FOOTNOTES:

"Whoso shall tell a tale after a man,He moste reherse as neighe as ever he canEverich word, if it be in his charge,All speke he never so rudely and so large."

And indeed the age of Chaucer, like that of Juvenal, allowed of such liberties. Other times, other manners. Many words were in common use with our ancestors, which raised no improper ideas, though they would not, and indeed could not, at this time be tolerated. With the Greeks and Romans it was still worse: their dress, which left many parts of the body exposed, gave a boldness to their language, which was not perhaps lessened by the infrequency of women at those social conversations, of which they now constitute the refinement and the delight. Add to this that their mythology, and sacred rites, which took their rise in very remote periods, abounded in the undisguised phrases of a rude and simple age, and being religiously handed down from generation to generation, gave a currency to many terms, which offered no violence to modesty, though abstractedly considered by people of a different language and manners, they appear pregnant with turpitude and guilt.

When we observe this licentiousness (for I should wrong many of the ancient writers to call it libertinism) in the pages of their historians and philosophers, we may be pretty confident that it raised no blush on the cheek of their readers. It was the language of the times—"hæc illis natura est omnibus una:" and if it be considered as venial in those, surely a little farther indulgence will not be misapplied to the satirist, whose object is the exposure of what the former have only to notice.

Thus much may suffice for Juvenal: but shame and sorrow on the head of him who presumes to transfer his grossness into the vernacular tongues! "Legimus aliqua ne legantur," was said of old, by one of a pure and zealous mind. Without pretending to his high motives, I have felt the influence ofhis example, and in his apology must therefore hope to find my own. Though the poet be given entire, I have endeavored to make him speak as he would probably have spoken if he had lived among us; when, refined with the age, he would have fulminated against impurity in terms, to which, though delicacy might disavow them, manly decency might listen without offense.

I have said above, that "the whole of Juvenal" is here given; this, however, must be understood with a few restrictions. Where vice, of whatever nature, formed the immediate object of reprobation, it has not been spared in the translation; but I have sometimes taken the liberty of omitting an exceptionable line, when it had no apparent connection with the subject of the Satire. Some acquaintance with the original will be necessary to discover these lacunæ, which do not, in all, amount to half a page: for the rest, I have no apologies to make. Here are no allusions, covert or open, to the follies and vices of modern times; nor has the dignity of the original been prostituted, in a single instance, to the gratification of private spleen.

I have attempted to follow, as far as I judged it feasible, the style of my author, which is more various than is usually supposed. It is not necessary to descend to particulars; but my meaning will be understood by those who carefully compare the original of the thirteenth and fourteenth Satires with the translation. In the twelfth, and in that alone, I have perhaps raised it a little; but it really appears so contemptible a performance in the doggerel of Dryden's coadjutor, that I thought somewhat more attention than ordinary was in justice due to it. It is not a chef-d'œuvre by any means; but it is a pretty and a pleasing little poem, deserving more notice than it has usually received.

I could have been sagacious and obscure on many occasions, with very little difficulty; but I strenuously combated every inclination to find out more than my author meant. The general character of this translation, if I do not deceive myself, will be found to be plainness; and, indeed, the highest praise to which I aspire, is that of having left the original more intelligible to the English reader than I found it.

On numbering the lines, I find that my translation contains a few less than Dryden's. Had it been otherwise, I shouldnot have thought an apology necessary, nor would it perhaps appear extraordinary, when it is considered that I have introduced an infinite number of circumstances from the text, which he thought himself justified in omitting; and that, with the trifling exceptions already mentioned, nothing has been passed; whereas he and his assistants overlooked whole sections, and sometimes very considerable ones.[30]Every where, too, I have endeavored to render the transitions less abrupt, and to obviate or disguise the difficulties which a difference of manners, habits, etc., necessarily creates: all this calls for an additional number of lines; which the English reader, at least, will seldom have occasion to regret.

Of the "borrowed learning of notes," which Dryden says he avoided as much as possible, I have amply availed myself. During the long period in which my thoughts were fixed on Juvenal, it was usual with me, whenever I found a passage that related to him, to impress it on my memory, or to note it down. These, on the revision of the work for publication, were added to such reflections as arose in my own mind, and arranged in the manner in which they now appear. I confess that this was not an unpleasant task to me, and I will venture to hope, that if my own suggestions fail to please, yet the frequent recurrence of some of the most striking and beautiful passages of ancient and modern poetry, history, etc., will render it neither unamusing nor uninstructive to the general reader. The information insinuated into the mind by miscellaneous collections of this nature, is much greater than is usually imagined; and I have been frequently encouraged to proceed by recollecting the benefits which I formerly derived from casual notices scattered over the margin, or dropped at the bottom of a page.

