Part 39

So oft the surge, in wat'ry mountains spread, Beats on his back, or bursts upon his head, Yet, dauntless still, the adverse flood he braves, And still indignant bounds above the waves. Tir'd by the tides, his knees relax with toil; Wash'd from beneath him, slides the slimy soil. POPE.

When Homer describes the crush of men dashed against a rock, he collects the most unpleasing and harsh sounds.

Συν δε δυω μαρψας, ὡστε σκυλακας ποτι γαιη Κοπτ'· εκ δ' εγκεφαλος χαμαδις ῥεε, δευε δε γαιαν.

His bloody hand Snatch'd two, unhappy! of my martial band, And dash'd like dogs against the stony floor: The pavement swims with brains and mingled gore. POPE.

And when he would place before the eyes something dreadful and astonishing, he makes choice of the strongest vowels, and the letters of most difficult utterance.

Τη δ' επι μεν Γοργω βλοσυρωπις εστεφανωτο Δεινον δερκομενη· περι δε Δειμος τε Φοβος τε.

Tremendous Gorgon frown'd upon its field, And circling terrors fill'd th' expressive shield. POPE.

Many other examples Dionysius produces; but these will sufficiently shew, that either he was fanciful, or we have lost the genuine pronunciation; for I know not whether, in any one of these instances, such similitude can be discovered. It seems, indeed, probable, that the veneration with which Homer was read, produced many suppositious beauties: for though it is certain, that the sound of many of his verses very justly corresponds with the things expressed, yet, when the force of his imagination, which gave him full possession of every object, is considered, together with the flexibility of his language, of which the syllables might be often contracted or dilated at pleasure, it will seem unlikely that such conformity should happen less frequently even without design.

It is not however to be doubted, that Virgil, who wrote amidst the light of criticism, and who owed so much of his success to art and labour, endeavoured, among other excellencies, to exhibit this similitude; nor has he been less happy in this than in the other graces of versification. This felicity of his numbers was, at the revival of learning, displayed with great elegance by Vida, in his Art of Poetry.

Haud satis est illis utcunque claudere versum.---- Omnia sed numeris vocum concordibus aptant, Atque sono quæcunque canunt imitantur, et apta Verborum facie, et quæsito carminis ore. Nam diversa opus est veluti dare versibus ora,---- Hic melior motuque pedum, et pernicibus alis, Molle Viam tacito lapsu per levia radit: Ille autem membris, ac mole ignavius ingens Incedit tardo molimine subsiden le. Ecce aliquis subit egregio pulcherrimus ore, Cui lætum membris Venus omnibus afflat honorem. Contra alius rudis, informes ostendit et artus, Hirsutumque supercilium, ac caudam sinuosam, Ingratus visu, sonitu illætabilis ipso.---- Ergo ubi jam nautæ spumas salis ære ruentes Incubere mari, videas spumare reductis Convulsum remis, rostrisque stridentibus æquor. Tunc longe sale saxa sonant, tunc et freta ventis Incipiunt agitata tumescere: littore fluctus Illidunt rauco, atque refracta remurmurat unda Ad scopulos, cumulo insequitur præruptus aquæ mons.---- Cum vero ex alto speculatus cærula Nereus Leniit in morem stagni, placidæque paludis, Labitur uncta vadis abies, natat uncta carina.---- Verba etiam res exiguas angusta sequuntur, Ingentesque juvant ingentia: cuncta gigantem Vasta decent, vultus immanes, pectora lata, Et magni membrorum artus, magna ossa, lacertique. Atque adeo, siquid geritur molimine magno, Adde moram, et pariter tecum quoque verba laborent Segnia: seu quando vi multa gleba coactis Æternum frangenda bidentibus, æquore seu cum Cornua velatarum obvertimus antennarum. At mora si fuerit damno, properare jubebo. Si se forte cava extulerit mala vipera terra, Tolle moras, cape saxa manu, cape robora, pastor: Ferte citi flammas, date tela, repellite pestem. Ipse etiam versus ruat, in præcepsque feratur, Immenso cum præcipitans ruit Oceano nox, Aut cum perculsus graviter procumbit humi bos. Cumque etiam requies rebus datur, ipsa quoque ultro Carmina paulisper cursu cessare videbis In medio interrupta: quiêrunt cum freta ponti, Postquam auræ posuere, quiescere protinus ipsum Cernere erit, mediisque incœptis sistere versum. Quid dicam, senior cum telum imbelle sine ictu Invalidus jacit, et defectis viribus æger? Num quoque tum versus segni pariter pede languet: Sanguis hebet, frigent effœtæ in corpore vires. Fortem autem juvenem deceat prorumpere in arces, Evertisse domos, præfractaque quadrupedantum Pectora pectoribus perrumpere, sternere turres Ingentes, totoque, ferum dare funera campo. LIB. iii. 365.

