1.Neque ipsa Ratio (says the elegant and sensible Quintilian speaking of Eloquence) tam nos juvaret, nisi quæ concepissemus mente, promere etiam loquendo possemus,—ita, ut non modo orare, sed quod Pericli contigit fulgerare, ac tonare videamur. Institut. Orat. Lib. XI. c. 16.2.This is the manner which Quintilian appropriates particularly to young persons. —In juvenibus etiam uberiora paulo & pene periclitantia feruntur. At in iisdem siccum, & contractum dicendi propositum plerunque affectatione ipsa severitatis invisum est: quando etiam morum senilis autoritas immatura in adolescentibus creditur. Lib. II. c. 1.3.Εοικασι δε γεννησαι μεν ὁλως την Ποιητικην, αιτιαι δυο και αυται φυσικαι.Το μιμεισθαι συμφυτον τοις ανθρωποις, &c.Και Ἁρμονια και ρυθμος εξ αρχης οἱ πεφυκοτες προς αυτα μαλιστα κατα μικρον προαγοντες εγεινησαν την Ποιησιν‧CArist. Poet. c. 4.4.The Reader of curiosity may see this subject particularly discussed in Dacier’s Remarks on the Poeticks of Aristotle, c. 4.5.Ἁ γαρ αυτα λυπηρως ὁρωμεν, τουτων τας εικωνας τας μαλιστα ηκριβωμενας, χαιρομεν θεωρουντες, οἱτινες θηρεων τε μορφας των αγριοτατων και νεκρων,C&c. Poet. c. 4.6.Τα γαρ μετρα ὁτι μοιρον των ρυθμων εστι, φανερον.CUb. sup.7.Ρυθμον μεν και σχηματα μελους χωρις λογους ψιλους εις μετρα τιθεντες.The persons who do this, he compares to Musicians.Μελος δε αυ και ρυθμους ανευ ρηματωνψιλη κιθαριξει τε και αυλησει προσχρωμενοι.DPlat. de Legib. Lib. XI.8.Plat. Io.9.Nec prima illa post secula per ætates sane complures alio Lyrici spectarunt, quam ut Deorum laudes ac decora, aut virorum fortium res preclare gestas Hymnis ac Pæanibus, ad templa & aras complecterentur;—ut ad emulationem captos admiratione mortales invitarent. Strad. Prolus. 4 Poet.10.Hor. de Art. Poet.11.Id. ibid.12.Toute Poesie est une imitation. La Poesie Bucolique a pour but d’imiter ce qui a passe et ce qui ce dit entre les Bergers. Mem. de Lit. V. III. p. 158.13.Elle ne doit pas s’en tenir a la simple representation du vrai reel, qui rarement seroit agreable; elle doit s’elever jusqu’auvrai ideal, qui tend’ a embellir le vrai, tel qu’il est dans la nature, et qui produit dans la Poesie comme dans la Peinture, le derniere point de perfeftion, &c. Mem. de Lit. ub. sup.14.Thucyd. Lib. I.15.Id. ibid.16.Authors are not agreed as to the Persons who introduced into Greece the principles of philosophy. Tatian will have it that the Greek Philosophy came originally from Ægypt. Orat. con. Graec. While Laertius (who certainly might have been better informed) will allow Foreigners to have had no share in it. He ascribes its origin to Linus, and says expressly,Αφ’ Ἑλληνων ηρξε φιλοσοφια ἡς και αυτο το ονομα την Βαρβαρον απεστραπτε προσηγοριαν.Laer. in Prœm.17.This account of the subjects on which Linus wrote, suggests a further prejudice in favour of Laertius’s opinion as to the origin of Greek Philosophy. He has preserved the first line of his Poem.Ην ποτε χρονος οὑτος εν ὡ ἁμα παντ’ επεφυκει.Id. ibid.18.Herod. Lib. I. c. 49.19.Univ. Hist. Vol. VI. p. 221.20.Οἱ μεν γαρ σεμνοτεροι τας καλας εμιμουντο πραξεις και τας των τοιουτων τυχας‧οἱ δε ευτελεστεροι τας των φαυλων πρωτον ψογους ποιουντες, ὡσπερ ἑτεροι ὙΜΝΟΥΣ και ΕΓΚΩΜΙΑ.Arist. Poet. c. 4.21.Orph. Argonaut.22.Εγω δε ει τον περι θεων εξαγορευσαντα τοιαυτα‧χρη φιλοσοφον καλειν ουκ οιδα τινα δει προσαγορευιν τον το ανθρωπειον παθος αφειδουντο τοις θεοις προστριψαι, και τα σπασιως ὑπο τοιων ανθρωπων αισχρουργουμενα, και τω ταυτης φωνης οργανω.Laer. ub. sup.23.Hor. de Art. Poet.24.The beautiful story of Hero and Leander, which was written by a person of his name, is thought to have been the work of a Grammarian who lived about the 5thcentury: a conjecture supported by very probable evidence. See Kenneth’s life of Museus, p. 10.25.Diogen. Laert. ub. sup.26.Diogen. Laert. ub. sup.27.Æneid. Lib. 6.28.It may not be amiss here to give the reader some idea of the structure of the Ancient lyre, whose music is said to have produced such wonderful effects. This instrument was composed of an hollow frame, over which several strings were thrown, probably in some such manner as we see them in an harp, or a dulcimer. They did not so much resemble the viol, as the neck of that instrument gives it peculiar advantages, of which the Ancients seem to have been wholly ignorant. The Musician stood with a short bow in his right hand, and a couple of small thimbles upon the fingers of his left: with these he held one end of the string, from which an acute sound was to be drawn, and then struck it immediately with the bow. In the other parts he swept over every string alternately, and allowed each of them to have its full sound. This practice became unnecessary afterwards, when the instrument was improved by the addition of new strings, to which the sounds corresponded. Horace tells us, that in his time the lyre had seven strings, and that it was much more musical than it had been originally. Addressing himself to Mercury, he says——Te docilis magistro.Movit Amphion lapides canendo:Tuque Testudo, resonare septemCallida nervis;Nec loquax olim, neque grata&c.Carm. Lib. III. Od. 11.For a further account of this instrument, we shall refer the reader to Quintilian’s Institutions. Lib. XII. c. 10.29.Particularly Orpheus and Museus. Lucian says in the general.Τελετην αρχαιαν ουδεμιαν εστιν εὑρειν ανου ορχησεως.Lib. de Salt.30.This allegorical learning was so much in use among the Ægyptians, that the Disciples of a Philosopher were bound by an oath.Εν ὑποκρυφοις ταυτα εχειν‧ και τοις απαιδευτοις και αμνητοις μη μεταδεδιναι.Vid. Seld. de Diis Syr.31.—— —— —— ——Ἡσιν αοιδηΜεμβλεται, εν στηθεσσιν ακηδεα θυμον εχουσαιςΤυτθον απ’ ακροτατης κορυφης νιφεντος Ολυμπου.Ενθα σφιν λιπαροι τε χοροι, και δωματα καλα.ETheog. a lin. 61.32.Ὡς εφασανΗουραιΜεγαλου Διος αρτιεπειαι·Και μοι σκεπτρον εδον, δαφνης εριθελεος οζονΔρεψασθαι θηητον· επενευσαν δε μοι αυδην&c.Theogon. l. 30.33.Orph. Hym. in Apollon. Rhod.34.Of this, History furnisheth many examples. When one man made an eminent figure in any profession, the actions of other persons who had the same name were ascribed to him; and it was perhaps partly for this reason that we find different cities contending for the honour of giving birth to men of Genius, or eminence. Callimachus in his Hymn to Jupiter makes an artful use of this circumstance.Εν δοιη μαλα θυμος‧ επει γενος αμφεριστον.Ζευ σε μενΙ’ δαιοισινεν ουρεσι φασι γενεσθαιΖευ σε δ’ εν Αρκαδιη‧ ποτεροι Πατερ εψευσαντοΚρητες αει ψευσται‧ και γαρ ταφον, ὡ ανα σειοΚρητες ετεκτηναντο‧ συ δ’ ου θανες· εσσι γαρ αιει.Callim. p. 4.35.Thus Theocritus.Ὑμνεομες Ληδας. Τε και αιγιοχω Διος Ὑιω,Καστορα και φοβερον Πολυδευκεα πυξ ερεθιζενὙμνεομες και Δις, και το Τριτον.36.Anac. Carm. p. 35.37.Anac. p. 87.38.This appears remarkably in that piece, where he gives so ingenuous a character of himself.Ὁν μοι μελει ΓυγουΤου Σαρδεων Ανακτος, &c.Το σημερον μελει μοι.p. 28.39.The reader will find a striking example of this beauty, in the Ode addressed to a swallow, where he runs a comparison betwixt the liberty of that bird and his own bondage.