In this compilation, I proceeded on no regular plan, farther than considering what, if I had been a mere English reader, I should wish to have had explained: it is therefore extremely probable, as every rule of this nature must be imperfect, that I have frequently erred; have spoken where I should be silent and been prolix where I should be brief: on the whole, however, I chose to offend on the safer side; and to leave nothingunsaid, at the hazard of sometimes saying too much. Tedious, perhaps, I may be; but, I trust, not dull; and with this negative commendation I must be satisfied. The passages produced are not always translated; but the English reader needs not for that be discouraged in proceeding, as he will frequently find sufficient in the context to give him a general idea of the meaning. In many places I have copied the words, together with the sentiments of the writer; for this, if it call for an apology, I shall take that of Macrobius, who had somewhat more occasion for it than I shall be found to have: "Nec mihi vitio vertas, si res quas ex lectione varia mutuabor, ipsis sæpè verbis quibus ab ipsis auctoribus enarratæ sunt explicabo, quia præsens opus non eloquentiæ ostentationem, sed noscendorum congeriem pollicetur," etc. Saturn., lib. i., c. 1.

I have now said all that occurs to me on this subject: a more pleasing one remains. I can not, indeed, like Dryden, boast of my poetical coadjutors. No Congreves and Creeches have abridged, while they adorned, my labors; yet have I not been without assistance, and of the most valuable kind.

Whoever is acquainted with the habits of intimacy in which I have lived from early youth with the Rev. Dr. Ireland,[31]will not want to be informed of his share in the following pages. To those who are not, it is proper to say, that besides the passages in which he is introduced by name, every other part of the work has been submitted to his inspection. Nor would his affectionate anxiety for the reputation of his friend suffer any part of the translation to appear, without undergoing the strictest revision. His uncommon accuracy, judgment, and learning have been uniformly exerted on it, not less, I am confident, to the advantage of the reader, than to my own satisfaction. It will be seen that we sometimes differ in opinion; but as I usually distrust my own judgment in those cases, the decision is submitted to the reader.

I have also to express my obligations to Abraham Moore, Esq., barrister at law, a gentleman whose taste and learningare well known to be only surpassed by his readiness to oblige: of which I have the most convincing proofs; since the hours dedicated to the following sheets (which I lament that he only saw in their progress through the press) were snatched from avocations as urgent as they were important.

Nor must I overlook the friendly assistance of William Porden, Esq.,[32]which, like that of the former gentleman, was given to me, amid the distraction of more immediate concerns, with a readiness that enhanced the worth of what was, in itself, highly valuable.

A paper was put into my hand by Mr. George Nicol, the promoter of every literary work, from R. P. Knight, Esq., containing subjects for engravings illustrative of Juvenal, and, with singular generosity, offering me the use of his marbles, gems, etc. As these did not fall within my plan, I can only here return him my thanks for a kindness as extraordinary as it was unexpected. But I have other and greater obligations to Mr. Nicol. In conjunction with his son, Mr. William Nicol, he has watched the progress of this work through the press with unwearied solicitude. During my occasional absences from town, the correction of it (for which, indeed, the state of my eyes renders me at all times rather unfit) rested almost solely on him; and it is but justice to add, that his habitual accuracy in this ungrateful employ is not the only quality to which I am bound to confess my obligations.

