vantage, even in an abfolute Government, for a Miniflry to have Wit on their fide, and engage the Men of Merit in this kind to be their Well- withers and Friends. And in thofe States where ambitious Leaders often contend for the fupreme Authority, 'tis a confiderable advantage to the ill Caufe of fuch Pretenders, when they can obtain a Name and Intereft with the Men of Letters. The good Empe- ror Trajan, tho himfelf no mighty Scholar, had his due as well as an Augustus; and was as highly celebrated for his Munificence, and juft Encouragement of every Art and Vir- tue. And Caesar, who cou'd write fo well himfelf, and maintain'd his Caufe by Wit as well as Arms, knew experimentally what it was to have even a Catullus his Enemy: and tho lafh'd fo often in his Lampoons, con- tinu'd to forgive and court him. The Trai- tor knew the Importance of this Mildnefs. May none who have the fame Defigns, underftand fo well the advantages of fuch a Conduct! I wou'd have requir'd only this one Defecl; in Caesar's Generofity, to have been fecure of his never rifing to Greatnefs, or enflaving his native Country. Let him have fhewn a Rug- gednefs and Auflerity towards free Genius's, or a neglect or Contempt towards Men of Wit; let him have trufted to his Arms, and declar'd againft Arts and Letters; and he wou'd have prov'd ADVICE to an Author. 229 prov'd a fecond Marius, or a Catiline of meaner Fame, and Character.
'Tis, I know, the Imagination of fome who are call'd Great Men, that in regard of their high Stations they may be efleem'd to pay a fufficient Tribute to Letters, and difcharge themfelves as to their own part in particular; if they chufe indifferently any Subjecl for their Bounty, and are pleas'd to confer their Favour either on fome one Pretender to Art, or promifcuoufly to fuch of the Tribe of Writers, whofe chief Ability has lain in making their court well, and obtaining to be introduc'd to their Acquaintance. This they think fufficient to inftal them Patrons of Wit, and Matters of the literate Order. But this Method will of any other the leaft ferve their Intereft or Defign. The ill placing of Rewards is a double Injury to Merit; and in every Caufe or Intereft, pafles for worfe than mere Indifference or Neutrality." There can be no Excufe for making an ill Choice. Merit in every kind is eafdy difcoverd, when fought. The Publick it-felf fails not to give fufficient indication; and points out thofe Genius s who want only Countenance and Encouragement to become confiderable. An ingenious Man never flarves unknown: and Great Men muft wink hard, or 'twou'd be impoffible for 'em to P 4 mifs 230 ADVICE to an Author.
mifs fuch advantageous Opportunitys of (hew- ing their Generofity, and acquiring the Uni- verfal Efteem, Acknowledgments, and good Wifhes of the ingenious and learned part of Mankind.
WHAT Judgment therefore we are to form, concerning the Influence of our Grandees in matters of Art, and Letters, will eafily be gather d from the Reflections already made. It may appear from the very Freedom we have taken in cenfuring thefe Men of Power, what little reafon Authors have to plead 'em as their Excufe for any Failure in the Im- provement of their Art and Talent. For in a free Country, fuch as ours, there is not any Order or Rank of Men, more free than that of Writers: who if they have real Ability and Merit, can fully right themfelves when in- jur'd; and are ready furnilh'd with Means, furhcicnt to make themfelves confider'd by the Men in higher! Power.