'Tis not enough his verses to complete, In measure, number, or determin'd feet. To all, proportion'd terms he must dispense, And make the sound a picture of the sense; The correspondent words exactly frame, The look, the features, and the mien the same. With rapid feet and wings, without delay, This swiftly flies, and smoothly skims away: This blooms with youth and beauty in his face, And Venus breathes on ev'ry limb a grace; That, of rude form, his uncouth members shows, Looks horrible, and frowns with his rough brows; His monstrous tail, in many a fold and wind, Voluminous and vast, curls up behind; At once the image and the lines appear, Rude to the eye, and frightful to the ear. Lo! when the sailors steer the pond'rous ships, And plough, with brazen beaks, the foamy deeps, Incumbent on the main that roars around, Beneath the lab'ring oars the waves resound; The prows wide echoing through the dark profound. To the loud call each distant rock replies; Tost by the storm the tow'ring surges rise; While the hoarse ocean beats the sounding shore, Dash'd from the strand, the flying waters roar, Flash at the shock, and gathering in a heap, The liquid mountains rise, and over-hang the deep. But when blue Neptune from his car surveys, And calms at one regard the raging seas, Stretch'd like a peaceful lake the deep subsides, And the pitch'd vessel o'er the surface glides. When things are small, the terms should still be so; For low words please us when the theme is low. But when some giant, horrible and grim, Enormous in his gait, and vast in every limb, Stalks tow'ring on; the swelling words must rise In just proportion to the monster's size. If some large weight his huge arms strive to shove, The verse too labours; the throng'd words scarce move. When each stiff clod beneath the pond'rous plough Crumbles and breaks, th' encumber'd lines must flow. Nor less, when pilots catch the friendly gales, Unfurl their shrouds, and hoist the wide-stretch'd sails. But if the poem suffers from delay, Let the lines fly precipitate away, And when the viper issues from the brake, Be quick; with stones, and brands, and fire, attack His rising crest, and drive the serpent back. When night descends, or stunn'd by num'rous strokes, And groaning, to the earth drops the vast ox; The line too sinks with correspondent sound Flat with the steer, and headlong to the ground. When the wild waves subside, and tempests cease, And hush the roarings of the sea to peace; So oft we see the interrupted strain Stopp'd in the midst--and with the silent main Pause for a space--at last it glides again. When Priam strains his aged arms, to throw His unavailing jav'line at the foe; (His blood congeal'd, and ev'ry nerve unstrung) Then with the theme complies the artful song; Like him, the solitary numbers flow, Weak, trembling, melancholy, stiff, and slow. Not so young Pyrrhus, who with rapid force Beats down embattled armies in his course. The raging youth on trembling Ilion falls, Burns her strong gates, and shakes her lofty walls; Provokes his flying courser to the speed, In full career to charge the warlike steed: He piles the field with mountains of the slain; He pours, he storms, he thunders thro' the plain.--PITT.

From the Italian gardens Pope seems to have transplanted this flower, the growth of happier climates, into a soil less adapted to its nature, and less favourable to its increase.