Συ μεν φιλη χελιδων, &c. p. 60.40.Thus Horace represents herÆoliis fidibus quærentemSappho puellis de popularibus.Lib. II. Od. 13.41.Θεου ἡ Σαπφω τα συμβαινοντα ταις ερωτικαις μανιαις παθηματα εκ των παρεπομενων, και εκ της αληθειας, αυτης ἑκαστοτε λαμβανει, &c. De Lub. c. 10.42.Longinus speaks with transport of this beautiful fragment of antiquity.Ου θαυμαζεις ὡς ὑπ’ αυτο την ψυχην το σωμα τας ακοας την γλωσσαν τας οψεις την χροαν, πανθ’ ὡς αλλοτρια διοιχομενοι επιζητει.Και καθ’ ὑπεναντιωσεις ἁμα ψυχεται, καιεται, αλογιστει, φρονει—ἱνα μη εν τι περι αυτην παθος φαινεται, παθων δε ΣΥΝΟΔΟΣ.De. Lub. c. 10.43.Te sonantem plenius aureoAlcæe plectro, dura navis,Dura fugæ mala, dura belli.Utrumque sacro digna silentioMirantur Utmbræ dicere.——Hor. ub. sup.44.Liberum & Musas, Veneremque & illiSemper hærentem puerum canebat,Et Lycum nigris oculis nigroqueCrine decorum.Carm. Lib. I. Od. 32.45.Carm. Lib. I. Od. 13.46.Carm. Lib. II. Od. 9.47.Id. Lib. III. Od. 4.48.Carm. Lib. II. Od. 6.49.Polycrates, Tyrant of Samos.50.Hor. de Art. Poet.51.Id. ibid.52.Aristotle expressly mentions this circumstance, when he explains the Origin of the Drama.Παραφανεισας δε της Τραγωδιας και Κωμωδιας, οἱ εφ’ ἑκατερον τη ποιησεν ἁρμωντες κατα την οικειαν φυσιν οἱ μεν αντι των Ιαμβων, Κωμωδοποιοι εγενοντο‧οἱ δε αντι των Επων τραγωδιδασκαλοι, δια τω μειζω και ενεμοτερα τα σχηματα ειναι ταυτα εκεινων.FArist. Poet. c. 4.53.Boil. Art. Poet.54.Les grands Orateurs n’emploient que des expressions riches capables de faire valoir leurs raisons. Ils tachent d’eblouir les yeux, et l’esprit, et pour ce sujet ils ne combattent qu’avec des armes brillantes. Lam. Rhet. Liv. IV. c. 13.55.Hor. de Arte Poet.56.Una cuique proposita lex, suus decor est. Habet tamen omnis Eloquentia aliquid commune. Quintil. Instit. Lib. X c.II.57.In the Epopee we judge of the Genius of the Poet, by the variety and excellence of those materials with which Imagination enricheth his subject. His Judgment appears in the disposition of particular images, and in the general relation which every subordinate part bears to the principal action of the Poem. Thus it is the business of this Faculty, as an ingenious Critic says, “Considerer comme un corps qui no devoit pas avoir des membres de natures differentes, et independens les uns des autres.” Bossu du Poem. Epiq. Liv. II. ch. 2. It is true indeed, that Tragedy is rather an address to the passions than to the imagination of mankind. To the latter however we must refer all those finer strokes of poetic painting, which actuate so forcibly the affections and the heart. We may, in short, easily conceive the importance of a warm imagination to the Dramatic Poet, by reflecting upon the coldness and indifference with which we peruse those pieces, which are not enlivened by the sallies of this Faculty when it is properly corrected. Though we must acknowledge that Passion seldom adopts the images of description, yet it must be owned at the same time, that neither can a person who wants imagination feel with sensibility the impulse of the Passions. A Poet may even merit a great encomium who excels in painting the effects, and in copying the language of Passion, though the Disposition of his work may be otherwise irregular and faulty. Thus Aristotle says of a celebrated dramatic Poet,Και Ὁ Ευριπιδης ει και τα αλλα μη ευ οικονομει, αλλα ΤΡΑΓΙΚΩΤΑΤΟΣ γε των Ποιητων φαινεται.De Poet. c. 13. Upon the whole therefore, Didactic or Ethical Poetry is the only species in which Imagination acts but a secondary part, because it is unquestionably the business of reason to fix upon the most forcible arguments, as well as to throw them into the happiest disposition. We have seen however, in some late performances, what superior advantages this branch of the Art receives from a just and proper infusion of the poetic idioms.58.For this reason, says an ingenious and learned Critic, L’Ode monte dans les Cieux, pour y empronter ses images et ses comparaisons du tonnerre, des astres, et des Dieux memes, &c. Reflex. Crit. Vol. I. Sect. 33.59.Εγω δε οιδα μεν ὡς αἱ ὑπερβολαι μεγεθους φυσαι ἡκιστα καθαραι.Το γαρ εν παντα ακριβες, κινδυνος σμικροτητος‧ εν δε τοις μεγεθεσιν ὡσπερ εν τοις αγαν πλουτοις, ειναι τε χρη και παραλιγωρουμενον.Μη ποτε ηδε τουτο και αναγκαιουσιν, το τας μεν ταπεινας και μεσας φυσεις δια το μηδαμη παρακινδυνευειν μηδε εφιεσθαι των ακρων, αδαμαρτητου ὡς επι το πολυ και ασφαλεστερας διαφερειν.Longin. de Sublim. Sect. 33.60.De Sublim. Sect. 32.61.The reader will observe, that Admiration through the whole of this part of the Essay is taken in the largest sense, as including a considerable degree of wonder, which is however a distinct feeling. The former is excited principally by the sublime; the latter by the new and uncommon. These feelings are united, when a subject of moderate dignity is treated in a sublime manner. See the Essay, p. 47, 48.62.Raphael is said to have stolen the expression of this figure from Michael Angelo, who was at work on the same subject in another part of the Vatican. We are indebted for this curious anecdote to the ingenious Abbe du Bos. See his Reflex. Crit. sur la Poes. et la Peint. Vol. II.63.Callim. Hymn. in Jov. a lin. 68.G64.Pind. Pyth. I.65.Iliad. Lib. VIII.H66.This is one of the most artful and best conducted of Pindar’s Odes. The introduction is abrupt and spirited, and the Heroe of the Poem is shown to great advantage.Αναξιφορμιγγες ὑμνοιτινα θεον, τιν’ ἡροα,τινα δ’ ανδρα κελαδησομεν;ητοι πισα μεν Διος‧Ολυμπιαδα δ’ εστα-σεν Ηρακλεης, &c.Θηρωνα δε τετραοριαςἑνεκα νεκαφορουγεγωνητεον, οπε&c.Pind. Olym. 2da.67.The reader will meet with many examples of this liberty in the Iliad, some of which Mr. Pope has judiciously selected in the notes of his translation. Milton, in the same spirit, compares Satan lying on the lake of fire, to a Leviathan slumbering on the coast of Norway; and immediately digressing from the strict points of connection, he adds, “that the mariners often mistake him for an island, and cast anchor on his side.” Par. Lost, B. II. In this illustration it is obvious, that though the Poet deviates from close imitation, yet he still keeps in view the general end of his subject, which is to exhibit a picture of the fallen Arch angel. See Par. Lost, B. I.68.The reader may consider, as an example, of the following verses of the Ode of Sophocles to the Sun.Πολλα γαρ ὡστ’ ακαμαντοςη Νωτου η Βορεα τιςκυματα ευρει ποντωβαντ’ επιοντα τ’ ιδοιοὑτο δε τον καδμογενητρεφει‧ το δ’ αυξει βιοτουπολυπονον ὡστε πελαγοςκρητιον.Soph. Trachin.69.Of this the reader will find a noble instance in Pindar’s first Pythian Ode, where he employs from the verse beginningναυσιφορηταις δ’ αδρασεα,I&c. to the end of the stanza, one of the happiest and most natural illustrations that is to be met with either in the works of Pindar, or in those of any Poet whatever. The abrupt address to Phœbus, when he applies the metaphor, is peculiarly beautiful.70.Hor. Epist. Lib. II. Epist. 