary to all Sence and iReafon j but Sophocles finding it received in the Story, and that 'twas Marvellous, for the Theater, took the Subjed of his Pky from thence, and difpofed it in fnch a manner, that what is u reafonabie, is out of the A(5lion, which doth not begin till the laft Day of the Plague which affliAed the Thebans \ and 'tis this Ju^ dicious Management which A^^otlc ^vo^oks to thofe ■who make Epick' Pbelns. ^ J£^I* ,•: ■ '' ..■■ ■? r ■■-■■• ^ . 33. That Jhould hot be feen in that which appears on the Stage, and makes the Body of the AEiion, as in tht EleHrn, where one enters to inform them of Oreftes*/ Death, who wa( killed at the Pythian Gamex] Sophocles was not fo Prudent and Judicious in the Management of feme other of his Pieces, as he was in Oedipus, for in his Elecira, he was guilty of the very Fault thav Arifiotle here mentions, by putting in fomething that was Abfurd,' and which is the more Vicious, becaufe he was the 'Aiithor of it. In the fecord Scene cf the fecond h&, he' who brings the fallc Newsof Oreftes.S Death, fays, That that Prince being at the celebrated meeting of the Grecians, to alfift at the Pythian Gaines, won all the Prizes, but vvas kill d in the Race of the Chariots. Arifiotle thought this was Abfurd, and out of all Reafon, not becaufe it was not probable, that Egifhus and Clytcmneiira fliould not hear the News be- fore the Arrival of thofe who brought Oiejles's Alhes, for there were a thoufand things which might hinder that J Ariftotle'i Jrt of foetry^h 419 that J but bccaufe the Pythian Gime$,Wcre not Infti-, tuted till above five Years after Orefiet was Dead, and this Falfehood ruined all the Probability of the Piece, of which it was the Foundation : Sofhoclcs needed on- ly have feigned as jEfcbylw did, that he was killed fome othet way. Some fay, in defence of that Poet, that fiicb Annchronifms are allowed, of in Poetry j and that ViigU has. made as great ; but befide, one's Ab- iiirdities not be^fufficient to Juftifie another's, there's a great difference between an Abfurdity, in the very ground of a Fable, and one that is in an Epifode only. \z were to be wiflied, that they were in neither, but they are more excufable in the Epifodes. Without doubt Sophocles thought his Audience did not know rh« Rife of thofc Games, or elfe he would have taken care not to have made fuch an Alteration in the cpo- cha ; otherwife the Abfurdity is admirably well hidy under ihe wonderful Charms which are in the Re- laiion, but that don't Juftifie him, , -I 34. jind ai in the Myfians, where we fee one veha comes frotti Tfigea fOfMyfia, voithout faying one iVora.^ The Fauk which Sophocles is guilty of in the M-'finns^ is greater, and more inexcufable than that in the Ele- cta ; for Rothing can be more ridiculous than to ima- gine, that a Man Ihould go from Trp^.'^, a Town of Arcadm in Myfir., without faying One Word during a Journey of leveral Days, as we arc entirely ignorant of rhe 6ahje(5t of chat Piece, for 'tis uot taken from the Hiftory of Tdephuf ; 'tis impolfible to conceive what obliged Sofhocics to let fuch an Abfurdity be in his ^able. 35.1^ cicfervcs to he Laugh' d fit only, ^o fny that thx exaSf^efs J:Jiroyi the Fables, for /lUihe Efforts itnaginti^ hie cught ta be made t.form the SuhjeB rightly from the- heginnitig.'} This is the fame Objection that fome of our Modern Poets make, when we talk to them of Rules ; if fuch Rules as thefe, (fay thty) were to be obferved, we fliould hardly find any Subjedt that was fit fot" the Stage, and the Players had as good give over 450 Ariflotle'i Art of Toetry. over A■ for he would avoid that which there is no cccafion to do. Heraclitus did bet- ter than he, for he fut the Bear for the Artick^ Circle, as \rio\r\eT hai done: T/je Bear, fays he, is the Bounds of the lijfii'g ii>''d Setting of the Stars ; Vff evident then, that by the fford Bear, which he calls the Waggon, and which he fr.ys olferves Orion, he undcrfiands the ArticJ{^ Circle, that by the Ocean he means the Hori:(on, where the Stars Ejfe and Set, and by thcfc fVords, which turjis to the fame ^l ace, and doth not bath it felf in the Ocean, hefloews that the Artick^Circle is the moji Northern fart of the Horizon, &c. 34. It ccmes to fafs fcnietimes, that we anfwer folidly to the Cerfures of the Critickj, by only changing the Tone or Accent ; and 'tis thus that Hippias of Thafos, falved. Home: en that place where Jupiter fends a Dream to Agamemnon, for they accifs him of makjng a Lye on Jupirer.] I have extended this PafTage in rheTran- flarion, for it fecmsto be too fhort in the Origi rial. , yfrifotle fiid only, and by the Accent, as Hippias of HhzVos falved that Paffage ; Let us give him, bur that brevity which was fb well underftood in the Days of Arijlotle^ when moft Men knew Homer almoft by Hearty Ariftocle J Art of foetry, 46^ Heart, would make a Riddle how thar few would underftand. I therefore thoughr it neccffary to ex- plain the Text it feJf, the Criticidn which ishe; c trea- ted of, is in the fecond Book of ihe IlirJ; Jupiter, who thought of nothing more than to enhance Achil- les s Valour, fends a falfc Dream to Agamemmny who orders him to make a general Affault on the Piace, and promifes him, as from Jupircr, goodSuccefs )n the Order which the God gave to the Dream, there was one Verfe in which he expreflbJ himfelf in this manner, AtaO(/.iv |5 o'l iux'i^ tffic&iv, Let u> giiij vim great Glory. This Lye in the Mouth of Jupiter ap- peared horrible to the Ancients. PUto blames Ho- tncr, in the fecond B jok of his Kcpublick ; but Hippias of Thafos falves thar Poet, by (liewing, thatinltead of S'iJ^outv^ Let M give, he writ it with an Accent on the Pcnultimei, ^t^u^iv^ which i^ tor J^/Zo-^scav, the Infini- tive for the Impera;ive ; and Jupiter faid to the Dream, Give him, Protnife him grc^t Glory; now \is rot extraordinary to fee a Lying Dream, 2nd Jupiter who fufferei Agamemnon to be deceived, was by no means guilty of Deceit. He permitted it withcur be- ing the Author. The Holy Scriptures afford ls a para'- JelExaruple in the Hiltory of King ^/m^, when God would have him perifh in ^^moth Gilend : Avd the Lord fjid, M'^ho will fcrfwade Ahab, thnt he mny go up, nnd fall at Ramoth Gilcad : And one faid on this 7nr,m}cr^ and another faid on thnt manner. And there cnmc forth A Sfirit and flood before the Lord, and faid, I voill per- fwade him. And the Lord faid unto him, fVhere.vith ? 'And he faid, I rv ill go forth, and I voill he a Lying Spi- rit in the Mouth of all his Prophets. And he faid, Thou Jhalt perfwade him and prevail a Ifo : Gofcrth, anddofo. Nothing can be more like. The Jupiter of Homer, is no more a Lyerand Seducer in thi-^i pailage, than the true God is in the Hiftory of Ahab \ and Homer knew this Truth. Thit God uf:.s the Malice ofhis Creatures to accomplifh his ludgmenrs,and we ne. d oi)\y change one Accent in his Hxprcdi.^n, to render it conform, if we dare fay fo^ to the H0I3' Scripture. The Cnriclcs ly 1)0 were terrified at the Tmpiety which they found in H h 3 their 470 Ariftotle'5 Jrt of foetry, their Verfe, and not knowing this Remark of Hj;>j>;>^ have taken the liberty to expunge it by a fort of Pious JrauL^ -y 'tis not in the Gree^^Tcxz at prefent. Arijiotle fpeaksmore at large of this Paflage, in his Book Vc Elenchui Soj>hiJlicis. 