Epistle to a Friend Concerning Poetry (1700) and the Essay on Heroic Poetry Part 3

[7] _Vide_ Collier's _Reflexions on_ Moarning Bride, _and_ Garth's _Dispensary_.

[8] _I know some have affirm'd that_ Moses's _Song in the_ 14_th of_ Exodus _was writ in Hexameters, but I can't perceive any such thing in it, any more than in the_ 90_th_ Psalm, _or the Book of_ Job, _which seem to be written about the same time with it. The Song of the_ Well, _in_ Numbers, _pag._ 15. _is clearly an_ Ode _of unequal Measures_.

[Ill.u.s.tration: _THE_ LIFE _of_ Christ.

An Heroic Poem.

_In Ten BOOKS with sixty Copper Plates._

London: _Printed for Charles Harper, & Benj. Motte._]

THE LIFE OF OUR Blessed Lord & Saviour JESUS CHRIST.

AN HEROIC POEM: DEDICATED TO Her Most Sacred MAJESTY.

_In Ten Books._

ATTEMPTED BY _SAMUEL WESLEY_, M.A.

Chaplain to the most Honourable JOHN Lord Marquess of _Normanby_, and Rector of _Epwerth_ in the County of _Lincoln_.

Each Book Ill.u.s.trated by necessary Notes, explaining all the more difficult Matters in the whole History: Also a Prefatory Discourse concerning Heroic Poetry.

_The Second Edition, revised by the Author, and improved with the addition of a large Map of the_ HOLY-LAND, _and a table of the princ.i.p.al matters._

With Sixty Copper-Plates, by the celebrated Hand of _W. Faithorn_.

_LONDON_: Printed for _Charles Harper_, at the _Flower-de-Luce_ over against St.

_Dunstan_'s Church, and are to be Sold by him, and _Roger Clavel_ at the _Peac.o.c.k_ against _Fetter-Lane_, both in _Fleetstreet_, 1697.

THE PREFACE, Being an ESSAY on HEROIC POETRY

A Just Heroic Poem is so vast an Undertaking, requires so much both of Art and Genius for its Management, and carries such Difficulty in the Model of the Whole, and Disposition of the several Parts, that it's no Wonder, if not above One or Two of the Ancients, and hardly any of the Moderns, have succeeded in their Attempts of this Nature. Rapin, and other Masters of Epic, represent it as an Enterprize so hardy, that it can scarce enter into the Mind of a wise Man, without affrighting him, as being the most perfect Piece of Work that Art can produce. That Author has many excellent Reflexions and Rules concerning it in his Discourse sur la Poetique; but Bossu is the first I've seen who has writ a just and perfect Tract thereon, wherein he has in a clear and Scholastic Method ama.s.s'd together most that's to be found in Antiquity on that Subject, tho' chiefly keeping to the Observations of Aristotle, which he drew from Homer, and who seems the first that reduced Poetry to an Art. That Author defines Epic, "An Artificial Discourse, in order to form the Manners by Instructions, disguis'd under the Allegories of some one important Action, recited in Verse, in a manner probable, diverting and admirable;" which he thus himself abridges, "'Tis a Fable, agreeably imitated on some important Action, recited in Verse in a manner that's probable and admirable;" In which Definition are contain'd, as he afterwards explains it, the general Nature of Epic, and that double, Fable and Poem: The Matter, some one important Action probably feign'd and imitated: Its Form, Recitation or Narration: And lastly, its End, Instruction, which is aimed at in general by the Moral of the Fable; and besides in the particular Manners of the Persons who make the most considerable Figure in the Work.

To begin with Fable, which he makes included in the general Nature or Essence of Epic. This, he says, is the most essential Part of it; "That some Fables and Allegories scatter'd up and down in a Poem don't suffice to const.i.tute Epic, if they are only the Ornaments, and not the very Foundation of it." And again, "That 'tis the very Fund and princ.i.p.al Action that ought to be Feign'd and Allegorical:" For which reason he expresly excludes hence all simple Histories, as by Name, Lucan's Pharsalia, Silius Italicus's Punic War, and all true Actions of particular Persons, without Fable: And still more home; that 'tis not a Relation of the Actions of any Hero, to form the Manners by his Example, but on the contrary, a Discourse invented to form the Manners by the Relation of some one feign'd Action, design'd to please, under the borrow'd Name of some ill.u.s.trious Person, of whom Choice is made after we have fram'd the Plan of the Action which we design to attribute to him.