Nor 'fhou'd I fufpecl the Genius of our Writers, or charge 'era with Meannefs and Infufficiency on the account of this Low-fpi- ritednefs which they difcover; were it not for ADVICE to an Author. 231 for another fort of Fear, by which they more plainly betray themfelves, and feem confcious of their own Defect The C r i t i c k s, it feems, are formidable to 'em. The Critic ks are the dreadful Spetlers, the Giants, the Enchanter s% who traverfe and difturb 'em in their Works. Thefe are the Perfecutors, for whofe fake they are ready to hide their heads; begging refcue and protection of all good People; and flying in particular to the Great, by whofe Fa- vour they hope to be defended from this mercilefs examining Race. " For what can be more cruel, than to be forc'd to fubmit to the rigorous Laws of Wit, and write under fuch fevere Judges as are deaf to all Court- fhip, and can be wrought upon by no In- fmuation or Flattery to pafs by Faults, and pardon any Tranfgreflion of Art f 44 It 44 44 It 44 To judge indeed of the Circumftances of a modern Author, by the Pattern of his * Prefaces, Dedications, and Introductions, one wou'd think that at the moment when a Piece of his was in hand, fome Conjuration was forming againft him,fome diabolical Powers drawing together to blaft his Work, and crofs his generous De- fign. He therefore rouzes his Indignation, * Infra, p. 329, 330. And VOL. III. p. 259, 277. in the Notes.
hardens ADVICE to an Author.
hardens his Forehead, and with many furious Defiances and Avant-S at an s! enters on his Bu- finefs; not with the lead regard to what may juflly be objected to him in a way of Criti- cism; but with an abfolute Contempt of the Manner and Art it-felf.
Odi pro] anum vulgus et arceo, was in its time, no doubt, a generous Defiance. The Avantl was natural and proper in its place; efpecially where Religion and Virtue were the Poet's Theme. But with our Moderns the Cafe is generally the very Reverfe. And accordingly the Defiance or Avant fhou'd run much after this manner: "As for you vulgar Souls, mere Natu- 1 rals, who know no Art, were never admitted 1 into the Temple of Wifdom, nor evervifited 1 the Sancluarys of Wit or Learning, gather ' your-fblves together from all Parts, andhear- 1 ken to the Song or Tale I am about to utter. 1 But for you Men of Science andUnderfland- 1 ing, who have Ears and Judgment, and can 1 weigh Senfe, fcan Syllables, and meafure 4 Sounds; You who by a certain Art diftinguifh '• jalfe Thought from true, Correcinefs from Rude- 1 nefi, and Bombajl and Chaos from Order and the 1 Sublime; Away hence! or (land aloof! whilft I ' praclife upon the Eafinefs of thofe mean Ca- 1 pacitys and Apprehenfions, who make the mod I t CI I I mod I t CI I I ADVICE to an Author. 233 " moft numerous Audience, and are the only ** competent Judges of my Labours."
5Tis flrange to fee. how differently the Va- nity of Mankind runs, in different Times and Seafons. 'Tis at prefent the Boafl of almoft every Enterprizer in the Muses Art, "That 11 by his Genius alone, and a natural Rapidity of Style and Thought, he is able to carry all before him; that he plays with his Bufi- nefs, does things in palling, at a venture, and in the quickeft period of Time." In the days of Att ick Elegance, as Works were then truly of another Form and Turn, fo Workmen were of another Humour, and had their Vani- ty of a quite contrary kind. They became ra- ther affecled in endeavouring to difcover the pains they had taken to be correct. They were glad to infmuate how laborioufly, and with what expence of Time, they had brought the fmallefl Work of theirs (as perhaps a fin- gle Ode or Satir, an Oration or Panegyrick) to its perfection. When they had fo poliuYd their Piece, and rendered itfo natural andeafy, that it Jeemd only a lucky Flight, a Hit of Thought, or flowing Vein of Humour; they were then chiefly concern'd left it fhou'd in reality pafs for fuch, and their Artifice remain undifcover'd. They were willing it fhou'd be known how ferious their Play was; and how how 234 ADVICE to an Author.
how elaborate their Freedom and Facility: that they might fay as the agreeable and polite Poet, glancing on himfelf, * Ludentis Jpeciem dabit et torqucbitur ■ And, f Utfibi qu'wis Speret idem, fudet multum, frujlraque laboret Aitjus idem, tantumferies junciuraque pollet.