35. The fame Hippias after the fame manner defends this Poet in the Paffeige, where^ after having /j>ol{en of ti dry Tree, he k accujed of faying^ That one fart of that Tree vaas Corrupted by the ^nin.^ This Criricifin is not ib confiderablc as the former. In Book^ XX [II. of the Iliad, Homer defcribes the Bounds for the Horfc- Courfe with which Achilles honoured the Funeral of Fatroclus, i A Saplcls Trunk of Oak or Pine there ftood, A Cabits heighr, notputnfied by Rain, Inftead of t^he Negative «, which JJowj^r ufes, the Criticks read ?, which is the Genitive of the Subftan- tive Article 'o-, which •, and thus they mzkc Homer fall into a raanifeft Contradidion i but Hifpas (hews us the Impertinence of thcfe Cenfurcs, by cftablifhirju the Negative. ^ !,' ,\^.,.' 36. There are n great many Places falved hy^ the differ rent Pointings' and this 'tis that j'ujiifies Empedocki^ who was accufed cf ccntradicling himfelf in his Verfej^ where he has explained the Principle of Things^ Thcfi^ is an Infinity of Places in the Work.-; of the Ancients, where a falfe Pointing fpoils the Senfe, and wTCrc confequently, we need only change the Point, to find rhar which is good or true. Arifiotle quotes an Ex» ample, which he had taken from En/pedocles Y cries i bur as tharExamnle could not be Trarrflated into our Language, in fi;ch a manner as \vc might difcern the falfe Pointiiig, i have r efcrvcd it for Remarks. That JPhiiuibrher m aTreatife which he had Writ to prove ih^c AriftotleV Art ofToetry. 47 1 that Love and Difcord were the Principles of things raid. The Criticks finding this Paflage badly pointed, for there was a Point very illy placed after C^eJ-r^ of th<; ftcond Ver(e, accufcd EmfcdocUs of contradidtinp. himftlf, and that Accufation was well grounded, foi the Philofopher would have faid, That which was Im^ mortal^ becomes Mortal all at once j and by a quite cor - trtiry way, that which was Simfle before, becomes Corr^ founded. We fee plainly that he would fay the ftme thing twice; ncverrhelefs, the fccond Verfe would (ay the quite contrary to the firft ; but the Critickf ought to take notice, that to find the true Senle, the Point ought to be tranfpofcd to ^eif . 2*£^,7£ Tct'sreti'j tfxpB.'tf' And that which wdi before Ccmfounded, becomes Simple, Quintiliafi hathfpoken at large of this Vice in Chaf. 9. of Book^yiL 37. Sometimes we have recourfe to the Ambiguity, ai in the Paffage where Homer fays. That the Night wa more than two thirds faji, and that there yet remains one thirdr\ In the tenth Book of the Ilias, Vlyffes fays to piomede^ with whom he was going into thn Trc/an Camd. Come let us on, the Nighr is almoft gone, The Stars are Setting, and the Morn apji.'O^ches, More than two Thirds of Night are paf', ansl cue alone Remains. H h 4 The 47 7- Ariftotle' i Jrt of Poetry, The Criticksfay, That one Third of the Night could liof remain, when more than two "thirds were fpcnt. Arijiotle fays, That the Word morethan^ which caufes The Ambiguity, ought to be underftood in another fenfe, and that Homer faid, That the greatefi fart of the Night xpas J>/iJJedy that u to fay ^ tvpo Thirds. 'T Would be very ditficult to render this intelligible in our Lan- guage. See what the Commentators fay on it, for this Crificifm is not of fuch Importance, as to oblige us to relate all that they have (aid concerning it. 38. The Authority of Cuflom is often ufed to defend the Poets, who Jhally for Example, call Wine that is min- gtcd with H^dter^ fVine.2 There were Crificks ridi- culous enou^hj to blame Hower for calling Wine min- gled with Water, TVine-^ that he faid, Boots of Tin, for Boots of Iron 5 that he called thofe who forged Iron, TVorkmen in Brafs ; and that he made Ganymede fill out Wine to the Gods, when they drank Neclar only. Arijiotle fays, Thar all thefe Exprefllons may be ifalved by the Metaphor, and rhat even without ha- ving recourfeto that, we may juftiiiethem by ufage, which is the Tyrant of Languages, and gives no H-ea- f-^ns for its Decifions; There is another Cuftom that juftifies cerrain ways of fpeaking, which extreamly offends fome of our Criticks now a-days, who are a little too nice. Homer fpeaks often of Cauldrons, Kettles, Blooil, Fat, Inreftines, (3c. We fee ^he Princes themfclves aHlft to flea the Beafts, and to help roailthem. 'And becaufeour Cuftoms and Manners are diffcrenr, and that ail rhefi; things are done only in our Kitchins and Butcheries, that only Cooks and Bifchers concern thcm(ilves with rhofe mean Offices, Hoh'ier is ridicul'd. But how do we know but that for which he is blaTjcd, i^ entirely conform to what is found in the Holy Scriptures, than which nothing is more auguft and venerable, ^nd which willfufferno Railleries without Impiety. As that IC"c>^''^'ng ^nd Re'igious Man, the Author of the Treatife of Epick Poeir., 2S well rcirarked, fmce the V^'orkS of ^iLVicr .-jnd Virgil^ are not (o full'df rhein as the Holy TVritings.^ Ariftotle's Jrt of Poetry. 47 j iVritings^ and which are confcquently expofed to the Kaillerics of Libertines and Atheills. In Homer, A- gamemnon and the other Princes kill the Vidims themfelves, becaufe it is the moft Auguft and Solemn ad of Religion, and 'twas for this rcafon, that at ii^me the Cenfors who were the Magi ft rates of the greateft Authority perform'd the fame Office, and to fliew the importance of it, they did it with a Ctown on their Head, and cloathed wirh a Purpie Robe. There is nothing then to blame Homer with, on that account, but they may fay, who can endure to think, that Princes ihouid get ready their own Vidlua.'s and that Vlyjfes iliould brag of his being thebcft Cook in the World \ that he knew better than any Body, how cocutpp Food, ferve Wine, make a Fire; and that Achilles ihoulci fubmit to the moft ordinary Furdions^ in his own Houfe ? This Objection is no better ihan the others. Could Homer do better then todefcribe the Manners of thofe 1 imes then, as they were ? Both Holy and Profane Hiftory doeqially teech us, that 'twas then the Cnftom to ferve ones felf, and jhat nothing was counted Shameful. And we ought the lefs lo admire at what Homer fzys of the Manners cf Achilles^ who was a Thejfnlinn ; for Theffnly loved moft, and retained longeit that Ancicnr Sinphcity, foritprefcrvcd it, after tnoft other Couiirries had loft it. k Greeks Amhor who Wrote fome Trearifes of Manners in the Donck^ Language- writes formslly. 'Tk a betcomipg thing in ThefTaly to drefs ones own Hcr~ fes And Mules f to kjll Oxen, to flea them, and cut them out, flltho in Sicily *tii jhnmcful, and the Duty of nSev- itantonly. The lame Criiicks reaa forr.e Epithets in Homer, which they complain are flat and irapertincnrj tecaule they would appear ridiculous, if they were Jiterally Tranflated. He calls Juno, Boopis, that is, Juno "rnith Oxe Eyes ; but that Epithet fignifics only fine, -which hath even fijie Eyes, and is a cuftomary, Word. Achilles is call'd 'a'oS'ii ukv(, fwift of Foot .