Nor indeed is Bossu singular in his Judgment on this Matter, there being few or none who have ever writ on the same Subject, but are of the same mind: For thus Boileau in his Art of Poetry,

Dans la vaste recit d'une longue action Se soutient par la Fable & vit de Fiction.

Which his Translator I think better;

In the Narration of some great Design, Invention, Art, and Fable, all must join.

Rapin too gives his Vote on the same side, Rien n'est, says he, plus essentiel au Poem Epique, que la Fiction; and quotes Petronius to that purpose, Per ambages, Deorumque ministeria praecipitandus est Liber Spiritus. Nor is't only the Moderns who are of this Opinion; for the Iliads are call'd in Horace, Fabula qua Paridis, &c. And lastly, even Aristotle himself tells us, "That Fable is the princ.i.p.al thing in an Heroic Poem; and, as it were, the very Soul of it." [Greek: Arche kai oion psyche.] And upon this occasion commends Homer for lying with the best Grace of any Man in the World: Authorities almost too big to admit any Examination of their Reason, or Opposition to their Sentiments. However, I see no cause why Poetry should not be brought to the Test, as well as Divinity, or any more than the other, be believed on its own bare ipse dixit.

Let us therefore examine the Plan which they lay for a Work of this Nature, and then we may be better able to guess at those Grounds and Reasons on which they proceed.

In forming an Heroic-Poem, the first thing they tell us we ought to do, is to pitch on some Moral Truth, which we desire to enforce on our Reader, as the Foundation of the whole work. Thus Virgil, as Bossu observes, designing to render the Roman People pleased and easie under the new Government of Augustus, laid down this Maxim, as the Foundation of his Divine aeneis: "That great and notable Changes of State are not accomplished but by the Order and Will of G.o.d: That those who oppose themselves against them are impious, and frequently punished as they deserve; and that Heaven is not wanting to take that Hero always under its particular Protection, whom it chuses for the Execution of such grand Designs." This for the Moral Truth; we must then, he says, go on to lay the general Plan of the Fiction, which, together with that Verity, makes the Fable and Soul of the Poem: And this he thinks Virgil did in this manner, "The G.o.ds save a great Prince from the Ruines of his Country, and chuse him for the Preservation of Religion, and re-establishing a more glorious Empire than his former. The Hero is made a King, and arriving at his new Country, finds both G.o.d and Men dispos'd to receive him: But a neighbouring Prince, whose Eyes Ambition and Jealousie have closed against Justice and the Will of Heaven, opposes his Establishment, being a.s.sisted by another King despoil'd of his Estate for his Cruelty and Wickedness.

Their Opposition, and the War on which this pious Prince is forc'd, render his Establishment more just by the Right of Conquest, and more glorious by his Victory and the Death of his Enemies." These are his own Words, as any may see who are at the pains to consult him; nor can I help it, if either Virgil or Bossu happen to be Prophets.

When the Poet has proceeded thus far, and as Bossu calls it, dress'd his Project, he's next to search in History or receiv'd Fable, for some Hero, whose Name he may borrow for his Work, and to whom he may suit his Persons. These are Bossu's Notions, and, indeed, very agreeable to Aristotle, who says, that Persons and Actions in this sort of Poetry must be feign'd, allegorical, and universal.

This is the Platform they lay; and let's now see if we can discover the Reasons whereon they found these Rules, being so unanimous for Fable rather than true History, as the Matter of an Heroic Poem; and, if I mistake not, these are some of the princ.i.p.al.

1. Because they had observ'd the best Models of Heroic Poems were laid after this manner; the greatest part of the Action both in Homer and Virgil being pure Fable. Homer beginning, and all the rest following his Steps.

2. Because no single Hero, or true History, which the Ancients knew was sufficient, without Fable, to furnish Matter for an Epic Poem. History, says Aristotle, treats of particular Things as they really are; Poetry, as they ought to be; and therefore he prefers Poetry as the more grave and more instructive; the Poets being forc'd to follow the same Methods with their Kindred-Art, that of the Painters, and gather a great many Beauties together, out of 'em all, to steal one Venus.

3. A third Reason may be, because, supposing they should have found some one Example from whence to enforce strongly any particular Point of Morality, yet it would have miss'd those other Characters of Epic, most of its Agreeableness, and all its Power to raise Admiration. A chast Historian must not go about to amuse his Reader with Machines; and a Poet that would imitate him, must have been forc'd to thin his Stage accordingly, and disband all his glorious Train of G.o.ds and G.o.desses, which composes all that's admirable in his Work; according to that of Boileau; Chaque Virtue devient une divlnitie.