Soft is the strain, when Zephyr gentle blows, And the smooth stream in smoother numbers flows; But when loud billows lash the sounding shore, The hoarse rough verse should like the torrent roar. When Ajax strives some rock's vast weight to throw, The line too labours, and the words move slow; Nor so when swift Camilla scours the plain, Flies o'er th' unbending corn, and skims along the main.

From these lines, laboured with attention, and celebrated by a rival wit, may be judged what can be expected from the most diligent endeavours after this imagery of sound. The verse intended to represent the whisper of the vernal breeze, must be confessed not much to excel in softness or volubility: and the smooth stream runs with a perpetual clash of jarring consonants. The noise and turbulence of the torrent, is, indeed, distinctly imaged, for it requires very little skill to make our language rough: but in these lines, which mention the effort of Ajax, there is no particular heaviness, obstruction, or delay. The swiftness of Camilla is rather contrasted than exemplified; why the verse should be lengthened to express speed, will not easily be discovered. In the dactyls used for that purpose by the ancients, two short syllables were pronounced with such rapidity, as to be equal only to one long; they, therefore, naturally exhibit the act of passing through a long space in a short time. But the Alexandrine, by its pause in the midst, is a tardy and stately measure; and the word _unbending_, one of the most sluggish and slow which our language affords, cannot much accelerate its motion.

These rules and these examples have taught our present criticks to inquire very studiously and minutely into sounds and cadences. It is, therefore, useful to examine with what skill they have proceeded; what discoveries they have made; and whether any rules can be established which may guide us hereafter in such researches.

No. 93. TUESDAY, FEBRUARY 5, 1751.

_----Experiar, quid concedatur in illos,_ _Quorum flaminia tegitur cinis atque Latina._ JUV. Sat. i. 170.

More safely truth to urge her claim presumes, On names now found alone on books and tombs.

There are few books on which more time is spent by young students, than on treatises which deliver the characters of authors; nor any which oftener deceive the expectation of the reader, or fill his mind with more opinions which the progress of his studies and the increase of his knowledge oblige him to resign.

Baillet has introduced his collection of the decisions of the learned, by an enumeration of the prejudices which mislead the critick, and raise the passions in rebellion against the judgment. His catalogue, though large, is imperfect; and who can hope to complete it? The beauties of writing have been observed to be often such as cannot in the present state of human knowledge be evinced by evidence, or drawn out into demonstrations; they are therefore wholly subject to the imagination, and do not force their effects upon a mind pre-occupied by unfavourable sentiments, nor overcome the counteraction of a false principle or of stubborn partiality.

To convince any man against his will is hard, but to please him against his will is justly pronounced by Dryden to be above the reach of human abilities. Interest and passion will hold out long against the closest siege of diagrams and syllogisms, but they are absolutely impregnable to imagery and sentiment; and will for ever bid defiance to the most powerful strains of Virgil or Homer, though they may give way in time to the batteries of Euclid or Archimedes.

In trusting therefore to the sentence of a critick, we are in danger not only from that vanity which exalts writers too often to the dignity of teaching what they are yet to learn, from that negligence which sometimes steals upon the most vigilant caution, and that fallibility to which the condition of nature has subjected every human understanding; but from a thousand extrinsick and accidental causes, from every thing which can excite kindness or malevolence, veneration or contempt.

Many of those who have determined with great boldness upon the various degrees of literary merit, may be justly suspected of having passed sentence, as Seneca remarks of Claudius,

_Una tantum parte audita,_ _Sæpe et nulla,_

without much knowledge of the cause before them: for it will not easily be imagined of Langbaine, Borrichius, or Rapin, that they had very accurately perused all the books which they praise or censure: or that, even if nature and learning had qualified them for judges, they could read for ever with the attention necessary to just criticism. Such performances, however, are not wholly without their use; for they are commonly just echoes to the voice of fame, and transmit the general suffrage of mankind when they have no particular motives to suppress it.

