TO

The Rev. JOSEPH WARTQN, D.D. MASTER of WINCHESTER SCHOOL;

AND TO

The Rev. THOMAS WARTON, B.D. FELLOW of TRINITY COLLEGE, OXFORD.

MY DEAR FRIENDS!

In a conversation, some months ago, I happened to mention to you the idea I had long entertained of that celebrated Epistle of Horace, commonly distinguished by the title of THE ART OF POETRY. I will not say that you acceded to my opinion; but I flattered myself that I at least interested your curiosity, and engaged your attention: our discourse, however, revived an intention I had once formed, of communicating my thoughts on the subject to the Publick; an intention I had only dropt for want of leisure and inclination to attempt a translation of the Epistle, which I thought necessary to accompany the original, and my remarks on it. In the original, Horace assumes the air and stile of an affectionate teacher, admonishing and instructing his young friends and pupils: but the following translation, together with the observations annexed, I address to You as my Masters, from whom I look for sound information, a well-grounded confirmation of my hypothesis, or a solution of my doubts, and a correction of my errors.

It is almost needless to observe, that the Epistle in question has very particularly exercised the critical sagacity of the literary world; yet it is remarkable that, amidst the great variety of comments and decisions on the work, it has been almost universally considered, except by one acute and learned writer of this country, as a loose, vague, and desultory composition; a mass of shining materials; like pearls unstrung, valuable indeed, but not displayed to advantage.

Some have contended, with Scaliger at their head, that this pretended Art of Poetry is totally void of art; and that the very work, in which the beauty and excellence of Order (ordinis virtus et Venus!) is strongly recommended, is in itself unconnected, confused, and immethodical. The advocates for the writer have in great measure confessed the charge, but pleaded in excuse and vindication, the familiarity of an epistle, and even the genius of Poetry, in which the formal divisions of a prosaick treatise on the art would have been insupportable. They have also denied that Horace ever intended such a treatise, or that he ever gave to this Epistle the title of the Art of Poetry; on which title the attacks of Scaliger, and his followers, are chiefly grounded. The title, however, is confessedly as old as the age of Quintilian; and that the work itself has a perpetual reference to Poets and Poetry, is as evident, as that it is, from beginning to end, in its manner, stile, address, and form, perfectly Epistolary.

The learned and ingenious Critick distinguished above, an early ornament to letters, and now a worthy dignitary of the church, leaving vain comments, and idle disputes on the title of the work, sagaciously directed his researches to scrutinize the work itself; properly endeavouring to trace and investigate from the composition the end and design of the writer, and remembering the axiom of the Poet, to whom his friend had been appointed the commentator.

In every work regard THE AUTHOR'S END! For none can compass more than they intend. Pope.

With this view of illustrating and explaining Horace's Art of Poetry, this shrewd and able writer, about thirty years ago, republished the original Epistle, giving the text chiefly after Dr. Bentley, subjoining an English Commentary and Notes, and prefixing an Introduction, from which I beg leave to transcribe most part of the three first paragraphs,

"It is agreed on all hands, that the antients are our masters in the art of composition. Such of their writings, therefore, as deliver instructions for the exercise of this art, must be of the highest value. And, if any of them hath acquired a credit, in this respect, superior to the rest, it is, perhaps, the following work: which the learned have long since considered as a kind of summary of the rules of good writing; to be gotten by heart by every young student; and to whose decisive authority the greatest masters in taste and composition must finally submit.

"But the more unquestioned the credit of this poem is, the more it will concern the publick, that it be justly and accurately understood. The writer of these sheets then believed it might be of use, if he took some pains to clear the sense, connect the method, and ascertain the scope and purpose, of this admired epistle. Others, he knew indeed, and some of the first fame for critical learning, had been before him in this attempt. Yet he did not find himself prevented by their labours; in which, besides innumerable lesser faults, he, more especially, observed two inveterate errors, of such a fort, as must needs perplex the genius, and distress the learning, of any commentator. The one of these respects the SUBJECT; the other, the METHOD of the Art of Poetry. It will be necessary to say something upon each.