And these, if I mistake not, were the main Reasons on which the foremention'd Rules were grounded. Let's now enquire into the Strength and Validity of them: To begin with Homer, he wrote in that manner, because most of the ancient Eastern Learning, the Original of all others, was Mythology. But this being now antiquated, I cannot think we are oblig'd superst.i.tiously to follow his Example, any more than to make Horses speak, as he does that of Achilles, 2. If a Poet lights on any single Hero, whose true Actions and History are as important as any that Fable ever did or can produce, I see no reason why he may not as well make use of him and his Example to form the Manners and enforce any Moral Truth, as seek for one in Fable for that purpose: Nay, he can scarce fail of persuading more strongly, because he has Truth it self; the other but the Image of Truth, especially if his History be, in the Third place, of it self diverting and admirable. If it has from its own Fund, and already made to his hand those Deorum Ministeria, which cost the Poet so much in the forming 'em out of his own Brain. Nor can we suppose Fiction it self pleases; no, 'tis the agreeable and the admirable, in the Dress of Truth; and such a Plan as this would effectually answer both the Ends of Poetry in general, delectari & monere, nay come up fuller to the End of Epic, which is agreeable Instruction; and thence it follows strongly, that a Poem written in such a manner, must, notwithstanding the foregoing Rules, be a true and proper Heroic Poem, especially if adorn'd with Poetical Colours and Circ.u.mstances through the whole Body thereof.

Now that all this is not gratis dictum, I think I can prove, even from most of those very Authors I've already produc'd, as of the contrary Opinion; and that I can make it appear, Bossu goes too far in fixing Fable as the Essential Fund and Soul of the princ.i.p.al Action in an Epic Poem. To begin with Rapin, who has this Pa.s.sage, sur la Poetique, Reflex. 5. La Poesie Heroique, &c. "Heroique Poesie, according to Aristotle, is a Picture or Imitation of an Heroic Action; and the Qualities of the Action are, That it ought to be (among others) true, or at least, such as might pa.s.s for true;" Thus he. And hence it follows, according to him and Aristotle, that the princ.i.p.al Action in Heroic, not only ought to pa.s.s for Truth, but may be really true: For Horace, he does indeed call the Iliads a Fable; but then he does not oblige his Poet superst.i.tiously to follow Homer in every thing, owning that he sometimes doats as well as other Men: Further, this may, and I think does, refer rather to the Dress and Turn of the Action, than to the Bottom and Ground of his History, which there's at least as much, if not more reason to believe true than false: And in the same Sense may we take Petronius and Boileau; nay, if we don't take 'em thus, I can't tell whether there were ever such a thing as a true Heroic Poem in the World; not so much as the Fairy-Queen, Gondibert, or Orlando Furioso; all which have Fable enough in 'em of any reason; but their princ.i.p.al Actions might be still true, as we are sure was that of the best Heroic that ever was written; (I need not say I mean Virgil) since few or no Authors ever deny'd that there was such a Man as aeneas, or even that he came into Italy, built Cities there, and erected a Kingdom, which Tully mentions, as a generally receiv'd Tradition in those Parts, and which it seems he thought not frivolous, but true and solid; otherwise he'd scarce have given it a place in his Argument for his Client. Of this Opinion too seems Horace himself, in his Art of Poetry, namely, That there's no necessity of the princ.i.p.al Action's being feign'd; for his Direction is, "Aut famam sequere, aut sibi convenientia finge; Either follow Tradition or Fame, or else feign what's agreeable thereunto." He makes not feigning essential to Heroic Action, but gives leave to follow Fame, who is not so great a Lyar, but that she is sometimes in the right. Nay, what if we should after all have Bossu himself on our side, which I'm mistaken if he be not; for these are his Expressions, Lib. 1. Cap. 7. Le Fiction, &c.