FOOTNOTES:[16]The origin of this word is now acknowledged to be Roman. Scaliger derived it from σατυρος (satyrus), but Casaubon, Dacier, and others, more reasonably, fromsatura(fem. ofsatur), rich, abounding, full of variety. In this sense it was applied to the lanx or charger, in which the various productions of the soil were offered up to the gods; and thus came to be used for any miscellaneous collection in general.Satura olla, a hotch-potch;saturæ leges, laws comprehending a multitude of regulations, etc. This deduction of the name may serve to explain, in some measure, the nature of the first Satires, which treated of various subjects, and were full of various matters: but enough on this trite topic.[17]It should be observed, however, that the idea was obvious, and the work itself highly necessary. The old Satire, amid much coarse ribaldry, frequently attacked the follies and vices of the day. This could not be done by the comedy which superseded it, and which, by a strange perversity of taste, was never rendered national. Its customs, manners, nay, its very plots, were Grecian; and scarcely more applicable to the Romans than to us.[18]To extend this to Lucilius, as is sometimes done, is absurd, since he evidently had in view the old comedy of the Greeks, of which his Satires, according to Horace, were rigid imitations:"Eupolis atque Cratinus, Aristophanesque poëtæAtque alii, quorum comœdia prisca virorum est;Si quia erat dignus describi, quod malus, aut fur,Quod mœchus foret, aut sicarius, aut alioquiFamosus, multa cum libertate notabant.Hincomnis pendet Lucilius, hosce secutus,Mutatis tantum pedibus, numerisque."Here the matter would seem to be at once determined by a very competent judge. Strip the old Greek comedy of its action, and change the metre from Iambic to Heroic, and you have the Roman Satire! It is evident from this, that, unless two things be granted, first, that the actors in those ancient Satires were ignorant of the existence of the Greek comedy; and, secondly, that Ennius, who knew it well, passed it by for a ruder model; the Romans can have no pretensions to the honor they claim.And even if this be granted, the honor appears to be scarcely worth the claiming; for the Greeks had not only Dramatic, but Lyric and Heroic Satire. To pass by the Margites, what were the Iambics of Archilochus, and the Scazons of Hipponax, but Satires? nay, what were the Silli? Casaubon derives them απο του σιλλαινειν, to scoff, to treat petulantly; and there is no doubt of the justness of his derivation. These little pieces were made up of passages from various poems, which by slight alterations were humorously or satirically applied at will. The Satires of Ennius were probably little more; indeed, we have the express authority of Diomedes the grammarian for it. After speaking of Lucilius, whose writings he derives, with Horace, from the old comedy, he adds, "et olim carmen, quod ex variis poematibus constabat, satira vocabatur; quale scripserunt Pacuvius et Ennius." Modern critics agree in understanding "ex variis poematibus," of various kinds of metre; but I do not see why it may not mean, as I have rendered it, "of various poems;" unless we choose to compliment the Romans, by supposing that what was in the Greeks a mere cento, was in them an original composition.It would scarcely be doing justice, however, to Ennius, to suppose that he did not surpass his models, for, to say the truth, the Greek Silli appear to have been no very extraordinary performances. A few short specimens of them may be seen in Diogenes Laertius, and a longer one, which has escaped the writers on this subject, in Dio Chrysostom. As this is, perhaps, the only Greek Satire extant, it may be regarded as a curiosity; and as such, for as a literary effort it is worth nothing, a short extract from it may not be uninteresting. Sneering at the people of Alexandria, for their mad attachment to chariot-races, etc., he says, this folly of theirs is not ill exposed by one of those scurrilous writers of (Silli, or) parodies: ου κακως τις παρεποιησε των σαπρων τουτων ποιητων·Ἁρματα δ' αλλοτε μεν χθονι πιλνατο πουλυβοτειρῃ,Αλλοτε δ' αεξασκε μετηορα· τοι δε θεαταιΘωκοις εν σφετεροις, ουθ' ἑστασαν, ουδ' εκαθηντο,Χλωροι ὑπαι δειους πεφοβημενοι, ουδ' ὑπο νικεςΑλληλοισι τε κεκλομενοι, και πασι θεοισιΧειρας ανισχοντες, μεγαλ' ευχετοωντο ἑκαστοι.Ἡυτε περ κλαγγη γερανων πελει, ηε κολοιων,Ἁι τ' επει ουν ζυθον τ' επιον, και αθεσπατον οινον,Κλαγγῃ ται γε πετονται απο σταδιοιο κελευθου. κ. τ. λ.Ad Alexand. Orat.xxxii.[19]I doubt whether he was ever a good royalist at heart; he frequently, perhaps unconsciously, betrays a lurking dissatisfaction; but having, as Johnson says of a much greater man, "tasted the honey of favor," he did not choose to return to hunger and philosophy. Indeed, he was not happy; in the country he sighs for the town, in town for the country; and he is always restless, and straining after something which he never obtains. To float, like Aristippus, with the stream, is a bad recipe for felicity; there must be some fixed principle, by which the passions and desires may be regulated.[20]He is careful to disclaim all participation in public affairs. He accompanies Mæcenas in his carriage; but their chat, he wishes it to be believed, is on the common topics of the day, the weather, amusements, etc. Though this may not be strictly true, it is yet probable that politics furnished but a small part of their conversation. That both Augustus and his minister were warmly attached to him, can not be denied; but then it was as to a plaything. In a word, Horace seems to have been the "enfant gaté," of the palace, and was viewed, I believe, with more tenderness than respect.