- Is this Epirhet proper for a General or a great Com- mander ? Yes without doubt, fmcc David takes it fci himfelf, and thanks God, that he had made his Feet as fwjfi 4"4 AriftotleV Jrt of Teetry, fwifr as an Harts Feet ; PP7}0 hath made my Feet as the Feet of an Hart. There is no Epithec in the Holy Scripture more ufoal for Valiant Men. In the La- men rarions which David made for the Deaths of Saul a-i'J Jonathan, he calls rheni, Swifter than Eagles and fironger than Lions, IIJC/k^-^i.ij. and fome Valiant iAti\ who came lo David, are faid to be as fwifr as the young Goats on the Mountains. Another great Scandal to thefe Cenfurers, are rhe Comparifbns. Ho- wer compares Ajax to an Afs, and Vlyjfes to Fat .- Can any thing be more defpicaole or difgulting ? Thus they pals their Judgments without any Examination or Formality i and thofe Comparifbns which fecmfo flat and dull now, were then very fine and noble. Tn Bo- nters Time, Afles were not fo dcfpicable, as they arc now ; their Name was not then thought Scandalous, for Kings and Pxinces rodeon them. So that Homer might well enough compare Ajax ro one of thofe Ani- mals i and none can laugh at the Comparifbn without Impiety, fince God him^lf put it into Jacob's Mouth, when he BlelTed his Children; IfTachar » aJirongAfs couching under his Burden^ &c. The other Compari- fon of VlyJfcs to Fat, vmj yet more Noble, fince it was taken from the Sacrifices which yielded Blood and Fat, things the moft Holy and Venerable in thofe Days i and what is moft unhappy for the Criticks, is, that 'tis found in rhe Holy Scripture, which begins David's Praifes by that Comparifbn, David is like Fat without Flefio^ tmd the reji of the Children of Ifrael are like Flejh without Fat, Ecclefiaftic. 17. 2. Thus Da^ vid compares the United Brethren to the Oil which was poured forth on Aaron s Head, which ran down to his Beard) yea even to the Skirts of his Cloathing. The Criticks might better employ their time, then' to condemn that which is conform, to that which is moft perfed, and which claims the Refpeds and Venera- tion of all Mankind; and let me tell them, that till they have formed their Judgment rightly, and acqui- red all the Knowledge that is necefiTary for to turn Criticks rliev will never be able either to praift or blame wiihjuftice. 39. iVhenevc) Ariftotle'5 Art of foetrj, 47 j 39. TVhenever a fVord feems to fignifie fomething con- trnry to the Intention of the Poet^ we /hould examine nil the different Significations which the PVord can have in that Paffagc that is in diffuteP^ This is a wife Rule, ' and 'tis for want of obfervmg if, that the Crirrcks have fallen into fuch Abfurdities as wc find. In the twentieth Book of the Iliad where How^r defcribes the Combat of JEncM and Achilles^ he ftys, that JEncaiS Pike which had pierced the two firft Folds of Achil- les^ Shcild, ftopt a^; the third which was of Gold. The Criricks rake the Word Stoft, to remain fixed, and blame Hcrwer for faying fo ridiculous a Thing, for' a Pike is too long to remain fix'd in the Buckler, only Darts and Arrows could do that : But Arijlotlc difco- vc;s the ridiculoufncfs of this Criticifm by fticvving, that the "Word Stc^t,'\\zA a quite contrary Significati- on-, for itfignifics, that it could go no further, and fo was repelled. 40. And the Jhortcfi way to ex f lain the fe Places, k to take the PFbrd in the quite contrary Senoc from what it js generally ufcd?^ This Rule is of infinite more ufe in the Greek^i\\zn the Latin ; for the Grcf^hath a great many Words, which have nor only different, but con- trary Significations. There is a place in Homer which has been explained in i wrong fenfe, for want of fol lowing this Rule. The Converfation of G//r«a/> and Diomede, ends by their exchanging their Arms; Dio- tnede gives to Glaucw\\\s made of Steel and finely po- Jifhed, and G/rfttcj/f gives to Diomede \\\^, which were of Gold, and ten times the value of the orhersi *rwas Diomede who propofed that Exchange on which Ho- mer fays. And they conftrue ir, Jnpirer took, awa) GlaucusV Piudence 47^ AriftotleV Art of Toetry. Prudence at that Moment^ for making fo unequal an Exchange, and giving Arms of Gold forthofc which were only plain Steel. This Sentiment is too mean for- an Epicr Poem. Homer could have fpoke no other- wife if his Princes had been Merchants, and ertdea- voured to Cheat one another. !Tis impoffible that he fhould fpeak of Folly and Stupidity in an A(5tion where there was nothing but what was Great and Noble. "VVe muft necclTarily have recourfe to this ^ule of Arifiotfe^ if we would rightly Tranflate this plain, and fee whether the Word s:£^«to may not have a contrary fignification from that which ir ufual- Jyhas. Porfhyry would have afTjfted in this fearch, and told them that in this PaflTage ideJ, 481 Ariftocle'j Jrt of Voetry. frctcnded^ without einy ncceffity^ hy an excejjive jiffeHion for the Prcdigiom, tcc\carc to frty that they moved and fought ai liviiig Men. 1 he Ancicius certainly founded this ridiculous Opiniou on this RuJe of Anflotle, for they thought that the Poet could not make his Defcri- ption more Admirable and Marvelloi.s, than in ma- king his Figures an-irarcd, fince the Originals fhcuJd always excel the Copies. Ihat Shield is the "Work of a God. 'Tis the Original of whrch the Engraving and Painrirgof Men is but a Copy, and theje is no- thing impoifrble to the Gods : But they did nor per- ceive, that by this Honici- would have fallen into an exuavagant Adynimble, which would nor have been probable. 1 hefore 'tis without any necefJlry that rhe fame Eujlnthim adds. Thnt'tis fojfble all thofe Figures didnot filck^clrfe to the Shield, tut the; f they were off of it, and moved by Springs, in fuch n manner, that they appeared to have Motion, as vEfchylus has feigned fome- thingliks it, in hufeven Captains againit ThebeS. The PaUage of yE/chylus, which E ustathi us mezns, is cer- tainly that where he fays, That Parthenopcus carried on {.is Shield the Chimeia which was off from if, i^H'Tov effc^a?. Without having any recourfe to that Coi jcdure. wc can n^ow, that there is nothing more Snnple ai;d Natural, than the Defcription of that Sheild, and f here is nor one Word which Homer might not have (aid of ir, if it had been the Work of a Mar>» For there is a great deal of difference between rhe Work and the Defcriprion of ir. We'll examine a lit- tle more narrowly what Homer ]s blamed for. Homer, fay they, hus put two Towns which fpcak, different Lan- guages. 'TiS the Latin Trinflation, and not Homer which fays Co ; the Word ixi^g-ru:^ is a common Epi- thet of Men, and which figniiies only, Tkit they have an articulate Voice. Thefc 1 owns could nor fpcak diffe- rent Languages, Hncc as the Anc/cnts have remarked, they were Athens and Elen/ina, both which fpake the iame Language, but tho'thar Epithet Ibould fignifie, which fpa\c tvpo Languages, there would be nothing very furprixing: For VirgilCzi'^, what Howwr durtt Bor, If a Painter fliould piu into one Painting one Town Ariftotle' J Ait of foetrj. 