"The Fiction may be so disguis'd under the Verity of the History, that those who are ignorant of the Art of the Poet, may believe it not a Fiction; and to make the Disguis.e.m.e.nt well, he ought to search into History for the Names of some Persons, to whom such an Action has probably or truly happen'd, &c." Hence 'tis evident, that according to Bossu's own Notion, the main Action may be true; which appears even from Aristotle himself, as quoted by him, 97. [Greek: Kan ara] &c. "An Author is not less a Poet, because the Incidents he recites have truly happen'd; if so be that which happen'd had the appearance of Truth, and all that Art demands, and be really such as it ought to have been feign'd." And this Bossu himself ill.u.s.trates admirably well by an ingenious Simile; "A Statuary,"

says he, "first forms his Design, Posture, Alt.i.tudes which he intends for his Image; but if he then lights on any precious Material, Agate, or such like, where the Figure, the Colours, and Veins will not be accommodated to all he design'd, he regulates his Design and Imagination according to his Matter; nor ought we to believe, at the same time, that these singular lucky Hits condemn the Justness of his Art." From all which, I must leave it to the Reader, whether I han't sufficiently prov'd what I've undertaken; that Fiction is not necessary to the princ.i.p.al Action of our Heroic Poem; on which I've been something more large, not so much on my own account; for 'tis indifferent to me by what Name any Man calls my Poem, so it answers the great End of Epic, which is Instruction; but because I've heard some Persons have been so conceited as to criticise on our immortal Cowley for this very reason, and deny his Davideis the Honour of being an Heroic Poem, because the Subject thereof is a true History.

And here I should drop the Discourse of Fable, were there not another sort of Persons still to deal with, perhaps more importunate than the former: The first will not like a Piece unless 'tis all Fable, or at least the Foundation of it: These latter run into the contrary extreme, and seam unwilling or afraid to admit anything of Fable in a Christian Poem; and as Balzac in his Critics on Heinsius his Baptista, are frighted, as at some Magical Charm, if they find but one Word there which was made use of by the old Heathens; which, says he, (unluckily as things have since happened) is as preposterous as to see Turks wear Hats, and Frenchmen Turbants; the Flower-de-lis in the Musselmens Colours, or the Half-Moon on the Standard of France. He's, however, it must be granted, justly angry with Ta.s.so, as Mr. Dryden since, for setting his Angels and Devils to stave and tail at one another; Alecto and Pluto on one side, and Gabriel and Raphael o' t'other; as well as with Sannazarius, for mingling Proteus and David, and calling the Muses and Nymphs to the Labour of the Blessed Virgin, Tho' the truth is, the Italian Poets seem more excusable, at least to a Papist, in this Case, than any other Nation, who parted with as little of their Idolatry as they could possibly, after they had kept it as long as they were able, making the Change very easie, and turning their Pantheon into an All Saints; much like the good Fathers in the Spanish Conquests in America, who suffer the Natives to keep their Old Idols, so they'll but pay for 'em, and get 'em christen'd; by this means making many a good Saint out of a very indifferent Devil. So far, I say, Balzac is undoubtedly in the right, that Christianity and Heathenism ought not to be confounded, nor the Pagan G.o.ds mention'd, but as such, in Christian Poems.

Of which Boileau also says, "They should not be Fill'd with the Fictions of Idolatry;" tho' he tells us just before,

In vain have our mistaken Authors try'd Those ancient Ornaments to lay aside.

As tho' he were afraid lest all Poets shou'd be forc'd to turn Christians, and yet in the next Lines he thinks it full as bad,

To fright the Reader in each Line with h.e.l.l, And talk of Satan, Ashtaroth and Bel.

As tho' he'd have no Christian to be a Poet. And much at the same rate is Monsieur Balzac very angry with Buchanan, for the same reason; nor will he by any means let us subst.i.tute Belzebub, Asmodeus, and Leviathan, in the room of Alecto, Tisiphone, and Megaera, which is, in his Opinion, perfect Pedantry and Affectation; and is extreamly afraid, lest any of those Barbarous Hebrew Words should disfigure the purity of the Latin Tongue; when surely he cou'd not but know, that this pure Latin Tongue it self, for which he's so much concerned, is nothing but the gradual Corruption or Barbarizing of the Greek; as that of the Phonician and Hebrew before; and the Italian, and his own French too, from the Latin afterwards, by the adulterous mixture of 'tis hard to say how many Languages: So that between 'em, they'd make it impossible for a Christian Poet to write a good Heroic Poem, or even a Tragedy, on any, but profane Subjects; by taking away all the Machines, and therein whatever is admirable. No, says Balzac, instead of those hard Words and proper Names, Appellatives may be chosen, Words common to all People: As for example, Ill luck instead of the Fates, and the Foul Fiend for Lucifer; and whether this wou'd not sound extreamly Heroical, I leave any Man to judge: It being besides certain, that 'tis singulars and particulars which give an Air of Probability, and the main Life and Beauty to a Poem, especially of this Nature; without which it must of necessity sink and languish. However so much of Truth, I must confess, there is in what he says, that I verily believe Magor-missabib, or Mahershal-alhashbaz, wou'd scarce yoke decently in one of our Pentameters, but be near as unquiet and troublesome there, as a Mount Orgueil it self. Nor can partiality so far blind my Judgment as not to be my self almost frighted at second hearing of such a thundering Verse, as Belsamen Ashtaroth Baaltii Ba'al: Which seems as flat Conjuration, as Zinguebar, Oran, &c. tho' 'tis now too late to amend it. But then there are other Words or a more soft and treatable Cadence, even in the same Hebrew Language, especially when mollified by a Latin or Greek form, or Termination; and such as these one may make use of and let others alone: though neither is our bolder rougher Tongue so much affrighted at them, as the French and Latin.