1.71.Pin. Pyth. Ode X.72.Letter I.p. xxxiii.73.Pin. Nem. Ode XI.74.Id. Olym. Ode VII.75.Hor. de Art. Poet.76.Pind. Pyth. Ode XI.77.Thus the reader, who would pay little regard to the person who should forbid him to trust the world too much, will yet be struck with this simple admonition, when it appears in the work of a genius.Lean not on earth, ’twill pierce thee to the heart;A broken reed at best, but oft’ a spear,On its sharp point Peace bleeds, and Hope expires.Night Thoughts.78.Thus Xenophon, the simplest and most perspicuous of Historians, has borrowed many noble images from Homer; and Plato is often indebted to this Poet, whom yet he banished from his Commonwealth. Cicero in his most serious pieces studies thediction, and copies themannerof the Greek Philosopher; and it evidently appears, that Thucydides has taken many aglowing Metaphorfrom the Odes of Pindar. We might produce many examples of this from their writings, if these would not swell this note to too great a length. The reader of taste may see this subject fully discussed in Mr. Gedde’s ingenious Essay on the Composition of the Ancients.79.Δει δε τους μυθους συνισταναι, και τη λεξει συναπεργαζεσθαι οντι μαλιστα προς ομματων τεθεμενον.Οὑτο γαρ αν εναργεστατα ὁρων ὡσπερ παρ’ αυτοις γιγνομενος τοις πραττομενοις, εὑρισκοι το πρεπον, και ἡκιστα αν λανθανοιτο τα ὑπεναντια.KArist. Poet. c. 17.80.Thus Cicero tells us. Nec est majus in dicendo, quam ut Orator sic moveatur, ut impetu quodam animi, & perturbatione magis quam concilio regatur. Plura enim multo homines judicant odio, & amore, & cupiditate, &c. quam veritate & præscripto. De Orat. Lib. II. c. 42.81.Volt. Siec. Louis XIV. c. 21.82.Cebet. Tab.83.Upon the principle established here, we may account in some measure for Voltaire’s apparently paradoxical assertion, with regard to the comparative merit of Homer and Tasso. The Italian (says that spirited writer) has more conduct, variety and justness than the Greek. Admitting the truth of this reflection, we might still reply, that the principal merit of the Iliad, considered as the production of Genius, lies in the grandeur of the sentiments, the beauty and sublimity of the illustrations, and theoriginalstrokes which are wrought into the description of theprincipal Actors. In all these respects we may venture to affirm, that Homer remains without a superior among Authors unaided by Inspiration; and the reader must be left to judge whether or not it is from these criterions that we estimate the Genius of a Poet. Our Author proceeds upon the same principles to compare the Orlando Furioso with the Odyssey, and give a preference to the former. The merit of these works may be ascertained in some measure, by the rules we have already established. We need only to add further on this head, that among many beauties we meet with examples of the turgid and bombast in the work of Ariosto; from which that of the Greek Poet is wholly free. The two first lines of his Poem,Le Donne, e Cavalieri, l’arme, gliamore,Le Cortesie l’audaciimpresiio canto.if they do not put one in mind of the Cyclic Writer mentioned by Horace, who begins his Poem withFortunam Priami cantabo, & nobile bellum.yet are of a very different strain from those which introduce the Odyssey,Ανδρα μοι ενεπε Μουσα πολυτροπον, ὅς μαλα πολλαΠλαγκθη&c.I cannot help thinking that the whole of this introduction is remarkably simple and unornamented, though a very judicious and ingenious Critic seems to be of a contrary opinion.84.Hab. ch. iii. v. 3.85.Mr. West. See the Preface and Notes of his Translation.86.It is generally to be supposed, that a Poet in a panegyrical address to his Patron will select with solicitude every circumstance in his character and actions which excite approbation, in order to render his encomium as perfect and compleat as possible. When therefore he is unexpectedly engaged to retouch a subject which he had formerly discussed, we ought to expect, either that he will fix uponnew points of panegyric, which is always a matter of the greatest difficulty; or we must indulge him in the liberty of calling inadventitious assistance, when he is deprived of other materials. This appears on many occasions to have been the case of Pindar. No less than four of his Odes are inscribed to Hiero King of Syracuse, all on account of his victories in the Games of Greece. Two Odes immediately following the first to Hiero are addressed to Theron King of Agrigentum; Psaumis of Camarina is celebrated in the 4th and 5th Olympic; and the 9th and 10th are filled with the praises of Agesidamus the Locrian. Every reader must makegreat allowancesfor a Poet, who was so often obliged to retouch and todiversifysubjects of one kind.87.Vide supra, p. 57.88.Ce son des tableaux d’un Eleve habile, ou l’on reconnoit la maniere du Maitre, bien qu’ on n’y retrouve pas a beaucoup près tout son genie. Mem. de Liter. Tom. III. p. 49.89.Car. Lib. I. Od. 3.90.Id. Lib. III. Od. 27.91.Carm. Lib. III. Ode 3.92.Il est aise d’en marquer la difference sans parler de celle du stile qui dans Pindare a toujours plus de force, plus d’energie, & plus de noblesse que dans Horace, &c. Mem. de Lit. ubi supra.93.Id. ibid.94.Car. Lib. III. Od. 3.95.Id. ibid.96.Car. Lib. IV. Od. 2.97.The Reader will observe, that nothing has been said in this Essay on the regularity of the measure of Pindar’s Odes. This subject is treated so fully in the preface of Mr. West’s Translation, that we need only here to refer the curious to his remarks. The Ancient Odes are always to be considered as songs which were set to musick, and whose recital was generally accompanied with dancing. If we may be permitted to form an idea of this music, from the nature and composition of the Ode, it must have been a matter of great difficulty to excel in it, as it is certain that poems which abound with sentiments are more proper to be set to music, than those which are ornamented with imagery. These sister-arts usually keep pace with each other, either in their improvement or decay. Ne ci dobbiamo (says an ingenious Foreigner, speaking of the modern Italian music) maravigliare, ce corrotta la Poesia, s’e anche corrotta la musica; perche come nella ragior poetica accennammo, tutte le arti imitative hanno una idea commune, dalla cui alterazione si alterano tutte, e particolarmenti la musica dall alterazion del la poesia si cangia come dal corpo l’ombra. Onde corrotta la poesia da e soverchi ornamenti e dalla copia delle figure, ha communicato anche il suo morbo alla musica, ormai tanto sfigurata, che ha perduta quasi la natural est pressione.Gavinadella Traged. p. 70.B
1.Neque ipsa Ratio (says the elegant and sensible Quintilian speaking of Eloquence) tam nos juvaret, nisi quæ concepissemus mente, promere etiam loquendo possemus,—ita, ut non modo orare, sed quod Pericli contigit fulgerare, ac tonare videamur. Institut. Orat. Lib. XI. c. 16.
2.This is the manner which Quintilian appropriates particularly to young persons. —In juvenibus etiam uberiora paulo & pene periclitantia feruntur. At in iisdem siccum, & contractum dicendi propositum plerunque affectatione ipsa severitatis invisum est: quando etiam morum senilis autoritas immatura in adolescentibus creditur. Lib. II. c. 1.