4 8 % Town of Fr/TMCf-j and another of F/rtWcrj, might not one fay, that they were rwo Towns which fpake dif^ ferentLanguageS : But to proceed, Ti''hcre we hear the Harangue of two Omtors. Ho)7icr fays nor Co, buc only that two Men f leaded for a Wager ^ which one faid he had Jaidy and the otherdenied that he had received. There IS nothing here can be faid of the Arcs, hidmg that which ir ought to ftiew, as an Ancient has vcty well obferved, in fpeaking of Painting, Oitcndat qu.t occuL tat. Was not the (amc faid ot Nicomachus, That he had fainted two Greeks, which fpake one after another. Can we fay otherxvife of rhefe two Arcs, that tho' they are mure, yet they have a Language i Or in ex- plaining a Painting of {(aphacl or Pcnijfin^ Can we pre- vent anhnating the Figures, in maKmg rhem fpeak conformably to rhe Delign of the Painter ? Bur how could the l,ngraver reprcfcnt thefe Young Shepherds and Lafles rhar Dance in a King, and then in Sets or Troops which were in Ambufcade ? This would be very difficult if the Workman had not thehberty to make his Perfons appear in different Circumftanccs. Ml the Objedlions againft ihe Young Man who Sings at the fame time he plays on thcHarp; upon the Bull that roars whil.1 he is devoured by a Lion, and againft MuHcal Conforts, are C hildifh, for we could never fpeak of Painting, if welTiould baniOirhufe Exprefli- ons. AVhen P//«7faysof-ri/'(?//i.'j, That he pointed C\y- tus on Horfcbnck^, going to Battle, atid demanding hii Helmet of hh- Squire. And of Ariilides, That he paif7t' ed n Beggar whom we could almoif undcrfiand, pcne cum voce. Of Crefilochus , That he had painted Jupiter bringing forth Bacchus, and crying outline a M^oman; Et ivjuliebriter ingemifcentem. And of Kiccarchusi That he had painted a Piece, in which HerCilles was fcen very Melancholly, for having been a Fool, Hercuiefri rriftem, Jnfania? pcrnitenria. No Body fure will con- demn thofe ways of Expreflion which are Co common. Pliny had faid much more of Apelles, he relis us, Thai he painted thofe things which could not be painted, as Thunder, Pivxit qu<£ pingi non poffunt. And of Ti- manthes, That in ail his PVorl^s there w.is fomcthing more I i 2 underficod. 484 Ariftotle'5 Art (^ nfurers to fall into this falfe Cnricirm : Tne firft is. That they think that Shicifei was no broader cV;an rhe Brims of an Hat, whereas it was large enough ro cover an whole Man. The other is. That they did not know the Defign of the Poet, and imagined, that rhat Defcription was only the Maggot of an unruly Wir, which did it by Chancci and not follow Nacure. If they would have taken the pains ro have inftrudled themfelvcs before they fpake, ihey would have found, thac Howe/s In- tention was ro reprefent in that Shield, ailtheUni- verfe, and rhe differenr Occupations of Men, borh in War and Peace. Several of the beft Criticks a-nong the Ancients rook rhe Pains to fhew Hi^m^r's Ingenuity in thar Shield; but efpcciaUy a very learned Womanj called DnmOy\v\\o I believe was Pythagoras'^ Daughter, wrote a very long and rational Comment on it. We need only fee what Eufiathius fays, and he'll convince us that Ho?ner is far from deferving any blame, and that on the contrary he deferves great Praife, for ha- ving executed with fuch Order, futh Harmony, and fb few Figures, Co great a Dclign as the Reprefenrati* on of the Llniverfe, and all that pafTed in it except Hunting, which was at that time no diverfion to PriHcesj and Navigation which has done more hurt than /5»riftotle'f Art of Toetry, 4 8.j than good 10 Mankind ; i'o that it has been always /aid, that iha^ Defcription was nor only the Work of a good Poer, but aifo ol" a great Phiiofophcr who knew how, in order and probability, to mix the Grave and the Profound with all the richpcfs of Art. This is the Subject which is iook'don as childifh and frivolous, as badly managed, and illy underftood. Bat fmcc we (peak of a Wife Age, Jet us ice what was done in one, which having more Conformity to ours than that of Homer, may paft as one wifer than that of the Greeks Poet. F/rgil has very happily made a Shield for j^,e- dfy as Homer did for Achilles. The Latin Poet who imitated the Greeks one, took fuch care to accommo- date thofe things which time had changed, ajid which would not be agreeable to the Palate of his Readers, that he hath not only charged his Shield with a great deal more Work, fincc he paints all the Adions of the Komans from Afcanius to Auguftm, inclufjvely, but hath nor avoided any of thole Hxprcfllons which of- fend the Critic ks. We fee here the Wolf of ^mutus and Remui, who gives them her Dugs, one after ano- ther, Muliere alternos^ (^ Corpora fingere lingua : We (ce alfo the Rape of the S^i/wfj, and the V.'ar which immediately followed it, Snbitoque nonjum Cov.furgere helium J we fee Metiui drawn by four Horfes •, and T«//w who draws his Entrails thro' the Forrcft. We fee Porfenna, who commanded the Romans ro receive Tarquin and Befieged Rowe. V^'e fee the Geefe, who fying to the Porches of rhe Capitol, give notice by cheir Cries of the Gauls fcaling it. Atque hie auratis Volitans argentem anfe*- Porticibus, Gallos in Limine aJeffe canehat. We fee the S^//<*« Dance, Hell, and the Pains of rh^ Damned; and further off, rhe Place of the B'c/red, where Cato prefides ; we fee the laaious Bartjc of ASiuni , where we may diftinguiCh the Captains : Aguppa with the Gods, and the Winds favourable. Autbonj leads on all the Forces of the Eafl, E^^pr^ and the 1iaHria9r-i the Fight begin?, the Sea is red 1 i 3 wiih 4^^ Ariftotle'5 M of foehy. wirh Blood , Cleopatra gives the Signal for a Kc- treat, and caJl'd her Troops with a Sjfjirum. Patrrg^ue voc.it tagmina fyjiro. The Gods/ or rather the Mon- ftf rs of Egypt, fought againft Ntptme, Vemn^ Minervct, Mars and jipollo. We fee Anthmfs Fleet beaten, and the Nile forrow fully opening his Bofbna to receive the conquered : Cleopatra looks pale, and almoft dead at the Thoughts cf that Death which flie had already de- termined; and the Wind Japix which haftens her Flighr. "Wefeethc three Triumphs of Auguftus \ znd that Prince to perform his VoW, confecratcs three hundred Temples to the Gods of his Country, and the Streets eccho with Shouts of Rejoycing The •^'emples and the Altars are filled wjth Ladies offering < up SacriFces, znd Auguftus fitting ar the Entrance of '^ Apollo s Temple, receiving Prefents and hanging xh^m -on the Pillars of the Temple, while ail the conquered Nations pa/s by, roho fpeak^diif^ent Languagsf-'zird Which arc differently equipped and armed. ' '•' lnc(^dtini -uiEi^e^ longo orcJine gentes^ ' ■'" ' ^am varice Unguis^ hahitii, turn vefiis & armis. Nothing cm juflific Homer hev>cxy or fhcw the WiP dom and Judgment o{ Virgil He was cha; med with Ackilles's Shield^ and therefore would give the fame Ornament to his Poem, but as Homer had painted the Univcrfe, he was fenfible that nothmg remained fcr him to'do, he had no other way to take then that of Prophefie, and ihew what the Defcendant of his He- roe fhould perform, and he was not afraid to go be- yond Horner^ becacfe there is nothing improbable in the Hands of a God. If the Crincks fay, That this is jurtifying of one Fault by another, I defire that they Would a'.'ree among themfelves For Scaliger who was the firft thai" condcmne-d Homer's, Shield, admires Virgil s ; but fuppofe they fhould agree, 'twould be fooJifh ro ehdeavonr to peifw^de us, that what Ho- mer :\r.d Vireil hsye done by the Approbation , of all Ages IS not good ; arid to mal e us think that one par- ticular Tafl Jhould prevail oVer that ot all other AriftotlcV Att offoetry. 