Criticks, like the rest of mankind, are very frequently misled by interest. The bigotry with which editors regard the authors whom they illustrate or correct, has been generally remarked. Dryden was known to have written most of his critical dissertations only to recommend the work upon which he then happened to be employed: and Addison is suspected to have denied the expediency of poetical justice, because his own Cato was condemned to perish in a good cause.

There are prejudices which authors, not otherwise weak or corrupt, have indulged without scruple; and perhaps some of them are so complicated with our natural affections, that they cannot easily be disentangled from the heart. Scarce any can hear with impartiality a comparison between the writers of his own and another country; and though it cannot, I think, be charged equally on all nations, that they are blinded with this literary patriotism, yet there are none that do not look upon their authors with the fondness of affinity, and esteem them as well for the place of their birth, as for their knowledge or their wit. There is, therefore, seldom much respect due to comparative criticism, when the competitors are of different countries, unless the judge is of a nation equally indifferent to both. The Italians could not for a long time believe, that there was any learning beyond the mountains; and the French seem generally persuaded, that there are no wits or reasoners equal to their own. I can scarcely conceive that if Scaliger had not considered himself as allied to Virgil, by being born in the same country, he would have found his works so much superior to those of Homer, or have thought the controversy worthy of so much zeal, vehemence, and acrimony.

There is, indeed, one prejudice, and only one, by which it may be doubted whether it is any dishonour to be sometimes misguided. Criticism has so often given occasion to the envious and ill-natured of gratifying their malignity, that some have thought it necessary to recommend the virtue of candour without restriction, and to preclude all future liberty of censure. Writers possessed with this opinion are continually enforcing civility and decency, recommending to criticks the proper diffidence of themselves, and inculcating the veneration due to celebrated names.

I am not of opinion that these professed enemies of arrogance and severity have much more benevolence or modesty than the rest of mankind; or that they feel in their own hearts, any other intention than to distinguish themselves by their softness and delicacy. Some are modest because they are timorous, and some are lavish of praise because they hope to be repaid.

There is indeed some tenderness due to living writers, when they attack none of those truths which are of importance to the happiness of mankind, and have committed no other offence than that of betraying their own ignorance or dulness. I should think it cruelty to crush an insect who had provoked me only by buzzing in my ear; and would not willingly interrupt the dream of harmless stupidity, or destroy the jest which makes its author laugh. Yet I am far from thinking this tenderness universally necessary; for he that writes may be considered as a kind of general challenger, whom every one has a right to attack; since he quits the common rank of life, steps forward beyond the lists, and offers his merit to the publick judgment. To commence author is to claim praise, and no man can justly aspire to honour, but at the hazard of disgrace. But whatever be decided concerning contemporaries, whom he that knows the treachery of the human heart, and considers how often we gratify our own pride or envy under the appearance of contending for elegance and propriety will find himself not much inclined to disturb; there can surely be no exemptions pleaded to secure them from criticism, who can no longer suffer by reproach, and of whom nothing now remains but their writings and their names. Upon these authors the critick is undoubtedly at full liberty to exercise the strictest severity, since he endangers only his own fame, and, like Æneas when he drew his sword in the infernal regions, encounters phantoms which cannot be wounded. He may indeed pay some regard to established reputation; but he can by that shew of reverence consult only his own security, for all other motives are now at an end.

The faults of a writer of acknowledged excellence are more dangerous, because the influence of his example is more extensive; and the interest of learning requires that they should be discovered and stigmatized, before they have the sanction of antiquity conferred upon them, and become precedents of indisputable authority.

It has, indeed, been advanced by Addison, as one of the characteristicks of a true critick, that he points out beauties rather than faults. But it is rather natural to a man of learning and genius to apply himself chiefly to the study of writers who have more beauties than faults to be displayed: for the duty of criticism is neither to depreciate, nor dignify by partial representations, but to hold out the light of reason, whatever it may discover; and to promulgate the determinations of truth, whatever she shall dictate.

No. 94. SATURDAY, FEBRUARY 9, 1751.