3.Εοικασι δε γεννησαι μεν ὁλως την Ποιητικην, αιτιαι δυο και αυται φυσικαι.Το μιμεισθαι συμφυτον τοις ανθρωποις, &c.Και Ἁρμονια και ρυθμος εξ αρχης οἱ πεφυκοτες προς αυτα μαλιστα κατα μικρον προαγοντες εγεινησαν την Ποιησιν‧CArist. Poet. c. 4.
4.The Reader of curiosity may see this subject particularly discussed in Dacier’s Remarks on the Poeticks of Aristotle, c. 4.
5.Ἁ γαρ αυτα λυπηρως ὁρωμεν, τουτων τας εικωνας τας μαλιστα ηκριβωμενας, χαιρομεν θεωρουντες, οἱτινες θηρεων τε μορφας των αγριοτατων και νεκρων,C&c. Poet. c. 4.
6.Τα γαρ μετρα ὁτι μοιρον των ρυθμων εστι, φανερον.CUb. sup.
7.Ρυθμον μεν και σχηματα μελους χωρις λογους ψιλους εις μετρα τιθεντες.The persons who do this, he compares to Musicians.Μελος δε αυ και ρυθμους ανευ ρηματωνψιλη κιθαριξει τε και αυλησει προσχρωμενοι.DPlat. de Legib. Lib. XI.
8.Plat. Io.
9.Nec prima illa post secula per ætates sane complures alio Lyrici spectarunt, quam ut Deorum laudes ac decora, aut virorum fortium res preclare gestas Hymnis ac Pæanibus, ad templa & aras complecterentur;—ut ad emulationem captos admiratione mortales invitarent. Strad. Prolus. 4 Poet.
10.Hor. de Art. Poet.
11.Id. ibid.
12.Toute Poesie est une imitation. La Poesie Bucolique a pour but d’imiter ce qui a passe et ce qui ce dit entre les Bergers. Mem. de Lit. V. III. p. 158.
13.Elle ne doit pas s’en tenir a la simple representation du vrai reel, qui rarement seroit agreable; elle doit s’elever jusqu’auvrai ideal, qui tend’ a embellir le vrai, tel qu’il est dans la nature, et qui produit dans la Poesie comme dans la Peinture, le derniere point de perfeftion, &c. Mem. de Lit. ub. sup.
14.Thucyd. Lib. I.
15.Id. ibid.
16.Authors are not agreed as to the Persons who introduced into Greece the principles of philosophy. Tatian will have it that the Greek Philosophy came originally from Ægypt. Orat. con. Graec. While Laertius (who certainly might have been better informed) will allow Foreigners to have had no share in it. He ascribes its origin to Linus, and says expressly,Αφ’ Ἑλληνων ηρξε φιλοσοφια ἡς και αυτο το ονομα την Βαρβαρον απεστραπτε προσηγοριαν.Laer. in Prœm.
17.This account of the subjects on which Linus wrote, suggests a further prejudice in favour of Laertius’s opinion as to the origin of Greek Philosophy. He has preserved the first line of his Poem.
Ην ποτε χρονος οὑτος εν ὡ ἁμα παντ’ επεφυκει.Id. ibid.
18.Herod. Lib. I. c. 49.
19.Univ. Hist. Vol. VI. p. 221.
20.Οἱ μεν γαρ σεμνοτεροι τας καλας εμιμουντο πραξεις και τας των τοιουτων τυχας‧οἱ δε ευτελεστεροι τας των φαυλων πρωτον ψογους ποιουντες, ὡσπερ ἑτεροι ὙΜΝΟΥΣ και ΕΓΚΩΜΙΑ.Arist. Poet. c. 4.
21.Orph. Argonaut.
22.Εγω δε ει τον περι θεων εξαγορευσαντα τοιαυτα‧χρη φιλοσοφον καλειν ουκ οιδα τινα δει προσαγορευιν τον το ανθρωπειον παθος αφειδουντο τοις θεοις προστριψαι, και τα σπασιως ὑπο τοιων ανθρωπων αισχρουργουμενα, και τω ταυτης φωνης οργανω.Laer. ub. sup.
23.Hor. de Art. Poet.
24.The beautiful story of Hero and Leander, which was written by a person of his name, is thought to have been the work of a Grammarian who lived about the 5thcentury: a conjecture supported by very probable evidence. See Kenneth’s life of Museus, p. 10.
25.Diogen. Laert. ub. sup.
26.Diogen. Laert. ub. sup.
27.Æneid. Lib. 6.
28.It may not be amiss here to give the reader some idea of the structure of the Ancient lyre, whose music is said to have produced such wonderful effects. This instrument was composed of an hollow frame, over which several strings were thrown, probably in some such manner as we see them in an harp, or a dulcimer. They did not so much resemble the viol, as the neck of that instrument gives it peculiar advantages, of which the Ancients seem to have been wholly ignorant. The Musician stood with a short bow in his right hand, and a couple of small thimbles upon the fingers of his left: with these he held one end of the string, from which an acute sound was to be drawn, and then struck it immediately with the bow. In the other parts he swept over every string alternately, and allowed each of them to have its full sound. This practice became unnecessary afterwards, when the instrument was improved by the addition of new strings, to which the sounds corresponded. Horace tells us, that in his time the lyre had seven strings, and that it was much more musical than it had been originally. Addressing himself to Mercury, he says
——Te docilis magistro.Movit Amphion lapides canendo:Tuque Testudo, resonare septemCallida nervis;Nec loquax olim, neque grata&c.Carm. Lib. III. Od. 11.
——Te docilis magistro.
Movit Amphion lapides canendo:
Tuque Testudo, resonare septem
Callida nervis;
Nec loquax olim, neque grata&c.Carm. Lib. III. Od. 11.
For a further account of this instrument, we shall refer the reader to Quintilian’s Institutions. Lib. XII. c. 10.
29.Particularly Orpheus and Museus. Lucian says in the general.Τελετην αρχαιαν ουδεμιαν εστιν εὑρειν ανου ορχησεως.Lib. de Salt.
30.This allegorical learning was so much in use among the Ægyptians, that the Disciples of a Philosopher were bound by an oath.Εν ὑποκρυφοις ταυτα εχειν‧ και τοις απαιδευτοις και αμνητοις μη μεταδεδιναι.Vid. Seld. de Diis Syr.
31.
—— —— —— ——Ἡσιν αοιδηΜεμβλεται, εν στηθεσσιν ακηδεα θυμον εχουσαιςΤυτθον απ’ ακροτατης κορυφης νιφεντος Ολυμπου.Ενθα σφιν λιπαροι τε χοροι, και δωματα καλα.ETheog. a lin. 61.
—— —— —— ——Ἡσιν αοιδη
Μεμβλεται, εν στηθεσσιν ακηδεα θυμον εχουσαις
Τυτθον απ’ ακροτατης κορυφης νιφεντος Ολυμπου.
Ενθα σφιν λιπαροι τε χοροι, και δωματα καλα.ETheog. a lin. 61.
32.
Ὡς εφασανΗουραιΜεγαλου Διος αρτιεπειαι·Και μοι σκεπτρον εδον, δαφνης εριθελεος οζονΔρεψασθαι θηητον· επενευσαν δε μοι αυδην&c.Theogon. l. 30.
Και μοι σκεπτρον εδον, δαφνης εριθελεος οζον
Δρεψασθαι θηητον· επενευσαν δε μοι αυδην&c.Theogon. l. 30.
33.Orph. Hym. in Apollon. Rhod.
34.Of this, History furnisheth many examples. When one man made an eminent figure in any profession, the actions of other persons who had the same name were ascribed to him; and it was perhaps partly for this reason that we find different cities contending for the honour of giving birth to men of Genius, or eminence. Callimachus in his Hymn to Jupiter makes an artful use of this circumstance.
Εν δοιη μαλα θυμος‧ επει γενος αμφεριστον.Ζευ σε μενΙ’ δαιοισινεν ουρεσι φασι γενεσθαιΖευ σε δ’ εν Αρκαδιη‧ ποτεροι Πατερ εψευσαντοΚρητες αει ψευσται‧ και γαρ ταφον, ὡ ανα σειοΚρητες ετεκτηναντο‧ συ δ’ ου θανες· εσσι γαρ αιει.Callim. p. 4.