487 Men, I ftiould not have rroublcd my (elf ro have de- • fended Homer, it I had nor been dcfired to do ir, for 1 muft confcfs, that norhing is more Ridiculous than ro trouble ones feif to anfwer to thole People who rtiew fo little reafon in their Cnricifins, that we can do them no greater Favour, than to think that 'tis rheir Ignorance : Bur that is not always unhappy, apd may fometimeshit on the Right, but to judge it al- ways, fliews as if they had a defign to make ihe bcft things bad, or that they have fo little ftn/e as ro rake things only contrary. If any be lb curious as to fee the Difference between a good and a bad Piece of ^V"ork, let them view the Shield of Hercules, which isartnbited to Hefiody and compare it wirh that of Homer or Virgil -y there is nothing more different. Ilium Hominem dicss^ hunc Pqjfuijje Deum. That one appears like the Work of a God, and the other like that of a j\ian, 48 Lajl/j in refpeB to Fame, for vee b.-ive proiied, that the Poet n;ed only follovo the common Opinion.'^ But 'tis r cjdT.iry that the Opinion which wc follow be ge- neral, and that it be not conrradicled at the fame time by Truths which are better explained and known ; fuch was the Opinion which Homer followed in fpeak- ingof the Gods. 49. All that appears Abfurdmay be alfojiijiifjd hj thefe three wajs, either by :ke Mciximvehicb xve have already laiddoven, Ccc] 'I'here are apparent Abfurdiries in Homer, which are j'jftifyM by one of rhele four ways, which Arijlotle mcnrions. The Wound of Ftinn may be pur into the Number; the Tears of Alrrj, and fjch like; but the Criricks have nfren raken tho^ things forAbfurdand Uwreafonable, which in their own Nature arc perfectly fine. 'juUm Scaliger derives what Achilles fays toThetii. That he ve.ts af,aid tl;e Flies vpould corrupt the Body of ParrocUis. Had he to UrtleSUve^ lays he, that could drive avctty the F'ies ? i i 4. ibis 488 Ariftotle'^ jirt of Poetry. T\\b i: a norable Objection, as if chere was not more poetry ar..^ Grandeur, by bringing mThettf to comfort uichil.'es, and proiiiife him to pcJrfume the Corps with fomc Ariibrofia , char Hjould prefcrve it an whole Yea;. By th.js mcai-s Ho/;7er expiairs rhc Nature of Cor^ iiprion, and that of Salt w h ch hinders ir. In a- nothcr piaCe he fays, That Homer is Imperrinerit, be- caufe he feigns 'if; rhe fiifrei^nTh Bool< of the [Had, that yiiiid p'ray^ to' rh'e Cod Somkt((^ rO ferid Juj>rc'- tc ileepa and prrimifeShimtheG/drffJin IViarrrage. i^e believes thar Kai!ual i'hilofj'phy i?, t<. fmir nee! m tins Fiction : Jam hie, ftys h found fo much difficulty in it, rhar he durft nor undei raf.e ir. I thall be bolder than he. The Criricks can fall only on thcfe three things. On the SuhjeB, On the Means. On the Manner, i'ach 49 i Ariftotle'j Art of Poetry. -Each of thefe three has Places, which are proper to it, tronQ which Ave may draw the Solutions which juftifie if. it (cems to me that there are four for the Subjed. Wb A Ariftotle'5 Art of foetry. 49 j to affe^ the Gefiures of Vebauched and Difiofutji Wo- men. 5". Moreover Tragedy produces its eflefls by it felf, and without thefe Motions, as well as Epopoeia doth ^ for a fimple reading lets us know what it is. If it has other Advantages over E- plck Poem, we mull confefs, that it is preferable to it, lince the blame which is laid on it, is not a defe6t: that is proper, and natural to it. 6. Tragedy has all that is found in Epick Po- em, for it may alfo make ufe of Hexameter Yerfe, and which is of no fmall Confideration, jt has alfo Mufick and Decoration, which contri- bute to give it an Infinite Pleafure, ar,d to render it the more jcnfible. 7.' («) But what is yet of more efleem is, that it hath the evidence of an Adion, for both in the reprefentation and reading, it fets all things (/) before the Eyes of the Spedator. 8. It hath moreover this great Advantage, that it is not fo long, and that it comes to the end of its Imitation in lefs time. Now that which is well compared, is much more agreeable, and touches us more fenfibly than that which is dif- fufed, and as it were enervate by the length of time. We ma/ be convinced of this Truth, if we put SopLocksh Oedifus, into as many Verfes as the llias contains. {e) It is plain alfo in tfce Remembrjmces and the fVerh. ( fj In I/.-. Seprefentetun and in tk« Reading, 9. Tf> 45)6 Aridotk's Art of, Toetry, \ '■. 9* To conclude : There is no Epopceia which preferves the unity Co well as Tragedy^ and a certain Sign of it is, that we may draw the Sub- jects of many Tragedies from any Epick Poem whatever. And if to avoid thisdefe^ in an He- roick Poem, we fhould keep entirely to one Sub- ject only, as a Tragick Poet doth, it would ne- ceflarily follow. That either the brevity of the •Subjed would make the Poem appear maimed and imperfedl ^ or if we would at any rate give it its due extent, which it ordinarily has, that length would be deftitute of Matter, and ren- der the Poem flat- On the ether lide if the Poet Ihould mix feveral Fables with his Subie6^: That is to fay. If he fhould make an Imitation that Was compofed of many A£tions and Incidents, it would no more have a perfe61: Unity, than th6 Ilia5 and the Odyfles, which have feveral parts of that Nature, that have every one their Gran- deur 5 tho' thofe two Poems are oiherwife as perfeil: as they can be, and both of them imitate as near as polfible one Ailion only. lo. If befidc all thefe Advantages Tragedy has this alfo of obtaining its aim better, and giving more Pleafure, for neither Tragedy nor Epick poem, ought to give all forts of Pleafure, but on- ly what is proper to them. It is certain, that Tragedy is more perfed, than Epick Poera^ lince it obta'iRs its end more exactly. T I . That which ive have faid is fufficient to tt- plain what Tragedy and Epopa^ia are, their Forms and Parts, with their Number and Dif- ferences, To fliew the Virtues and the Vices ot thofe Ariftotle'i Art ofToetty. 497 thofe two Poems, and what 'tiscaules them -, to give an CKatl knowledge of all the Objedions which are made to the Poets, aixi the means which are to be ufed to refute them, REMARKS (?>^ Chap. XX VII. I . *Tif a very doubtful Quejllon to demand immedlntt' Ij^ rohich is the mojl excellent^ Trngcdy cr Epick^ Pocm.'y Having explained ^11 th.ir regards Iragedy, or £picti Poerry, he gives fure Rules ro defend fhc Poeia a- ga^nft the CcrTures of the lll-narurd Criricks. Ari- fiotk examines to the borrom which is the moft cxcei- ienr of thefe two Imications, Epopoeia or Tragedy. P/j/-oprcfcrM rh/:firft, and ^r//?o;/c im iiediately pro- pofts all that is wont to bcfaidin irs favour; buc he declares for Tragtdy, in l}icvvjng ail the Adfaotagcs it has of irs RivaL V/ee 11 fee his RcaTjns. 