_----Bonus atque fidus_ _Judex * * * * per obstantes catervas_ _Explicuit sua victor arma._ HOR. Lib. iv. Od. ix. 40.

Perpetual magistrate is he Who keeps strict justice full in sight; Who bids the crowd at awful distance gaze, And virtue's arms victoriously displays. FRANCIS.

The resemblance of poetick numbers, to the subject which they mention or describe, may be considered as general or particular; as consisting in the flow and structure of a whole passage taken together, or as comprised in the sound of some emphatical and descriptive words, or in the cadence and harmony of single verses.

The general resemblance of the sound to the sense is to be found in every language which admits of poetry, in every author whose force of fancy enables him to impress images strongly on his own mind, and whose choice and variety of language readily supply him with just representations. To such a writer it is natural to change his measure with his subject, even without any effort of the understanding, or intervention of the judgment. To revolve jollity and mirth necessarily tunes the voice of a poet to gay and sprightly notes, as it fires his eye with vivacity; and reflection on gloomy situations and disastrous events, will sadden his numbers, as it will cloud his countenance. But in such passages there is only the similitude of pleasure to pleasure, and of grief to grief, without any immediate application to particular images. The same flow of joyous versification will celebrate the jollity of marriage, and the exultation of triumph; and the same languor of melody will suit the complaints of an absent lover, as of a conquered king.

It is scarcely to be doubted, that on many occasions we make the musick which we imagine ourselves to hear, that we modulate the poem by our own disposition, and ascribe to the numbers the effects of the sense. We may observe in life, that it is not easy to deliver a pleasing message in an unpleasing manner, and that we readily associate beauty and deformity with those whom for any reason we love or hate. Yet it would be too daring to declare that all the celebrated adaptations of harmony are chimerical; that Homer had no extraordinary attention to the melody of his verse when he described a nuptial festivity;

Νυμφας δ' εκ θαλαμων, δαιδων ὑπολαμπομεναων, Ηγινεον ανα αστυ, πολυς δ' ὑμεναιος ορωρει.

Here sacred pomp and genial feast delight, And solemn dance, and hymeneal rite; Along the street the new-made brides are led, With torches flaming, to the nuptial bed; The youthful dancers, in a circle, bound To the soft flute, and cittern's silver sound. POPE.

That Vida was merely fanciful, when he supposed Virgil endeavouring to represent, by uncommon sweetness of numbers, the adventitious beauty of Æneas;

_Os, humerosque Deo similis: namque ipse decoram_ _Cæsariem nato genetrix, lumenque juventæ_ _Purpureum, et lætos oculis afflârat honores._

The Trojan chief appeared in open sight, August in visage, and serenely bright. His mother goddess, with her hands divine, Had form'd his curling locks, and made his temples shine; And giv'n his rolling eyes a sparkling grace, And breath'd a youthful vigour on his face. DRYDEN.

Or that Milton did not intend to exemplify the harmony which he mentions:

Fountains! and ye that warble as ye flow, Melodious murmurs! warbling tune his praise.

That Milton understood the force of sounds well adjusted, and knew the compass and variety of the ancient measures, cannot be doubted; since he was both a musician and a critick; but he seems to have considered these conformities of cadence, as either not often attainable in our language, or as petty excellencies unworthy of his ambition: for it will not be found that he has always assigned the same cast of numbers to the same objects. He has given in two passages very minute descriptions of angelic beauty; but though the images are nearly the same, the numbers will be found, upon comparison, very different:

And now a stripling cherub he appears, Not of the prime, yet such as in his face Youth smil'd celestial, and to every limb _Suitable grace diffus'd, so well he feign'd;_ Under a coronet his flowing hair _In curls on either cheek play'd: wings he wore_ _Of many a coloured plume, sprinkled with gold._

Some of the lines of this description are remarkably defective in harmony, and therefore by no means correspondent with that symmetrical elegance and easy grace, which they are intended to exhibit. The failure, however, is fully compensated by the representation of Raphael, which equally delights the ear and imagination: