In puteum, foveamve; licet, Succurrite, longum
Clamet, io cives: non sit qui tollere curet.
Si curet quis opem ferre, et demittere funem;
Qui scis, an prudens huc se projecerit, atque
Servari nolit? dicam : Siculique poëtae

Narrabo interitum. Deus inmortalis haberi

460

Dum cupit Empedocles, ardentem frigidus Aetnam Insiluit. sit jus, liceatque perire poëtis.

466

Invitum qui servat, idem facit occidenti.

Nec semel hoc fecit; nec si retractus erit jam,

Fiet homo, et ponet famosae mortis amorem.

470

Nec satis adparet, cur versus factitet; utrum
Minxerit in patrios cineres, an triste bidental
Moverit incestus: certe furit, ac velut ursus
Objectos caveae valuit si frangere clathros,
Indoctum doctumque fugat recitator acerbus.
Quem vero arripuit, tenet, occiditque legendo, 475
Non missura cutem, nisi plena cruoris, hirudo.

COMMENTARY.

pas à cela de suite et qu'il ne gardoit d'autre ordre que celui des matieres que le hazard lui donnoit à lire et à examiner, il est arrivé delà qu'IL N'Y A AUCUNE METHODE NI AUCUNE LIAISON DE PARTIES DANS CE TRAITE', qui même n'a jamais été achevé, Horace n'ayant pas eu le tems d'y mettre la derniere main, ou, ce qui est plus vraisemblable, n'ayant pas voulu s'en donner la peine." [M. Dacier's Introd. remarks to the art of poetry.] The softest thing that can be said of such a critic, is, that he well deserves the censure, he so justly applied to the great Scaliger, S'IL L'AVOIT BIEN ENTENDU, IL LUI AUROIT RENDU PLUS DE JUSTICE, ET EN AUROIT PARLE PLUS MODESTEMENT.

NOTES

ON THE

ART OF POETRY.

THE text of this epistle is given from Dr. BENTLEY'S edition, except in some few places, of which the reader is advertized in the notes. These, that they might not break in too much on the thread of the Commentary, are here printed by themselves. For the rest, let me apologize with a great critic : Nobis viri docti ignoscent, si hæc fusius: præsertim si cogitent, veri critici esse, non literulam alibi ejicere, alibi innocentem syllabam et quæ nunquàm male merita de patria fuerit, per jocum et ludum trucidare et configere; verùm recte de autoribus et rebus judicare, quod et solidæ et absolutæ eruditionis est. HEINSIUS.

1. HUMANO CAPITI, &c.] It is seen, in the comment, with what elegance this first part [to v. 89] is made preparatory to the main subject, agreeably to the genius of the Epistle. But elegance, in

good hands, always implies propriety; as is the case here. For the critic's rules must be taken either, 1. from the general standing laws of composition; or, 2, from the peculiar ones, appropriated to the kind. Now the direction to be fetched from the former of these sources will of course precede, as well on account of its superior dignity, as that the mind itself delights to descend from universals to the consideration of particulars. Agreeably to this rule of nature, the poet, having to correct, in the Roman drama, these three points, 1. a misconduct in the disposition; 2. an abuse of language; and 3. a disregard of the peculiar characters and colorings of its different species, hath chosen to do this on principles of universal nature; which, while they include the case of the drama, at the same time extend to poetic composition at large. These prefatory, universal observations being delivered, he then proceeds, with advantage, to the second source of his art, viz. the consideration of the laws and rules peculiar to the kind.

9.

PICTORIBUS ATQUE POETIS QUIDLIBET AUDENDI SEMPER FUIT AEQUA POTESTAS.] The modern painter and poet will observe that this aphorism comes from the mouth of an objector.

14. INCEPTIS GRAVIBUS, &c.] These preparatory observations concerning the laws of poetic composition at large have been thought to glance