0. And truly that is the hejty v^hich requires 'leaji aid tind ajfijiayjjce, atid without doubt ^ fuch is thnt vehcfeAim is toflcAfctlu: niceil Sf centers ; 'tis evidcjit by this^ that siMfvhich itnitatci nSy tstJxle^iiSi'mj)ie.'] The Parti- sans of £pop(jeia fay. That that 1 miration being made ^orthe niceit Spec^acors, and Tragedy for the People, ihis hath reed of a greater number cf rh;igs. For btijdc the being of many t\d:o\s, z Tnearcr, Ha^ bits, Decorariuns, ic harh occafion for Aoior>5 wha imirarc very exactly theAdiions of thufewhoai they reprcfenr, finceircanaor obtain its end wiihcur thar. "Whereas Epojxeia obrains irs end withour any of Jhefe Aififtanccs. Epopccia is c'ocn more fimpic, ani cotafcqucnriy more perfedL Atrifiotle goes qi\ to aa-. fwcnhii Ob^edion foiidly. ^, 7&at ihyjt vhids TmitatfS aU "] That is ro fay, which imj tares the nioft minute Mo€ions,and tlie Icalt J^iSioQS cf flioic it reprefenrf- 498 Ariftotle^ Jrt of foetry. ' 4. For as the Sfc^atctf cnnvct cnvprchcnd any thing "when it is Tictfet before their EyeSy thrfe who reprefent the things make a great inayiy Gcjiurcs and MctioUj to 7nake them the more evident.^ 'Tvvascaft on Tragedy as anlmperfcd-ion.rhat its Morion and Gcih res were grave and exadt V ior'cwas a xMark-, Uy they, tharir was del Cent in ir lelf, and rhac it could not be under- ftood, if ir was nor aded in « Day. This rcalbning is falfe, as \vc fhall fee in vvhac follows. 3. Jujl alwojl M the hnd Players on the Flute, who tnoif them/elves to imitate the Motion cf a Quoit, cr draw the (nd of their Band to them, when they play the Scylfa.J There were in Grffce excellent Players on theFlure, who by the found only, could imiraepcrfevftly all the PafTjons and Adions of Men : Bur there were alfo fome bad ones, who not being able to arrive at thofc things by the found only, added Gefture?, and to imi- rare [he rouling of a Quoir, rouled thcmfelves on the Ground : Or if they were to reprefent the Voracity of Scylfa^ who fwallowed up Ships and Men, they knew no oiher way than to hale the end of rheir Band. Epopceia was compared to the firft, bccaufe ir obtain- ed irs end, without any orher afTiltancc than Verfe , and Tragedy was compared to the latter, who pyned Morion and Gefture to their Vcjfe, and nothing can" be more juft than this Comparifon. All that can be fajd i?, That the Art of Tragedy is not anfvverable for the Faults of the AAors, no more than the Arc of playing on the Flute is for the Ignorance of thc/e who play badly on it. 6. Thf} tithe DefeB of Tragedy, and the Blajne which the old Comedians caji on the new onesP^ This Paffage feems tome very remarkable, for it mforms us, thar \h Arijior/e's Time and before, Tragedy had fuffercd very much on account of its //ftors, who were nor fb good as they had been, for they were more diffo- Jute, as we may fay, in their Gestures, and did not retain Ariftotle'i Art of Toetrf. 49(> retain the Simpliciry and Gravity of the Arieienrs ; I bciicve the change which was made in (he Muiicki rendcr'd ihem more Soiz and Lafcivious, and contri- buted very much to fpoil the Adionj for their Man- ners being corrupred, (he Geftures were fo roo, tor the Motions of rhe Body will necefTariJy folJow the Corruptions of the Heart. 7. AndbeCiiufe C]llipcuesw«» excejfive in hii Gejiuret MmtCcus calls htm the ^pe.'] Mmifcui, Callipidtfs and Pindar^ were three Comejians who had a great Re- putation. M/«//a« was (he moft ancient, he blamed C^////'ed'fJ for being too /\ntick, and for rhat rcafou lie called \\\m the Ape ■■, for he imitated (he lea(t liiing, and carried himf>.df fo, that wuhout ftirrin^ our of his place, hefcemed to go a grear way. There was a Proverb made on hn Name, 10 figniFie a Man who rook a deal of pains to do nothiug ; on this was (he Raillery on T/i^'r/Mi founded, in caliing him C.ilhpedes, becaulecverv Year hema.e great Prcp?ration9 f>r his Voyage, (ufier'u the People to nuke V^ ws fo; his Qfe Return, bur never ftir d 01. t cf Kpme. Vc vuho 'jam per Jocum Cctllipedes vecaretur quern cwfitarr^^ ;;c- Cubi- to quidem nieiifuratn progredi, f>>overbio Graco uotatur^ eji Suetojuiii Ttherius^ Chap. -,8. Cict'O liUvl r^lhcd P'arro in the fame manner, before T/herim'i 1 ime; tor as Varro had pi omifcd ro dedic-ire his Books of h-r La- tin Tongue zo Ciul' ium procejfierit. Trpo rears are pajl fii.ie that Callij e- des has been running without gditiirig one Cti'uc. Book XIII. Epift. 12. This Fault o^ Catlipeccs^ didn)C hinder hull from being ettccme ! in h 3 .'innc, he vvas fo puffc up wirh rhe Reputarion he ha J, and poircirc4 of his own Merit, rhat going one Day incv) rhe Place where AgefiUtm was, and percciviog rhat the King took no notice of him, had rhe Impudence ro lav, 4/^, Sir ! Don't you know me ? Has no BoJy toU. you voho t am? Agejilausiniw crci], Are uct you j Cgmedicm ? By K k 2 the 5 oo Ariftotle'5 Art of foetry. the Word which Agcfilam ufcd, it fcems as if he did not only reproach him on account of his ProfefTion, but the Fault into which he was fallen, for he ules rhe Word Dekelijla, which fignrfies an Imitator, a too exm a} Copjiji. 8. hifdinuch, thAt on this accouht Tragedy vpillbe be lot* Epopceia, m the latter Adors were infer iour to the firji "] Epopoeia was hke rhe firit Adors, who were kich of WilUooi and Gravity, and Tragedy was like the Jatrer, who were fallen into a Vicious Affedati- oni but that IS not the fault of Tragedy, but of the Adors. 9. We ajfert then^ that Epopaia being made for the better fort.'] 'T^s thus that I [hought that I ought to Tranflate iTTKn^Hi -diarcLi, for that is what we call properly the better fort, that is People of the beii Edu- cation. This is the fence of that place in Plato, \vh\c\\ Ariftotle had in view, 'tis in the eleventh Book of the Laws. 'A' Act ji/eJ'b*' c^teii/ >> e^i'Ai i.iiav KnhKirlu , iim T'.'. /?rATi'rK*' Kj utitVK-, '^STct/cTgyfyii'as 74p/rc-f. But I am perfveaded^ that the befi Poem is that rehicb diverts the better fort, and thofe who are befl Educated. io. But firj} of all what ree had faid againfl Tragedy^ is not -tgitinji the Art of the Poet, but tha^ of the Ador.'} The Confenrof rhe Patrons of Epopceia is a certain Token of this Truth, for the firft Comedians were not guilty of that Fault, the latter were. We muft nor then jurlge of a Tragedy by the Gaftures and rhe Motions of rhe Ador?, for ar that rare, a Piece that would be good if it was played by a Min/fcus, would be bad if ir were aded by a Pindar or 2i Callippedes. If the Excefllve and Effeminare Gefture of an Ador can do daaiP.gero a Tragedy, then the Vicious Pronuncia- tion of a Reader may alfo hurt an Epopoeia, which Cinnot be ihou^ht of without an Abfurdity. Thj' the Ilias be badly read, ard rhe Oedipits of Sophocles illy plaid, yet neither of thera will tticrcby ceafe to be ex- cellent Ariftocle'i Art of Toetry 5 o i crllent in their kind, for rhc Poet is nor rcCponCibk for the Defeds of the Reader or Ador. 1 1 . For that Defe8 is no lefs common to tbofe veho write en Epkk^Potm m Softratcs, or that Singas Mv.Qinhe- i)S of Opunrum i Ilipparchm the Son of Pijjjhatw^ was the firft, as they fay, thar brought Ho/t/cts Poems to Athens, and made a fouihiation fin" (bme People who fhould uatite them pubUckly.wirh a great deal of /hovy and pomp, during rhc Pan-Atbenun Feajls. 1 hcfe People were called Homerijli or Rhapfodijls^ either becaiife they joyned together different parts of rhefc Poems, or becaufe they lield a Laurel branch in their Hand while they recited (hem, I'his Eltablifhment ofHippcirchm was Co well received, that in a little time there was an infinite Number of the RhapfodiJls\ for feveral Towns inftituted Feaftsand Shows, and gave confidcrabWr Prizes to thofc who lliould fuccced belt in this ProfcfTion : In fine, they came Co in Vogue, thar there was no Aflcmbly, iiactifice, cr Feafts, to which one of thefe Kbapfodijls was not invited. I find that they did not ftint thcmfelves to recite Homey'?