Εν δοιη μαλα θυμος‧ επει γενος αμφεριστον.
Ζευ σε μενΙ’ δαιοισινεν ουρεσι φασι γενεσθαι
Ζευ σε δ’ εν Αρκαδιη‧ ποτεροι Πατερ εψευσαντο
Κρητες αει ψευσται‧ και γαρ ταφον, ὡ ανα σειο
Κρητες ετεκτηναντο‧ συ δ’ ου θανες· εσσι γαρ αιει.Callim. p. 4.
35.Thus Theocritus.
Ὑμνεομες Ληδας. Τε και αιγιοχω Διος Ὑιω,Καστορα και φοβερον Πολυδευκεα πυξ ερεθιζενὙμνεομες και Δις, και το Τριτον.
Ὑμνεομες Ληδας. Τε και αιγιοχω Διος Ὑιω,
Καστορα και φοβερον Πολυδευκεα πυξ ερεθιζεν
Ὑμνεομες και Δις, και το Τριτον.
36.Anac. Carm. p. 35.
37.Anac. p. 87.
38.This appears remarkably in that piece, where he gives so ingenuous a character of himself.
Ὁν μοι μελει ΓυγουΤου Σαρδεων Ανακτος, &c.Το σημερον μελει μοι.p. 28.
Ὁν μοι μελει Γυγου
Του Σαρδεων Ανακτος, &c.
Το σημερον μελει μοι.p. 28.
39.The reader will find a striking example of this beauty, in the Ode addressed to a swallow, where he runs a comparison betwixt the liberty of that bird and his own bondage.
Συ μεν φιλη χελιδων, &c. p. 60.
40.Thus Horace represents her
Æoliis fidibus quærentemSappho puellis de popularibus.Lib. II. Od. 13.
Æoliis fidibus quærentem
Sappho puellis de popularibus.Lib. II. Od. 13.
41.Θεου ἡ Σαπφω τα συμβαινοντα ταις ερωτικαις μανιαις παθηματα εκ των παρεπομενων, και εκ της αληθειας, αυτης ἑκαστοτε λαμβανει, &c. De Lub. c. 10.
42.Longinus speaks with transport of this beautiful fragment of antiquity.Ου θαυμαζεις ὡς ὑπ’ αυτο την ψυχην το σωμα τας ακοας την γλωσσαν τας οψεις την χροαν, πανθ’ ὡς αλλοτρια διοιχομενοι επιζητει.Και καθ’ ὑπεναντιωσεις ἁμα ψυχεται, καιεται, αλογιστει, φρονει—ἱνα μη εν τι περι αυτην παθος φαινεται, παθων δε ΣΥΝΟΔΟΣ.De. Lub. c. 10.
43.
Te sonantem plenius aureoAlcæe plectro, dura navis,Dura fugæ mala, dura belli.Utrumque sacro digna silentioMirantur Utmbræ dicere.——Hor. ub. sup.
Te sonantem plenius aureo
Alcæe plectro, dura navis,
Dura fugæ mala, dura belli.
Utrumque sacro digna silentio
Mirantur Utmbræ dicere.——Hor. ub. sup.
44.
Liberum & Musas, Veneremque & illiSemper hærentem puerum canebat,Et Lycum nigris oculis nigroqueCrine decorum.Carm. Lib. I. Od. 32.
Liberum & Musas, Veneremque & illi
Semper hærentem puerum canebat,
Et Lycum nigris oculis nigroque
Crine decorum.Carm. Lib. I. Od. 32.
45.Carm. Lib. I. Od. 13.
46.Carm. Lib. II. Od. 9.
47.Id. Lib. III. Od. 4.
48.Carm. Lib. II. Od. 6.
49.Polycrates, Tyrant of Samos.
50.Hor. de Art. Poet.
51.Id. ibid.
52.Aristotle expressly mentions this circumstance, when he explains the Origin of the Drama.Παραφανεισας δε της Τραγωδιας και Κωμωδιας, οἱ εφ’ ἑκατερον τη ποιησεν ἁρμωντες κατα την οικειαν φυσιν οἱ μεν αντι των Ιαμβων, Κωμωδοποιοι εγενοντο‧οἱ δε αντι των Επων τραγωδιδασκαλοι, δια τω μειζω και ενεμοτερα τα σχηματα ειναι ταυτα εκεινων.FArist. Poet. c. 4.
53.Boil. Art. Poet.
54.Les grands Orateurs n’emploient que des expressions riches capables de faire valoir leurs raisons. Ils tachent d’eblouir les yeux, et l’esprit, et pour ce sujet ils ne combattent qu’avec des armes brillantes. Lam. Rhet. Liv. IV. c. 13.
55.Hor. de Arte Poet.
56.Una cuique proposita lex, suus decor est. Habet tamen omnis Eloquentia aliquid commune. Quintil. Instit. Lib. X c.II.
57.In the Epopee we judge of the Genius of the Poet, by the variety and excellence of those materials with which Imagination enricheth his subject. His Judgment appears in the disposition of particular images, and in the general relation which every subordinate part bears to the principal action of the Poem. Thus it is the business of this Faculty, as an ingenious Critic says, “Considerer comme un corps qui no devoit pas avoir des membres de natures differentes, et independens les uns des autres.” Bossu du Poem. Epiq. Liv. II. ch. 2. It is true indeed, that Tragedy is rather an address to the passions than to the imagination of mankind. To the latter however we must refer all those finer strokes of poetic painting, which actuate so forcibly the affections and the heart. We may, in short, easily conceive the importance of a warm imagination to the Dramatic Poet, by reflecting upon the coldness and indifference with which we peruse those pieces, which are not enlivened by the sallies of this Faculty when it is properly corrected. Though we must acknowledge that Passion seldom adopts the images of description, yet it must be owned at the same time, that neither can a person who wants imagination feel with sensibility the impulse of the Passions. A Poet may even merit a great encomium who excels in painting the effects, and in copying the language of Passion, though the Disposition of his work may be otherwise irregular and faulty. Thus Aristotle says of a celebrated dramatic Poet,Και Ὁ Ευριπιδης ει και τα αλλα μη ευ οικονομει, αλλα ΤΡΑΓΙΚΩΤΑΤΟΣ γε των Ποιητων φαινεται.De Poet. c. 13. Upon the whole therefore, Didactic or Ethical Poetry is the only species in which Imagination acts but a secondary part, because it is unquestionably the business of reason to fix upon the most forcible arguments, as well as to throw them into the happiest disposition. We have seen however, in some late performances, what superior advantages this branch of the Art receives from a just and proper infusion of the poetic idioms.
58.For this reason, says an ingenious and learned Critic, L’Ode monte dans les Cieux, pour y empronter ses images et ses comparaisons du tonnerre, des astres, et des Dieux memes, &c. Reflex. Crit. Vol. I. Sect. 33.
59.Εγω δε οιδα μεν ὡς αἱ ὑπερβολαι μεγεθους φυσαι ἡκιστα καθαραι.Το γαρ εν παντα ακριβες, κινδυνος σμικροτητος‧ εν δε τοις μεγεθεσιν ὡσπερ εν τοις αγαν πλουτοις, ειναι τε χρη και παραλιγωρουμενον.Μη ποτε ηδε τουτο και αναγκαιουσιν, το τας μεν ταπεινας και μεσας φυσεις δια το μηδαμη παρακινδυνευειν μηδε εφιεσθαι των ακρων, αδαμαρτητου ὡς επι το πολυ και ασφαλεστερας διαφερειν.Longin. de Sublim. Sect. 33.
60.De Sublim. Sect. 32.
61.The reader will observe, that Admiration through the whole of this part of the Essay is taken in the largest sense, as including a considerable degree of wonder, which is however a distinct feeling. The former is excited principally by the sublime; the latter by the new and uncommon. These feelings are united, when a subject of moderate dignity is treated in a sublime manner. See the Essay, p. 47, 48.
62.Raphael is said to have stolen the expression of this figure from Michael Angelo, who was at work on the same subject in another part of the Vatican. We are indebted for this curious anecdote to the ingenious Abbe du Bos. See his Reflex. Crit. sur la Poes. et la Peint. Vol. II.
63.Callim. Hymn. in Jov. a lin. 68.G
64.Pind. Pyth. I.
65.Iliad. Lib. VIII.H
66.This is one of the most artful and best conducted of Pindar’s Odes. The introduction is abrupt and spirited, and the Heroe of the Poem is shown to great advantage.
Αναξιφορμιγγες ὑμνοιτινα θεον, τιν’ ἡροα,τινα δ’ ανδρα κελαδησομεν;ητοι πισα μεν Διος‧Ολυμπιαδα δ’ εστα-σεν Ηρακλεης, &c.Θηρωνα δε τετραοριαςἑνεκα νεκαφορουγεγωνητεον, οπε&c.Pind. Olym. 2da.
Αναξιφορμιγγες ὑμνοι
τινα θεον, τιν’ ἡροα,
τινα δ’ ανδρα κελαδησομεν;
ητοι πισα μεν Διος‧
Ολυμπιαδα δ’ εστα-
σεν Ηρακλεης, &c.
Θηρωνα δε τετραοριας
ἑνεκα νεκαφορου
γεγωνητεον, οπε&c.Pind. Olym. 2da.
67.The reader will meet with many examples of this liberty in the Iliad, some of which Mr. Pope has judiciously selected in the notes of his translation. Milton, in the same spirit, compares Satan lying on the lake of fire, to a Leviathan slumbering on the coast of Norway; and immediately digressing from the strict points of connection, he adds, “that the mariners often mistake him for an island, and cast anchor on his side.” Par. Lost, B. II. In this illustration it is obvious, that though the Poet deviates from close imitation, yet he still keeps in view the general end of his subject, which is to exhibit a picture of the fallen Arch angel. See Par. Lost, B. I.
68.The reader may consider, as an example, of the following verses of the Ode of Sophocles to the Sun.
Πολλα γαρ ὡστ’ ακαμαντοςη Νωτου η Βορεα τιςκυματα ευρει ποντωβαντ’ επιοντα τ’ ιδοιοὑτο δε τον καδμογενητρεφει‧ το δ’ αυξει βιοτουπολυπονον ὡστε πελαγοςκρητιον.Soph. Trachin.
Πολλα γαρ ὡστ’ ακαμαντος
η Νωτου η Βορεα τις
κυματα ευρει ποντω
βαντ’ επιοντα τ’ ιδοι
οὑτο δε τον καδμογενη
τρεφει‧ το δ’ αυξει βιοτου
πολυπονον ὡστε πελαγος
κρητιον.Soph. Trachin.
69.Of this the reader will find a noble instance in Pindar’s first Pythian Ode, where he employs from the verse beginningναυσιφορηταις δ’ αδρασεα,I&c. to the end of the stanza, one of the happiest and most natural illustrations that is to be met with either in the works of Pindar, or in those of any Poet whatever. The abrupt address to Phœbus, when he applies the metaphor, is peculiarly beautiful.
70.Hor. Epist. Lib. II. Epist. 1.
71.Pin. Pyth. Ode X.
72.Letter I.p. xxxiii.
73.Pin. Nem. Ode XI.
74.Id. Olym. Ode VII.
75.Hor. de Art. Poet.
76.Pind. Pyth. Ode XI.
77.Thus the reader, who would pay little regard to the person who should forbid him to trust the world too much, will yet be struck with this simple admonition, when it appears in the work of a genius.
Lean not on earth, ’twill pierce thee to the heart;A broken reed at best, but oft’ a spear,On its sharp point Peace bleeds, and Hope expires.Night Thoughts.
Lean not on earth, ’twill pierce thee to the heart;
A broken reed at best, but oft’ a spear,
On its sharp point Peace bleeds, and Hope expires.Night Thoughts.
78.Thus Xenophon, the simplest and most perspicuous of Historians, has borrowed many noble images from Homer; and Plato is often indebted to this Poet, whom yet he banished from his Commonwealth. Cicero in his most serious pieces studies thediction, and copies themannerof the Greek Philosopher; and it evidently appears, that Thucydides has taken many aglowing Metaphorfrom the Odes of Pindar. We might produce many examples of this from their writings, if these would not swell this note to too great a length. The reader of taste may see this subject fully discussed in Mr. Gedde’s ingenious Essay on the Composition of the Ancients.
79.Δει δε τους μυθους συνισταναι, και τη λεξει συναπεργαζεσθαι οντι μαλιστα προς ομματων τεθεμενον.Οὑτο γαρ αν εναργεστατα ὁρων ὡσπερ παρ’ αυτοις γιγνομενος τοις πραττομενοις, εὑρισκοι το πρεπον, και ἡκιστα αν λανθανοιτο τα ὑπεναντια.KArist. Poet. c. 17.
80.Thus Cicero tells us. Nec est majus in dicendo, quam ut Orator sic moveatur, ut impetu quodam animi, & perturbatione magis quam concilio regatur. Plura enim multo homines judicant odio, & amore, & cupiditate, &c. quam veritate & præscripto. De Orat. Lib. II. c. 42.
81.Volt. Siec. Louis XIV. c. 21.
82.Cebet. Tab.
83.Upon the principle established here, we may account in some measure for Voltaire’s apparently paradoxical assertion, with regard to the comparative merit of Homer and Tasso. The Italian (says that spirited writer) has more conduct, variety and justness than the Greek. Admitting the truth of this reflection, we might still reply, that the principal merit of the Iliad, considered as the production of Genius, lies in the grandeur of the sentiments, the beauty and sublimity of the illustrations, and theoriginalstrokes which are wrought into the description of theprincipal Actors. In all these respects we may venture to affirm, that Homer remains without a superior among Authors unaided by Inspiration; and the reader must be left to judge whether or not it is from these criterions that we estimate the Genius of a Poet. Our Author proceeds upon the same principles to compare the Orlando Furioso with the Odyssey, and give a preference to the former. The merit of these works may be ascertained in some measure, by the rules we have already established. We need only to add further on this head, that among many beauties we meet with examples of the turgid and bombast in the work of Ariosto; from which that of the Greek Poet is wholly free. The two first lines of his Poem,
Le Donne, e Cavalieri, l’arme, gliamore,Le Cortesie l’audaciimpresiio canto.
Le Donne, e Cavalieri, l’arme, gliamore,
Le Cortesie l’audaciimpresiio canto.
if they do not put one in mind of the Cyclic Writer mentioned by Horace, who begins his Poem with
Fortunam Priami cantabo, & nobile bellum.
yet are of a very different strain from those which introduce the Odyssey,
Ανδρα μοι ενεπε Μουσα πολυτροπον, ὅς μαλα πολλαΠλαγκθη&c.
Ανδρα μοι ενεπε Μουσα πολυτροπον, ὅς μαλα πολλα
Πλαγκθη&c.
I cannot help thinking that the whole of this introduction is remarkably simple and unornamented, though a very judicious and ingenious Critic seems to be of a contrary opinion.
84.Hab. ch. iii. v. 3.
85.Mr. West. See the Preface and Notes of his Translation.
86.It is generally to be supposed, that a Poet in a panegyrical address to his Patron will select with solicitude every circumstance in his character and actions which excite approbation, in order to render his encomium as perfect and compleat as possible. When therefore he is unexpectedly engaged to retouch a subject which he had formerly discussed, we ought to expect, either that he will fix uponnew points of panegyric, which is always a matter of the greatest difficulty; or we must indulge him in the liberty of calling inadventitious assistance, when he is deprived of other materials. This appears on many occasions to have been the case of Pindar. No less than four of his Odes are inscribed to Hiero King of Syracuse, all on account of his victories in the Games of Greece. Two Odes immediately following the first to Hiero are addressed to Theron King of Agrigentum; Psaumis of Camarina is celebrated in the 4th and 5th Olympic; and the 9th and 10th are filled with the praises of Agesidamus the Locrian. Every reader must makegreat allowancesfor a Poet, who was so often obliged to retouch and todiversifysubjects of one kind.