"1. That the Art of Poetry, at large, is not the proper subject of this piece, is so apparent, that it hath not escaped the dullest and least attentive of its Criticks. For, however all the different kinds of poetry might appear to enter into it, yet every one saw, that some at least were very slightly considered: whence the frequent attempts, the artes et institutiones poetica, of writers both at home and abroad, to supply its deficiencies. But, though this truth was seen and confessed, it unluckily happened, that the sagacity of his numerous commentators went no further. They still considered this famous Epistle as a collection, though not a system, of criticisms on poetry in general; with this concession however, that the stage had evidently the largest share in it [Footnote: Satyra hac est in fui faeculi poetas, praecipui yero in Romanum Drama, Baxter.]. Under the influence of this prejudice, several writers of name took upon them to comment and explain it: and with the success, which was to be expected from so fatal a mistake on setting out, as the not seeing, 'that the proper and sole purpose of the Author, was, not to abridge the Greek Criticks, whom he probably never thought of; nor to amuse himself with composing a short critical system, for the general use of poets, which every line of it absolutely confutes; but, simply to criticize the Roman drama.' For to this end, not the tenor of the work only, but as will appear, every single precept in it, ultimately refers. The mischiefs of this original error have been long felt. It hath occasioned a constant perplexity in defining the general method, and in fixing the import of particular rules. Nay its effects have reached still further. For conceiving, as they did, that the whole had been composed out of the Greek Criticks, the labour and ingenuity of its interpreters have been misemployed in picking out authorities, which were not wanted, and in producing, or, more properly, by their studied refinements in creating, conformities, which were never designed. Whence it hath come to pass that, instead of investigating the order of the Poet's own reflexions, and scrutinizing the peculiar state of the Roman Stage (the methods, which common sense and common criticism would prescribe) the world hath been nauseated with, insipid lectures on Aristotle and Phalereus; whose solid sense hath been so attenuated and subtilized by the delicate operation of French criticism, as hath even gone some way towards bringing the art itself into disrepute.

"2. But the wrong explications of this poem have arisen, not from the misconception of the subject only, but from an inattention to the method of it. The latter was, in part the genuine consequence of the former. For, not suspecting an unity of design in the subject it's interpreters never looked for, or could never find, a consistency of disposition in the method. And this was indeed the very block upon which HEINSIUS, and, before him,. JULIUS SCALIGER, himself fumbled. These illustrious Criticks, with all the force of genius, which is required to disembarrass an involved subject, and all the aids of learning, that can lend a ray to enlighten a dark one, have, notwithstanding, found themselves utterly unable to unfold the order of this Epistle; insomuch, that SCALIGER [Footnote: Praef. i x LIB. POET. ct 1. vi. p. 338] hath boldly pronounced, the conduct of it to be vicious; and HEINSIUS had no other way to evade the charge, than by recurring to the forced and uncritical expedient of a licentious transposition The truth is, they were both in one common error, that the Poet's purpose had been to write a criticism of the Art of Poetry at large, and not, as is here shewn of the Roman Drama in particular."

The remainder of this Introduction, as well as the Commentary and Notes, afford ample proofs of the erudition and ingenuity of the Critick: yet I much doubt, whether he has been able to convince the learned world of the truth of his main proposition, "than it was the proper and sole purpose of the Author, simply to criticise the Roman drama." His Commentary is, it must be owned, extremely seducing yet the attentive reader of Horace will perhaps often fancy, that he perceives a violence and constraint offered to the composition, in order to accommodate it to the system of the Commentator; who, to such a reader, may perhaps seem to mark transitions, and point out connections, as well as to maintain a method in the Commentary, which cannot clearly be deduced from the text, to which it refers.

This very-ingenious Commentary opens as follows:

"The subject of this piece being, as I suppose, one, viz. the state of the Roman Drama, and common sense requiring, even in the freest forms of composition, some kind of method. the intelligent reader will not be surprised to find the poet prosecuting his subject in a regular, well-ordered plan; which, for the more exact description of it, I distinguish into three parts:

"I. The first of them [from 1. 1 to 89] is preparatory to the main subject of the Epistle, containing some general rules and reflexions on poetry, but principally with an eye to the following parts: by which means it serves as an useful introduction to the poet's design, and opens with that air of ease and elegance, essential to the epistolary form.