-. Verfes only, they recited alfb thofe of Hfc that ieprefenred the Dances of the Ancients, on rhefe they formed the Gefturesof rheir Perfons, and rhe Dances of the Chorus, this feems to me very re- markable. They learn'd Wifiiom and Modefty from the Mure Statues, which were nor be found in their rime, when all was corrupted by Softnefs and Luxury. 14 u^nJow Comedians norc adays are blamed for, vcbd fcfm to ajftfcl rke Gejlures of Debauched and Dijlooneji iVomen'] Afcr the Peers hcd left off mounting the S'r.Tge, jrhd to drefs rhe Actors, rhe Comedians being •eft- ro rhemfi-'ivf-s, immediarcly fpoilcd the Aifringj ;5nd degenerared from thar Wifdom and Simphciry, \y which ichad been miinraincd. In ^riftotle''ii Time ^U.sCorruprion was perceived very fenfibly i the Ad^ ing AriftotleV Art offoetry, 5 o j ing of moft part of them, waslmmodeft andDiibr- dcrly. 1 5 . Morcovtr^ Tragedy produces its ejfecl by its felf, and without thefe Motions, as well m Epoporia dotk ; for <{ /imp/e Re.rding, lets ta know vehjt it »•.] "He Hiew'd US in rhe fiift place char rhc Geftures aon'r proceed from the Poer, bur Ador. In the fecond place, That .they are common to Epopcria and Tragedy. And in the third place, Thar they are nor ail to be blamed. Now he gives a fourth Keafon, by which he proves, Thaf rhofe Geftures are no more neceflary for Trage- dy, than they arc for Epopoe^a, fince jt performs ir$ cffed wuhour their alfutance ; for there is no Perfon, who will nor be affeded wirh a (lmp!e Reading of ihe Oedipus 0^ Soph o(U'S, provided he fees all i'S Beaurics. 'Tis very ridiculous then to prefer Epopee a to Tra- gedy, undei- pretence that this iiies Geftures and Mo- tions, fince they are not at all proper, and natuiil ro it, and that ir ufes the Theatre only fur the greater Pleafucof cheSpcdaror, as Epopceia empl ;ys them, when 'tis fungin the Pubiick Alfemblics. Butiffeems to me that Arijlotle has notanfwered to the ftrone^eft Argument which he ufcd to exalt Epopoeia above Tra- gedy, neverrhclefs ic may be retorted on Epopcr'Sjand rnadcufe of to ftiew one of the grcateft Advanragv^s Tragedy has over it. \f EDopoeia is made fjr the better fort, and Tragedy for the bommon People, Epopoeia if, be\ond Contradivilion, the moft excellent and perfecl, for "tis a furc Rule in "Nature, as well as Morality. '1 hat that which ferves the grcdrer,i5Mlore perfedl than thar which ferves :hc ief< ; but Tragedy is made no lefs for the better fort, than Er>opocia ; and hath this more, 'tis made for the People ; 'ns therefore wi'h^ur any difpute p'-eferable to Epopoeia ; lor that which ferves all, i", more conljderablc than that which ferves a part only. 1 his is a demonftira- rJQn to which 1 believe nothing can be onpofed. K k 4 1$. tiagcdy 504 Aiiftotle'^ j^rt of Poetry. J 6. Tra^eJj hof all that is foutud in an Epick^Porm.J He pow ^j.ocs on ro fer forth all rhc Advantages of Tiagc\.y. J t hath all rhar is in Epick Poem, bur that hath n.ot all thar is in ir. For rhis rcafon, he that can judg- weli of an Epick Poem, fhall no: ahvays do io of a Trogedy : But he tharcan jfudgc well of a Tra- gedy Hall always i dge well of an Epick Poem, as we have ft id on Cbap. V. 17. For it m.ij^ alfff make ufe of Hexameter Verfe.J To prevent any Advantage that Epick Poem may take on prcrei ce that its Hexameter Verfe is more noble iban the lambick. Arijlotle tells us, That Tragedy may alfb crnplov the lame Verfe, and if ir has nor been done, 'tis bccaufe the lambick appeared more vro^ier for ir. He might have added, That Epick Poem cou'd fjcccfsfulJy ufe the Hexameter only, %vr.ereas Tragedy ufcs iheAnapeftes and Trochees, with rhe lambicks in the courfe of the Ads, and that k has Verfes of a different Meafure for the Chorus's, ^vhich give ir a variety that Epick Poem has not. Our Tragedy hath only the fame Verfe as Epopoeia, which is one of the Rcafons that m.a^eit fb much in- ferior ro the Greek Tragedy, and this 1 think none will difpute. 18. uind nehich w of no fmatl Conjiderationy it hath jAufick^ and Decoration.'] Arijlotte told us the Epo- poeia was fung, how comes it topafs then, that Tra- iled y has jMufick which Epopcia has nor? However ir.Kcioui this Objedion may appear, 'tis nor difficult ro give an Anfwer to if. Epick Poem is nor natu- rally made ro be fung, bur read. The Singing which W3safrcr\vari-ls added ro ir, was an Invention of the Khapfodifts ; for u hen 'tis faid that Homer fang his Verfes. Vis not to be thought that 'twas fa regulated ^vlnfick, 'twas rarher a Pronunciarjon with Cadencies, than a Song. 'Tis cot the fiime with Tragedy, it hath Lhovus'smade on purpofe to be fung, and ibe Poet Ariftotle% Jrt of foetry. 505 takes no left pains for his Verfe, than for his Mufick, wirnefs thar little Hiftory which is made of Euripides, 'Tis ftid, thar one Day when he taught the Mufick of one of his Chorus's to the Muficians, one of them w ho heard him-, fell a laughing; to whom Euripides fzidy It pJ:iinly appears Friend^ tbjt ji«u ctre a Sot^ avd an Igr.oramns, (ince you Lauj^b xthen I fing r/»e Mixolydian Tone. The M/aro/>har w£ irl» Ancient)?had over^Epick Poem ; for all the Mufick which can be placed in the Interludes of our Plays, and all the Dances that can be added, do in no wife produce the fame effe(5t, bccaufe they cannot be con- fidered as parts of the Tragedy. They are flrangc Members which corrupt and render it raonflrous. 20. But that vpbich ti jet of more ejleem, « that it hatb the Evidence of an AHion^ for it fets all things be- fore the Eyes of the SpeSiator.'S Epopceia is only a Re- citation, but Tragedy is a Reprefentation of the A- dlion it felf. Now 'tis certain thar what we fee af^ feds much more rhan whar we hear Tragedy is then more perfedt and excellent than Epopccia. 21. In the I{eprefentation, and in the Reading "^ I think this Paflage ought to be Tranflared thi-s, "-: dva- 3/r'6V«, in the Readivg, iTi -ryj' if^iuv, in the A^ioti. That's to fay, in the Keprefentarion ; for this is one of the great Advantages of Tragedy, Thar whether it beReador Rcprefented, ir expofes all to the Eyes of the Reader, andSpedato.r : Vi^orius ch'ifes rather fo Tranflate, o- dvayvae'ffd-, in the Remembrances and Incidents^ 5o6 Ariftotlev Jn of Toetry. Incidents^ but why fhould Arijlotle look for the Rcr membranccs, todiftmguifh rhem from the Incidents; This is neither Natural nor Probable. 22. It bath moreover this great advantage , that if comes to the end of its Imitation in lefs time J Tragedy is confined to oneCourfe of the Sun, nay does not take that up enm ely neither, when as Epopceia has no (ct bounds. However we muft nor imagine that this difference was imaginary at the beginning, its ground was the nature of thofe Poems i Epopceia is made to corred Manners and Habits, and Trage- dy to purifie the PafTions ; and as thefe are raifcd at orce, and the others require longer time to be im- printed on us, 'twas ncceflary to give a greater ex- tent to Epopceia than Tragedy. Wherefore Tragedy is more perfed:, fince it arrives in left rime to the end of irs Imitation i but for the fame reafon then, one of j£fofs, Fables ought to be prcfer'd ro a Trage* dy. For tis fhorrer, and^ obtains its end fboner; *tis not the fame thing v Epopceia and Tragedy are as jruly Fables as thofe of ^fop, but they have their juft Magnitude "vhich thofe of j£fop have not. Now ylri- Jiotle fpt'aks here only of thofe Works which make a Body of a juft extent, and are the only on«s that can be called fine, for as it hath been (aid already, Beauty confiflsonly in the Magnitude and the Order. 