Such Accuracy of Workmanfhip requires a Critic k's Eye. Tis loft upon a vulgar Judgment. Nothing grieves a real Artifl more than that indifference of the Publick, which fuffers Work to pafs uncriticizd. Nothing, on the other fide, rejoices him more than the nice View and Infpeclion of the accurate Ex- aminer and Judge of Work. Tis the mean Ge- nius, the flovenly Performer, who knowing no- thing of true Workmanfaip, endeavours by the belt outward Glofs and dazling Shew, to turn the Eye from a direcl; and fleddy Survey of his Piece.
What is there which an expert Mufician more earneflly defires, than to perform his part in the prefence of thofe who are knowing in his Art? 'Tis to the Ear alone he applies * Hor. Epijt. 2. lib. 2. f Id de Arte Poet.
him- ADVICE to an Author. 235 himfelf; the critical, the nice Ear. Let his Hearers be of what Character they pleafe: Be they naturally auflere, morofe, or rigid; no matter, fo they are Criticks, able to cenfure, remark, and found every Accord and Sym- phony. What is there mortifies the good Painter more, than when amidft his admiring Specta- tors there is not one prefent, who has been us'd to compare the Hands of different Maf- ters, or has an Eye to diftinguifh the Advan- tages or Defecls of every Style? Thro' all the inferior Orders ofMechanieks, the Rule is found to hold the fame. In every Science, every Art, the real Majlers or Proficients, rejoice in nothing more, than in the thorow Search and Examination of their Performances, by all the Rules of Art and niceft Criticifm. Why there- fore (in the Muses name!) is it not the fame with our Pretenders to the Writing Art, our Poets, and Profe- Authors in every kind? Why in this Profeflion are we found fuch Cr itick- Hater s% and indulgd in this unlearnd Averfion; un- lefs it be taken for granted, that as Wit and Learning ftand at prefent in our Nation, we are ftill upon the foot of Empiricks and Mounte- banks.
From thefe Confiderations, I take upon me abfolutely to condemn the fafhionable and prevailing Cuftom of inveighing againft Criticks, ticks, as the common Enemys, thePefts, and Incendiarys of the Commonwealth of Wit and Letters. I affert, on the contrary, that they are the Props and Pillars of this Building; and that without the Encouragement and Propaga- tion of fuch a Race, we fhou'd remain as Go- thick Architecls as ever.
* I N THE weaker and more imperfect So- cietys of Mankind, fuch as thofe compos'd of federate Tribes, or mix'd Colonys, fcarce fettled in their new Seats, it might pafs for fufficient Good-fortune, if the People provd only fo far Matters of Language, as to be able to under- ftand one another, in order to confer about their Wants, and provide for their common Neceffitys. Their expos'd and indigent State cou'd not be prefum'd to afford 'em either that full Leifure, or eafy Difpofition which was requifite to raife 'em to any Curiofity of Spe- culation. They who were neither fafe from Violence, nor fecure of Plenty, were unlikely to engage in unneceffary Arts. Nor cou'd it be expected they fhou'd turn their Attention towards the Numbers of their Language, and the harmonious Sounds which they acciden- tally emitted. But when, in procefs of time, the * As to this, and what remains of the Se&ion, fee VOL. III. p.
Affairs ADVICE to an Author. 237 Affairs of the Society were fettled on an eafy and fecure Foundation; when Debates and Dijcourfes on thefe Subjects of common Intereft, and publick Good, were grown familiar; and the Speeches of prime Men, and Leaders, were confider'd, and compar'd together: there wou'd naturally be obferv d not only a more agree- able Meafure of Sound, but a happier and more eafy Rangement of Thoughts, in one Speaker, than in another.
It may be eafily perceiv'd from hence, that the Goddefs Persuasion mud have been in a manner the Mother of Poetry, Rhetorick, Mufick, and the other kindred Arts. For 'tis apparent, that where chief Men, and Leaders had the ftrongefl Intereft to perfuade; they us'd the high- eft endeavours to plecije. So that in fuch a State or Polity as has been defcrib'd, not only the belt Order of Thought, and Turn of Fancy, but the moft foft and inviting Numbers muft have been employ 'd, to charm the Publick Ear, and to incline the Heart, by the Agreeablenefs of Expreffion.
Almost all the antient Majlers of this fort were faid to have been Musicians. And Tradition, which foon grew fabulous, cou d not better reprefent the nrft Founders or Ejla- bliJJiers of thefe larger Societys, than as real Song- Songflers, who by the power of their Voice and Lyre, cou'd charm the wildeft Beafts, and draw the rude Forefts and Rocks into the Form of faireft Citys. Nor can it be doubted that the fame Artifts, who fo induftrioufly apply'd themfelves to ftudy the Numbers of Speech, mult have made proportionable Improvements in the Study of mere Sounds and natural Har- mony; which, of it-felf, muft have considerably contributed towards the foftning the rude Man- ners and harfh Temper of their new People.
I f therefore it fo happen'd in thefe free Com- munitys, made by Confent and voluntary Af- fociation, that after a-while, the Power Of One, or of a Few, grew prevalent over the reft; if Force took place, and the Affairs of the So- ciety were adminifter'd without their Concur- rence, by the influence of Awe and Terror: it follow'd, that thefe pathetick Sciences and Arts of Speech were little cultivated, fince they were of little ufe. But where Persua- sion was the chief means of guiding the So- ciety; where the People were to be convincd before they acled; there Elocution became con- siderable; there Orators and Bards were heard; and the chief Genius's and Sages of the Nation betook themfelves to the Study of thofe Arts, by which the People were render'd more treat- able in a way of Reafon and Underftanding, and ADVICE to an Author. 039 and be more fubjecl: to be led by Men of Sci- ence and Erudition. The more thefe Artifts courted the Publick, the more they inflrucled it. In fuch Confiitutions as thefe, 'twas the Inte- reft of theWife and Able, that the Community fhou'd be Judges of Ability and Wifdom. The high Efteem of Ingenuity was what advanc'd the Ingenious to the greateft Honours. And they who rofe by Science, and Politenefs in the higher Arts, cou'd not fail to promote that Tajle and Relijli to which they ow'd their per- fonal Diftinclion and Pre-eminence.
Hence it is that thofe Arts have been de- liver'd to us in fuch perfection, by free Nations; who from the Nature of their Government, as from a proper Soil, produc'd the generous Plants: whilft the mightieft Bodys and vafteft Empires, govern d by Force and a defpotick Power, cou'd, after Ages of Peace and Leifure, produce no other than what was deform'd and barbarous of the kind.
When the per -fun/we Arts were grown thus into repute, and the Power of moving the Af- fections become the Study and Emulation of the forward Wits and afpiring Genius s of the Times; it wou'd neceffarily happen that many Genius's of equal fize and flrength, tho lefs covetous of publick Applaufe, of Power, or of Vol. I. Q, In- Vol. I. Q, In- 240 ADVICE to an Author.
Influence over Mankind, wou'd content them- felves with the Contemplation merely of thefe enchanting Arts. Thefe they wou'd the bet- ter enjoy, the more they refm'd their Tqfle, and cultivated their Ear. For to all Mufick there mull be an Ear proportionable. There muft be an Art of Hearing found, ere the per- forming Arts can have their due eft eel, or any thing exquifite in the kind be felt or compre- hended. The juft Performers therefore in each Art, wou'd naturally be the moft defnous of improving and refining thepublickEar; which they cou'd noway fo well effect as by the help of thofe latter Genius's, who were in a manner their Interpreters to the People; and who by their example taught the Publick to difcover what was juft and excellent in each Perfor- mance.
Henc e was the Origin of C r 1 T i c k s; who, as Arts and Sciences advanc'd, wou'd necef- farily come withal into repute; and being heard with Satisfaction in their turn, were at length tempted to become Authors, and appear in publick. Thefe were honour'd with the Name of SopJiiJh: A Characler which in early times was highly refpecled. Nordic! the gra- vel! Philofophers, who were Cenfors of Man- ners, and Criticks of a higher degree, dif- dain to exert their Criticifm in the inferior Arts; efpeciallv ADVICE to an Author. 241 efpecially in thofe relating to Speech, and the power of Argument and Perjuajwn.
When flich a Race as this was once rifen, 'twas no longer poffible to impofe on Man- kind, by what was fpecious and pretending. The Publick wou'd be paid in no falfe Wit, or jingling Eloquence. Where the learned Cri ticks were fo well receiv'd, and Philqfo- phers themfelves difdain'd not to be of the number; there cou'd not fail to arife Criticks of an inferior Order, who wou'd fubdivide the feveral Provinces of this Empire. Etymologifls% Philologijls, Grammarians, Rhetoricians, and others ol confiderable note, and eminent in their de- gree, wou'd every where appear, and vindi- cate the Truth and Juflice of their Art, by revealing the hidden Beautys which lay in the Works of juR Performers; and by expofing the weak Sides, falfe Ornaments, and affected Graces of mere Pretenders. Nothing of what we call Sophiflry in Argument, or Bombajl in Style; nothing of the effeminate Kind, or of the falfe Tender, the pointed Witticifm, the dif- jointed Thought, the crouded Simile, or the mix'd Metaphor, cou'd pafs even on the com- mon Ear: whilft the Notarys, the Expo- sitors, and Prompters above-mention'd, were every where at hand, and ready to ex- plode the unnatural Manner.
Q,2 Tis 242 ADVICE to an Author.
Tis eafy to imagine, that amidft the feve- ral Styles and Manners of Difcourfe or Wri- ting, the eafieft attain'd, and earlieft praclis'd, was the Miraculous, the Pompous, or what we generally call the Sublime. Ajlouifument i§ of all other Paffions the eafieft rais'd in raw and unexperienc'd Mankind. Children in their earliefl Infancy are entertain'd in this manner: And the known way of pleafmg fuch as thefe, is to make 'em wonder, and lead the way for 'em in this Paftion, by a feign'd Sur- prize at the miraculous Objecls we fet before em. The beft Mufick of Barbarians is hideous and aftonifhing Sounds. And the fine Sights of Indians are enormous Figures, various odd and glaring Colours, and whatever of that fort is amazingly beheld, with a kind of Horror and Confternation.
In Poetry and ftudy'd Profe, the ajloni/liing Part, or what commonly palfes for Sublime, is form'd by the variety of Figures, the multi- plicity of * Metaphors, and by quitting as much tat* ADVICE to an Author. 343 much as pofTible the natural and eafy way of Expreflion, for that which is raoft unlike to Humanity, or ordinary Ufe. This the Prince of Criticks afTures us to have been the Man- ner of the earlieft Poets, before the Age of Homer; or till fuch time as this Father-Poet came into Repute, who depos'd that fpurious Race, and gave rife to a legitimate and ge- nuine Kind. He retain'd only what was de- cent of the figurative or mctaphorick Style, in- troduc'd the natural and fimple; and turn'd his thoughts towards the real Beauty of Com- pofition, the Unity of Defign, the Truth of Characters, and the juft Imitation of Nature in each particular.
Ixv $1 Iz •yXo-rlwv, k) fixfix^upi;. Arid, de Poet, cap 22. This the fame Mafler-Critick explains further in his Rhetorich, Lib. 3. cap. 1, ■where he refers to thefe Paffages of his Poe'ich. 'En-a SI ot TlwiTxt Aeyowej d$ri, Jta t*iv Xs|w ifioxuv tsog'iaxaQxi t'/Jk S\ i%v oo^xv, otx tuto OTotww tu^utt) iyinro v|»?j * * * * «j vv* e't» ot ttoMo* twv xitaioiv'ruv, Tfej Toiara? otovlai hx^iyta^xi xx\l irx' t«to if ux ir-v. * ' * Ovoi. yx% 0* t«V v^xyahxt «rot- i^, eri %p«v]ai to'j xvrln t^othv. A?>>i ccaire^ tCj ix iuy rir^x^ir^uiv e-.<; To Xay&eiw ptt'&naa.v, Six to tu> hoyu Taro tvv (/.hguv o[A.oio?xtgv uvxt run a/^?•<y^• Sru >c, tuv cvojaxtuv dip-nxxaiv, cax csxgx tv» oix7\tKlo» If i»" Kai sti run oi rx l*il[Airox tsotSvli^, x<prixx<?i. Ato y^o~ov (/.^/.z^cruxi mrac, ci xvrai ix rn x^lai e«ew tw Tpe?rw. That among the early Reformers of this iom^id Manner, he places Homer as the Chief, we may fee eafily in his Poeticks. As particularly in that Paffage (cap. 24.) "£ti tx\ havoiai tcj tw Xsfiv £%«» xaAsJf, cT; botjih "O/arjp^ x/^r;T«i, xj wj&jt©* »jJ Ixatw:. * * * riro? 81 rs-ret; *jf« j£ &«yo»« waft]*? usegG/wiwe.
The 244 ADVICE to an Author.
The Manner of this Father-Poet was after- wards varioufly imitated, and divided into fe- veral Shares; efpecially when it came to be co- py'd in Dramatick. Tragedy came firft; and took what was mofi folemn and jublime. In this part the Poets fucceeded fooner than in Co- medy or the facetious Kind; as was natural in- deed to fuppofe, fince this was in reality the eafieit Manner of the two, and capable of be- ing brought the fooneft to perfection. For fo the fame Prince of Criticks * fufficientlv informs us. And 'tis highly worth remarking, what this mighty Genius and Judge of Art declares con- cerning Tragedy; that whatever Idea might be form'd of the utmoft Perfection of this kind of Poem, it cou'd in practice rile no higher than it had been already carry'd in his time; + ' 4 Ha- 41 ving at lenght (fays he) attained its Ends, and lt being * TivofAtv/); uv aV af%^ «WTo^8^«<r»xr;> *% dvvn >£ i Ku^uoioc, Sec. Dc Poet. cap. 4. When he has compar'd both dm andTragedy together, he recapitulates in his nex Chapter, "At ftw §» t«j T^xyuSictf /xETa£«V«c, xj &' uv lyeiwlo, « tetoQxo-w, 'H <5j Ka//awc\'a, hd to /ajj awuoxgiafka i| *%xvu tAaOsx. K«» yxq x°?ov Kw(*^«» theorem 0 "a^«v 'i^unea, Sec. Cap. 5. See VOL. III. />. 139. in the Notes.
Tr)e ia,vT*s<pvo-n>. Cap. 4. So true a Prophet as well as Critick was this great Man. Eor by the Event it appear'd that Tragedy being rais'd to its height by Sophocles and Euripides, and no room left for further Excellence or Emulation; there were no more tragick Poets betides thefe endur'd, after ADVICE to an Author. 245 " being apparently confummate in it-felf:" But for Comedy, it feems, 'twas flill in hand. It had been already in fome manner reduc'd: but, as he plainly infmuates, it lay yet unfi- nifh'd; notwithftanding the witty Labours of an Aristophanes, and the other comick Po- ets of the fir ft Manner, who had flourifli'd a whole Age before this Critick. As perfect as were thofe Wits in Style and Language; and as fertile in all the Varietys and Turns of Hu- mour; yet the Tiuth of Characters, the Beau- ty of Order, and the fimple Imitation of Na- ture were in a manner wholly unknown to em; or thro' Petulancy, or Debauch of Humour, were, it feems, neglected and fet afide. A Meafter the Author's time. Whilfl. Comedy went on, improving dill to the fecond and thiid degree; Tragedy fmifh'd its courfe under Eur ipides: whom, thoourgreat Author criticizes with the utmoft Severity in his Po- tlicks, yet he plainly enough confelfes to have carry'd the Style ofTrage-' dy to its full Height and Dignitv. For as to the Reformation which that Poet made in the ufe of the fublime and figurative Speech, in general; fee what our difcerning Author fays in his Rhcloricks: where he ftrives to fliew the impertinence and Naufeoufnefs of the florid Speakers, and fuch as un- derftood not the Ufe of the fimple and natural Maimer. " The juft Maf- " teis and right Managers of the Poelick or High Style, fliou'd learn (fays ' he) how to conceal the Manner.as much as poffible." Aio 0i7 XocvQziietv VJOtit'Act.s, Kj (/.Hi tiuxiTv hiysw mat'/ acrptvas, uTShx 'zsi^x.x.ojuq' tuto yece <andu>li/' iKi.v-j ot. 7it.il/Kov. 'n± ydg •ngot; lirrfoe \evsiloe. 5i«&»/*Xa»la», na^jnng •s^aj las Oittii Ta," f.LZfAiyul:8s. K<s.i oic/p vi &idouifH Wuvii vs&iromt >as£>cl tijv t»» u'.'Ku) VTroxgirwv >j fAv ycl(>, tS hiyofl©* t<iix.tv e'.visct- eti i° aXh'jTPiUi' x.Xi7flsTec.i $ tu t«» n$ ix. 77;,- uoiOy.'a? MuXexlu lK7\iyut cwhOj)' 69r«g 'EYPHII'AHE TOoief, x^ »ws3m|s «;^t©*. Rhet. Lib. 3. cap. 2.
nander had not as yet appear d; who arofe foon after, to accomplifh the Prophecy of our grand Matter of Art, and confummate Philolo- Comedy * had at this time done little more than what the antient t Parodys, had done be- fore it. 'Twas of admirable ufe to explode the falfe Sublime of early Poets, and fuch as in its own Age were on every occafion ready to re- lapfe into that vicious Manner. The good Tra- gedians themfelves cou'd hardly efcape its Lafhes. The pompous Orators were its never- failing Subjecls. Every thing which might be impofing, by a falfe Gravity or Solemnity, was forc'd to endure the Trial of this Touchflone. Manners and Characlers, as well as Speech and Writings, were difcus'd with the greateft freetz£wt<&- vvriiu^a. Arih. Poet. cap. 4. No wonder if, in this Defcent, Comedy came late. See below, p. 253. in the Notes. And above, /».
f The PARODYS were very antient: but they were in reality no other than mere. Burlejque or Farce. COMEDY which borrow'd f'ome- thing from thofe Humours, as well as from the Fhallica below-mention d, was not, however, rais'd to any Form or Shape of Art (as laid above) till about the time of Aristophanes, who was of the jirft model, and a Be- ginner of the kind; at the fame time that TRAGEDY had undergone all its Changes, and was already come to its Ian perfection; as the grand Critick has fhevvn us, and as our other Authorirys plainly evince.
dom.
ADVICE to an Author. 247 dom. Nothing cou'd be better fitted than this Genius of Wit, to unmafk the face of things, and remove thofe Larva naturally form'd from theTragick Manner, and pompous Style, which had preceded: * Et docuit magnumque loqni, nitique Cothurno. Successit vetus his Comoedia. ■ Twas not by chance that this Succcjfwn hap- pen d in Greece, after the manner defcrib'd; but rather thro' Neceffity, and from the Reafon and f Nature of Things. For in healthy Bo- dys, Nature dictates Remedys of her own, and provides for the Cure of what has happen'd '■'■' Hor. de Arte Poet. The immediate preceding Verfes of Horace, after his having fpoken of the firft Tragedy under Tn espi s, are-, Pq/i hunc perfontB pa/Lcque reperlor honefla JEJchylus, if modicis injlravit pulpila I ignis, Ta docuit, ire. F>efor« the time of Th e sp is, Tragedy indeed was faid to be, as Horac e calls it here (in a concife way] ignetum genus. It lay in a kind of Chaos intermix'd with other Kinds, and hardly diftinguifhable by its Gravity and Pomp from the Humours which gave rife afterwards to Comedy, But in a ftricl hiitorical Senfe, as we find Plato fpeaking in his Mi- nos, Tragedy was of antienter date, and even of the very antienteft with the Athenians. His words are, H $1 T^yiy^ia In <srciXxilv wQslh, y'%, ui + Of this Subject fee more in VOL. III. pag. 136, 7, S, Sec.
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