But Boileau pushes the Objection further, and wou'd make it bear against the Things as well as Words, persuading himself,

Our G.o.d and Prophets that he sent, Can't act like those the Poets did invent.

Tho' he too, is short in History, how excellent soever in Poetry. For first, the Heathen Poets did not invent the Names of their G.o.ds and Heroes, but had 'em from Eastern Tradition, and the Phenician and Jewish Language, tho' deflected and disguis'd after the Greek and other Forms, as Josephus tells us, which the learned Bochart has proved invincibly; and I have made some Essay towards it, in my Sixth Book. Nay further, it seems plain to me, that most, even of their best Fancies and Images, as well as Names, were borrow'd from the Antient Hebrew Poetry and Divinity, as, were there room for't, I cou'd, I think, render more than probable, in all the most celebrated Strokes of Homer, moat of the Heathen Poetical Fables, and even in Hesiod's blind Theogonia. Their G.o.ds or Devils, which you please, were not near as Antient as the Hebrews. The Word Satan is as ancient as Job; nor can they shew us a Pluto within a long while of him. Ashtaroth, and Astarte, are old enough to be Grandmothers to their Isis, or Venus, and Bel, of the same standing with Idolatry. Lawful it must certainly be, to use these very Heathen G.o.ds in Christian, since they were us'd in sacred Hebrew Poetry, in due place, and in a due manner; Bel boweth down, Nebo stoopeth, says Isaiah. And what a n.o.ble Description has the same Prophet of the Fall of Lucifer? Nor can I see why it may not be as convenient and agreeable, as 'tis lawful to transplant 'em from Hebrew Poetry to our own, if we use 'em as they did. And then for Angels, Prophets, and Oracles, it wou'd be strange, if they shou'd not strike the Mind as agreeably when real and true, as the Daemons, or Oracles, or Prophets of the Heathens, form'd, as has been said, partly from mistaken Fragments, or Traditions of sacred Story, partly indeed from the Juggles of the Heathen Priests, and crafty Ambitious Daemons. On the whole, we have all the Advantages they had, and yet more than they, for Heroic Poetry in these matters. As for that Question of Boileau's, "What Pleasure can it be to hear the howlings of repining Lucifer?" I think 'tis easier to answer than to find out what shew of Reason he had for asking it, or why Lucifer mayn't howl as pleasantly as either Cerberus, or Enceladus.

And let any one read but his Speech, in Milton's Paradise, almost equall'd in Mr. Dryden's State of Innocence, and I'm mistaken if he's not of the same Mind; or if he be not, and it gives him no pleasure, I dare affirm 'tis for want of a true taste of what's really admirable.

But Boileau comes to a stronger Objection, both against the Names and use of these Daemons, by way of Machine, I mean, in Christian Poetry;

The Mysteries we Christians must believe Disdain such shifting Pageants to receive.

Thus has his Translator turn'd him; and taking it in that Sence, the meaning must be, that it disgraces Christianity, to mix its Mysteries with Stories of Daemons, Angels, &c. But sure it can never be any disgrace, to represent it really as it is, with the frequent Intervention of those invisible and powerful Agents, both good and evil, in the Affairs of Mankind, which our Saviour has both a.s.serted and demonstrated in his Gospel, both by Theory and Practice: Whence we learn, that there are really vast numbers of these Spirits, some tempting, or tormenting, others guarding and protecting Mortals: Nay, a subordination too among them, and that they are always vigilant, some for our Destruction, others for our Preservation, and that, as it seems, of every individual Man; and if this be true in general, I'm sure 'tis probable In particular: Nor can it be any disgrace to Christianity, to apply general Probabilities to particular Cases, or to mention these Daemons in Poetry any more than in Divinity.