87.Vide supra, p. 57.
88.Ce son des tableaux d’un Eleve habile, ou l’on reconnoit la maniere du Maitre, bien qu’ on n’y retrouve pas a beaucoup près tout son genie. Mem. de Liter. Tom. III. p. 49.
89.Car. Lib. I. Od. 3.
90.Id. Lib. III. Od. 27.
91.Carm. Lib. III. Ode 3.
92.Il est aise d’en marquer la difference sans parler de celle du stile qui dans Pindare a toujours plus de force, plus d’energie, & plus de noblesse que dans Horace, &c. Mem. de Lit. ubi supra.
93.Id. ibid.
94.Car. Lib. III. Od. 3.
95.Id. ibid.
96.Car. Lib. IV. Od. 2.
97.The Reader will observe, that nothing has been said in this Essay on the regularity of the measure of Pindar’s Odes. This subject is treated so fully in the preface of Mr. West’s Translation, that we need only here to refer the curious to his remarks. The Ancient Odes are always to be considered as songs which were set to musick, and whose recital was generally accompanied with dancing. If we may be permitted to form an idea of this music, from the nature and composition of the Ode, it must have been a matter of great difficulty to excel in it, as it is certain that poems which abound with sentiments are more proper to be set to music, than those which are ornamented with imagery. These sister-arts usually keep pace with each other, either in their improvement or decay. Ne ci dobbiamo (says an ingenious Foreigner, speaking of the modern Italian music) maravigliare, ce corrotta la Poesia, s’e anche corrotta la musica; perche come nella ragior poetica accennammo, tutte le arti imitative hanno una idea commune, dalla cui alterazione si alterano tutte, e particolarmenti la musica dall alterazion del la poesia si cangia come dal corpo l’ombra. Onde corrotta la poesia da e soverchi ornamenti e dalla copia delle figure, ha communicato anche il suo morbo alla musica, ormai tanto sfigurata, che ha perduta quasi la natural est pressione.Gavinadella Traged. p. 70.B
Supplementary Notes(added by transcriber)HandwritingThe facsimile of thetitle pageincludes two handwritten lines between “Lord Deskfoord” and the author’s name:text belowThe last Earl of Findlater who died1812without iſsueTitle claimed by Sir WmOgilvie Bart of Carnousie, who died Feb 20th1861The two lines were probably written at different times: the first uses long “s” while the second had to have been written in or after 1861. The underlined year “1812” is an error for 1811 (October). The William Ogilvie (more often spelled Ogilvy) of the second line was born in 1810, so his claim to the title cannot have been immediate. He does not appear to have been related to the book’s author.ItalianThe quotation from Gravina (misspelled Gavina),Della Tragedia, is given exactly as printed innote 97, including clear errors. The passage appears in the 1819Opere Scelte(Selected Works) as:Né ci dobbiamo maravigliare, se corrotta la poesia, si è anche corrotta la musica: perché, come nella Ragion Poetica accennammo, tutte le arti imitative hanno una idea comune, dalla cui alterazione si alterano tutte; e particolarmente la musica dall’ alterazion della poesia si cangia, come dal corpo l’ombra. Onde corrotta la poesia dai soverchi ornamenti e dalla copia delle figure, ha comunicato il suo morbo anche alla musica, ormai tanto figurata, che ha perduta quasi la natural espressione.GreekThe printed Greek used no diacritics, except for the one word ὅς (including accent) in the Odyssey quotation. All other rough-breathing marks have been added by the transcriber. Line breaks in verse citations are as in the original.The errors are unusual. Instead of confusing similar letters such as υ and ν, or garbling diacritics, the Greek passages read as if they were learned orally, and written down from memory. Substitutions of ο for ω and ι for ε are especially common. The more significant differences between Ogilvie’s text and “standard” readings are given here.Aristotle,Poetics1448b(in notes3,5,6as “c. 4”):Και Ἁρμονια και ρυθμος εξ αρχηςor:τῆς ἁρμονίας καὶ τοῦ ῥυθμοῦ ... ἐξ ἀρχῆςοἱτινες θηρεων τε μορφας των αγριοτατων και νεκρωνor:οἷον θηρίων τε μορφὰς τῶν ἀτιμοτάτων καὶ νεκρῶνΤα γαρ μετρα ὁτι μοιρον των ρυθμων ...or:τὰ γὰρ μέτρα ὅτι μόρια τῶν ῥυθμῶν ...Plato,Leges669de(innote 7as “Lib. XI”):Μελος δε αυ και ρυθμους ανευ ρηματωνor:μέλος δ’ αὖ καὶ ῥυθμὸν ἄνευ ῥημάτωνHesiod,Theogony31(innote 31as l. 63):Δρεψασθαι θηητον· επενευσαν δε μοι αυδηνor:δρέψασαι, θηητόν· ἐνέπνευσαν δέ μοι αὐδὴνAristotle,Poetics1449a(innote 52as “c. 4”):... οἱ δε αντι των Επων τραγωδιδασκαλοι, δια τω μειζω και ενεμοτερα τα σχηματα ειναι ...or:... οἱ δὲ ἀντὶ τῶν ἐπῶν τραγῳδοδιδάσκαλοι, διὰ τὸ μείζω καὶ ἐντιμότερα τὰ σχήματα εἶναι ...Callimachus I. 68-69(body textandnote 63):Θηκαο δ’ οιωνον μεγ’ ὑπειροχον αγγελεωτην,Σων τεραων‧ ἁτ’ εμοισι φιλοις ενδεξια φαινοιςor:θήκαο δ’ οἰωνῶν μέγ’ ὑπείροχον ἀγγελιώτηνσῶν τεράων‧ ἅ τ’ ἐμοῖσι φίλοις ἐνδέξια φαίνοιIliad VIII. 438-443(body textandnote 65):Ζευς δε Πατηρ ιδηθεν ευτροχον ἁρμα και ἱππουςΟλυμπονδ’ εδιωκε, θεων δ’ εξεκετο θωκους.Τω δε και ἱππους μεν λυσε κλυτος ΕννοσιγαιοςἉρματα δ’ αμβρωμοισι τιθει, κατα λιτα πετασσας.Αυτος δε χρυσειον επι θρωνον ευρυοπα ΖευςἙζετο, τω δε ὑπο ποσσι μεγας πελεμιζετ’ Ολυμπος.or:Ζεὺς δὲ πατὴρ Ἴδηθεν ἐύ̈τροχον ἅρμα καὶ ἵππουςΟὔλυμπον δὲ δίωκε, θεῶν δ’ ἐξίκετο θώκους.τῷ δὲ καὶ ἵππους μὲν λῦσε κλυτὸς ἐννοσίγαιος,ἅρματα δ’ ἂμ βωμοῖσι τίθει κατὰ λῖτα πετάσσας:αὐτὸς δὲ χρύσειον ἐπὶ θρόνον εὐρύοπα Ζεὺςἕζετο, τῷ δ’ ὑπὸ ποσσὶ μέγας πελεμίζετ’ Ὄλυμπος.Pindar,PythianI. 33(note 69):ναυσιφορηταις δ’ αδρασεαor:ναυσιφορήτοις δ’ ἀνδράσιAristotle,Poetics1455a(innote 79as “c. 17”):Δει δε τους μυθους συνισταναι, και τη λεξει συναπεργαζεσθαι οντι μαλιστα προς ομματων τεθεμενον. Οὑτο γαρ αν’ εναργεστατα ὁρων ὡσπερ παρ αυτοις γιγνομενος τοις πραττομενοις, εὑρισκοι το πρεπον, και ἡκιστα αν’ λανθανοιτο τα ὑπεναντια.or:δεῖ δὲ τοὺς μύθους συνιστάναι καὶ τῇ λέξει συναπεργάζεσθαι ὅτι μάλιστα πρὸ ὀμμάτων τιθέμενον: οὕτω γὰρ ἂν ἐναργέστατα [ὁ] ὁρῶν ὥσπερ παρ’ αὐτοῖς γιγνόμενος τοῖς πραττομένοις εὑρίσκοι τὸ πρέπον καὶ ἥκιστα ἂν λανθάνοι [τὸ] τὰ ὑπεναντία.