23. Njxv that rchich H rvell compared, k made more 4- greeable than that which is dijfufed.'] To prove that the fhorr. efs of Tragedy is preferable ro the length of l^popoeia, he ufes a general Rule which is found true in all things. That which is compad, is more agree- able, and 2f?eds more friendly, than that which isdif- fufed ; the truth of this Afferrion i$ very natural, and we need nor gT far tofeekrhe reafon of ir. That which iscompad, teaches us at the fame rime, with all its parts, but that which is diffufed, teaches us only by degrees and fucceilively, any body may try this in reading a Tragedy and an Epick Poen?. The fij fl af- Icds Ariftotle'i Jrt of foetry, j 07 feds us very fenilbly, becaufe al! the Parts of its Ani- ons flnke us as it were ar once, Epick Poem does it jflowly, becaufe we arc affedtd bur with ore part baiy, and the length of the Epifbdcs, remperatcs and mollifie:?, as I may fay, the force of the Adion, 24. iVe may he convinced of ihU truth, if vce put So- phocles'j Otdipus imo m many Verfes m the llias con- tains.'] 1 his is a pr oof of the rcafon he hath mentio- ned ; which is, that if an Epick Poem Hiould be made of the Adion of the Oedipus, in extending it by Epi- fodes, we (hould undoubtedly find, fliat that Poem would be more flat, infipidand languifhing, than the Tragedy of Sof-hocles \ and would not ftnke us fo vi- vidly. The fame thing would be proved if a Trage- dy fhould be made of the IHm,, for that Adion con- rained in the bo'inusof a Tragedy, would have ano- ther fort of Vivacity than it has in a long and large Poem. 'Z'^ To Conclude there is no Epopceia vebicb preferves the "Unity fo rvell as Tragedy J Arijiotle has often told us, Thar Epopoeia as well as Tiagedy, is the imitati- on of one and the fame Adion. From whence comes it then, tharhe now tells us that the Unity of Epopceia isleO perfed than rhac of Tragedy i Ihis is in my Opinion the explication of a Paflage, which feems at firft fijihr tohave fomcaifficulry : I'ragedy harh only very (h n Epifodes, fo that all the Parrs of irs Adion feparared from one another, are fb final!, and fbim- perfed by rhemfeives, rhar there is nor one of them that can m^ke an entire Adion by it fclf alone, this is whar makes the perfed Uniry of Tragedy. ' fis not ib with Epick Poem, for as that is very exrenfivc and much amplified by irs Epifodes, thofe Epifodes which are bur Members of rhe Principal Actions, areconfi- derablc enough in themielves to make a pcrfcft and entire Adion, tho' they fhowld be feperared from the ^ody of the Poem. Tis true, that alrogerhcr, they ^ompofe one and the fame Adion i but feparately, ikey 508 Ariftotle'i Art of Poetry. they make many, and by that variety render the Uni' cy of Epopceia iefs exad and ftrid than rhac of Tra- gedy, the' it be other wife as perfect as the Nature of the Poem will permit. 26. And a certain fign of it ts^ thjt we maji draw the SubjeEls fif manj Tragedies from any Epick^ Poem what- ever.'] The foregoing Remark has fufSciently CX' plained the reafon which Arijlotle gives of his Opini- on, and reconciles this Paffage with that of Chap. 27,. where he fays. That the Iltat or Odyjfes can furnifh only one Subje^5l for Tragedy, or two at moft. This is true of the Ilias or Odyjfesizkc-^ in their firft Fable, their firft Plan, as has been faid in the Remarks ; but thefe Poems confidered wiih all their Epifodes, can furnifh many Subjeds for Tragedy, fince every Epi- fbde is conilderabje and extended enough to furnifh pne by it felf, and 'tis this length and entirenefs of the Epifodes, which do infome manner alter the Unity of Epopoeia ; for 'tis certain that the Unity of any thing is more perfed: in the proportion that the Parts which compofe if are perfed, and as they can make an whole. 27. And if to avoid thi( defeFi in an Heroick Poem, we Jfhould keep entirely to one SubjeH only, at a Tragick^ Poet.} Arijlotle is not fatisfied to give the Reafons of his Opinion, bur gives alfb the Proofs of hi? Reafons, and draws them from Experience and Pradice. To eltablifli then this Truth, That the Unity of Epopceia, is icfsperftd than that of Tragedy, andtofhew that it can't be otherwile, that 'us not the Fault of the Poets but the Poem. He enquires what would hap- pen, if a Poet ihould oblige himfelf to imitate the U- niry of a Tragedy in an Epopceia. 28. It rxould necejjarily follow, Ihat either the brevity f/ftbe Suhje^l would make the Poem appear maimed and imperfect, or if we would at any rate give it its due ex- tent ^ which it srdnfartly has. that length would be dejli- tute Ariftotle's Jrt offoetry. 509!) tute vf Matter J and make the Poem flat.'] This Opini- on is very (olid and convincing. Suppofe a Poet would make an Epick Poccn, with the Unity as exaA and perfect as that of a Tragedy. What would hap- pen f If he madehisEpifodes as fhort and as impcr- fedt as ihofc of a Tragedy, to the end that they might make one whole, 'rwoukl come to pafs, that inftead of a Poem of the juft extent, that an Epick Poem ought to have, that we (houldonly have an Abortive, a maimed and imperfed Work •, and if to obtain the length of an Epick Poem, he fhould engage himfelf to enlarge his Epifbdes, with mixing other Fables, that extent would be deftitute of Matter, and would ren- der the Poem flat and infipid, as AVine which is mix- ed with Water, thatl may exprefs all the Energy of the Term which Arijlotle ufes. 29. On the other fide, if the Poet Jljould mix fever at Fables rvith hts Subjeci \ that ts to faj, If he Jloould make an Imitation thai k compojed of mavy Aiiiom and Inci- devtSy it mould no more have that perfed ZJnitj.'] But you may lay, That the Poet to avoid both thcfe Incon- venicncics, of which we have Ipoken, may incorpo- rate into his Epilbdes, other Incidents and Fables, which he may jo^n to his Subject, This is very well, 'twill not have even then the perfed Unity of Trage- dy ; it will only obtain the Unity of an Epick Poem : bor having given to his Epifbdcs their juft grandeur, each of them will be able to furnifli a Subjed for a Tragedy, fa that hemuft neceiTarily fall into that In- convenience in his Poem, which he endeavoured ro avoid. 7,0. Than tlte Itiai and Odj/JfeS rvhich have feveral parts of that Nature^ that have ev'rj one their extent tho*thofe two Poems are othertp/ft; as perfed m lhej> can be, and both of them imitate, oi near ai pojjlble, one AHion onljf] Ariflotle adds this to prevent his Readers from believing, that he blames Hortier's Poems, which he admires ii\ (b many Piaces, and on which he bcftows fuch 5 id Ariftotle*^ Art of Poetry. fuch great Praifcs; the Unity Is not i^o perfe.», #■ *! .■