The facsimile of thetitle pageincludes two handwritten lines between “Lord Deskfoord” and the author’s name:
text below
The last Earl of Findlater who died1812without iſsue
Title claimed by Sir WmOgilvie Bart of Carnousie, who died Feb 20th1861
The two lines were probably written at different times: the first uses long “s” while the second had to have been written in or after 1861. The underlined year “1812” is an error for 1811 (October). The William Ogilvie (more often spelled Ogilvy) of the second line was born in 1810, so his claim to the title cannot have been immediate. He does not appear to have been related to the book’s author.
The quotation from Gravina (misspelled Gavina),Della Tragedia, is given exactly as printed innote 97, including clear errors. The passage appears in the 1819Opere Scelte(Selected Works) as:
Né ci dobbiamo maravigliare, se corrotta la poesia, si è anche corrotta la musica: perché, come nella Ragion Poetica accennammo, tutte le arti imitative hanno una idea comune, dalla cui alterazione si alterano tutte; e particolarmente la musica dall’ alterazion della poesia si cangia, come dal corpo l’ombra. Onde corrotta la poesia dai soverchi ornamenti e dalla copia delle figure, ha comunicato il suo morbo anche alla musica, ormai tanto figurata, che ha perduta quasi la natural espressione.
The printed Greek used no diacritics, except for the one word ὅς (including accent) in the Odyssey quotation. All other rough-breathing marks have been added by the transcriber. Line breaks in verse citations are as in the original.
The errors are unusual. Instead of confusing similar letters such as υ and ν, or garbling diacritics, the Greek passages read as if they were learned orally, and written down from memory. Substitutions of ο for ω and ι for ε are especially common. The more significant differences between Ogilvie’s text and “standard” readings are given here.
Aristotle,Poetics1448b(in notes3,5,6as “c. 4”):
Και Ἁρμονια και ρυθμος εξ αρχηςor:τῆς ἁρμονίας καὶ τοῦ ῥυθμοῦ ... ἐξ ἀρχῆς
οἱτινες θηρεων τε μορφας των αγριοτατων και νεκρωνor:οἷον θηρίων τε μορφὰς τῶν ἀτιμοτάτων καὶ νεκρῶν
Τα γαρ μετρα ὁτι μοιρον των ρυθμων ...or:τὰ γὰρ μέτρα ὅτι μόρια τῶν ῥυθμῶν ...
Plato,Leges669de(innote 7as “Lib. XI”):
Μελος δε αυ και ρυθμους ανευ ρηματωνor:μέλος δ’ αὖ καὶ ῥυθμὸν ἄνευ ῥημάτων
Hesiod,Theogony31(innote 31as l. 63):
Δρεψασθαι θηητον· επενευσαν δε μοι αυδηνor:δρέψασαι, θηητόν· ἐνέπνευσαν δέ μοι αὐδὴν
Aristotle,Poetics1449a(innote 52as “c. 4”):
... οἱ δε αντι των Επων τραγωδιδασκαλοι, δια τω μειζω και ενεμοτερα τα σχηματα ειναι ...
or:... οἱ δὲ ἀντὶ τῶν ἐπῶν τραγῳδοδιδάσκαλοι, διὰ τὸ μείζω καὶ ἐντιμότερα τὰ σχήματα εἶναι ...
Callimachus I. 68-69(body textandnote 63):
Θηκαο δ’ οιωνον μεγ’ ὑπειροχον αγγελεωτην,Σων τεραων‧ ἁτ’ εμοισι φιλοις ενδεξια φαινοις
Θηκαο δ’ οιωνον μεγ’ ὑπειροχον αγγελεωτην,
Σων τεραων‧ ἁτ’ εμοισι φιλοις ενδεξια φαινοις
or:θήκαο δ’ οἰωνῶν μέγ’ ὑπείροχον ἀγγελιώτηνσῶν τεράων‧ ἅ τ’ ἐμοῖσι φίλοις ἐνδέξια φαίνοι
or:
θήκαο δ’ οἰωνῶν μέγ’ ὑπείροχον ἀγγελιώτην
σῶν τεράων‧ ἅ τ’ ἐμοῖσι φίλοις ἐνδέξια φαίνοι
Iliad VIII. 438-443(body textandnote 65):
Ζευς δε Πατηρ ιδηθεν ευτροχον ἁρμα και ἱππουςΟλυμπονδ’ εδιωκε, θεων δ’ εξεκετο θωκους.Τω δε και ἱππους μεν λυσε κλυτος ΕννοσιγαιοςἉρματα δ’ αμβρωμοισι τιθει, κατα λιτα πετασσας.Αυτος δε χρυσειον επι θρωνον ευρυοπα ΖευςἙζετο, τω δε ὑπο ποσσι μεγας πελεμιζετ’ Ολυμπος.
Ζευς δε Πατηρ ιδηθεν ευτροχον ἁρμα και ἱππους
Ολυμπονδ’ εδιωκε, θεων δ’ εξεκετο θωκους.
Τω δε και ἱππους μεν λυσε κλυτος Εννοσιγαιος
Ἁρματα δ’ αμβρωμοισι τιθει, κατα λιτα πετασσας.
Αυτος δε χρυσειον επι θρωνον ευρυοπα Ζευς
Ἑζετο, τω δε ὑπο ποσσι μεγας πελεμιζετ’ Ολυμπος.
or:Ζεὺς δὲ πατὴρ Ἴδηθεν ἐύ̈τροχον ἅρμα καὶ ἵππουςΟὔλυμπον δὲ δίωκε, θεῶν δ’ ἐξίκετο θώκους.τῷ δὲ καὶ ἵππους μὲν λῦσε κλυτὸς ἐννοσίγαιος,ἅρματα δ’ ἂμ βωμοῖσι τίθει κατὰ λῖτα πετάσσας:αὐτὸς δὲ χρύσειον ἐπὶ θρόνον εὐρύοπα Ζεὺςἕζετο, τῷ δ’ ὑπὸ ποσσὶ μέγας πελεμίζετ’ Ὄλυμπος.
or:
Ζεὺς δὲ πατὴρ Ἴδηθεν ἐύ̈τροχον ἅρμα καὶ ἵππους
Οὔλυμπον δὲ δίωκε, θεῶν δ’ ἐξίκετο θώκους.
τῷ δὲ καὶ ἵππους μὲν λῦσε κλυτὸς ἐννοσίγαιος,
ἅρματα δ’ ἂμ βωμοῖσι τίθει κατὰ λῖτα πετάσσας:
αὐτὸς δὲ χρύσειον ἐπὶ θρόνον εὐρύοπα Ζεὺς
ἕζετο, τῷ δ’ ὑπὸ ποσσὶ μέγας πελεμίζετ’ Ὄλυμπος.
Pindar,PythianI. 33(note 69):
ναυσιφορηταις δ’ αδρασεαor:ναυσιφορήτοις δ’ ἀνδράσι
Aristotle,Poetics1455a(innote 79as “c. 17”):
Δει δε τους μυθους συνισταναι, και τη λεξει συναπεργαζεσθαι οντι μαλιστα προς ομματων τεθεμενον. Οὑτο γαρ αν’ εναργεστατα ὁρων ὡσπερ παρ αυτοις γιγνομενος τοις πραττομενοις, εὑρισκοι το πρεπον, και ἡκιστα αν’ λανθανοιτο τα ὑπεναντια.
or:δεῖ δὲ τοὺς μύθους συνιστάναι καὶ τῇ λέξει συναπεργάζεσθαι ὅτι μάλιστα πρὸ ὀμμάτων τιθέμενον: οὕτω γὰρ ἂν ἐναργέστατα [ὁ] ὁρῶν ὥσπερ παρ’ αὐτοῖς γιγνόμενος τοῖς πραττομένοις εὑρίσκοι τὸ πρέπον καὶ ἥκιστα ἂν λανθάνοι [τὸ] τὰ ὑπεναντία.