[21]Mr. Drummond has given this passage with equal elegance and truth:"With greater art sly Horace gain'd his end,But spared no failing of his smiling friend;Sportive and pleasant round the heart he play'd,And wrapt in jests the censure he convey'd;With such address his willing victims seized,That tickled fools were rallied, and were pleased."[22]Dusaulx accounts for this by the general consternation. Most of those, he says, distinguished for talents or rank, took refuge in the school of Zeno; not so much to learn in it how to live, as how to die. I think, on the contrary, that this would rather have driven them into the arms of Epicurus. "Let us eat and drink, for to-morrow we die," will generally be found, I believe, to be the maxim of dangerous times. It would not be difficult to show, if this were the place for it, that the prevalency of Stoicism was due to the increase of profligacy, for which it furnished a convenient cloak. This, however, does not apply to Persius.[23]I believe that Juvenal meant to describe himself in the following spirited picture of Lucilius:"Ense velut stricto quoties Lucilius ardensInfremuit, rubet auditor, cui frigida mens estCriminibus, tacita sudant præcordia culpa."[24]This is an error which has been so often repeated, that it is believed. What liberty was destroyed by the usurpation of Augustus? For more than half a century, Rome had been a prey to ambitious chiefs, while five or six civil wars, each more bloody than the other, had successively delivered up the franchises of the empire to the conqueror of the day. The Gracchi first opened the career to ambition, and wanted nothing but the means of corruption, which the East afterward supplied, to effect what Marius, Sylla, and the two triumvirates brought about with sufficient ease.[25]This is a very strange observation. It looks as if Dusaulx had leaped from the times of old Metellus to those of Augustus, without casting a glance at the interval. The chef d'œuvres of Roman literature were in every hand, when he supposed them to be neglected: and, indeed, if Horace had left us nothing, the qualities of which Dusaulx speaks might still be found in many works produced before he was known.[26]I have often wished that we had some of the pleadings of Juvenal. It can not be affirmed, I think, that there is any natural connection between prose and verse in the same mind, though it may be observed, that most of our celebrated poets have written admirably "solutâ oratione:" yet if Juvenal's oratory bore any resemblance to his poetry, he yielded to few of the best ornaments of the bar. The "torrens dicendi copia" was his, in an eminent degree; nay, so full, so rich, so strong, and so magnificent is his eloquence, that I have heard one well qualified to judge, frequently declare that Cicero himself, in his estimation, could hardly be said to surpass him.[27]With all my respect for the learning of the good old man, it is impossible, now and then, to suppress a smile at his simplicity. In apologizing for his translation, he says: "As for publishing poetry, it needs no defense; there being, if my Lord of Verulam's judgment shall be admitted, 'adivine rapturein it!'"[28]He evidently alludes to the versions of the second and eighth Satires by Tate and Stepney, but principally to the latter, in which Juvenal illustrates his argument by the practice of Smithfield and Newmarket! Indeed, Dryden himself, though confessedly aware of its impropriety, is not altogether free from "innovation;" he talks of the Park, and the Mall, and the Opera, and of many other objects, familiar to the translator, but which the original writer could only know by the spirit of prophecy.I am sensible how difficult it is to keep the manners of different ages perfectly distinct in a work like this: I have never knowingly confounded them, and, I trust, not often inadvertently; yet more occasions perhaps of exercising the reader's candor will appear, after all, than are desirable.[29]Yet Johnson knew him well. The peculiarity of Juvenal, he says (vol. ix., p. 424), "is a mixture of gayety and stateliness, of pointed sentences, and declamatory grandeur." A good idea of it may be formed from his own beautiful imitation of the third Satire. His imitation of the tenth (still more beautiful as a poem) has scarcely a trait of the author's manner—that is to say, of that "mixture of gayety and stateliness," which, according to his own definition, constitutes the "peculiarity of Juvenal." "The Vanity of Human Wishes" is uniformly stately and severe, and without those light and popular strokes of sarcasm which abound so much in his "London."[30]In the fourteenth Satire, for example, there is an omission of fifteen lines, and this, too, in a passage of singular importance.[31]Sub-Dean and Prebendary of Westminster, and Vicar of Croydon, in Surrey.[32]The architect of Eton Hall, Cheshire, a structure which even now stands pre-eminent among the works which embellish the nation, and which future times will contemplate with equal wonder and delight.

[16]The origin of this word is now acknowledged to be Roman. Scaliger derived it from σατυρος (satyrus), but Casaubon, Dacier, and others, more reasonably, fromsatura(fem. ofsatur), rich, abounding, full of variety. In this sense it was applied to the lanx or charger, in which the various productions of the soil were offered up to the gods; and thus came to be used for any miscellaneous collection in general.Satura olla, a hotch-potch;saturæ leges, laws comprehending a multitude of regulations, etc. This deduction of the name may serve to explain, in some measure, the nature of the first Satires, which treated of various subjects, and were full of various matters: but enough on this trite topic.

[17]It should be observed, however, that the idea was obvious, and the work itself highly necessary. The old Satire, amid much coarse ribaldry, frequently attacked the follies and vices of the day. This could not be done by the comedy which superseded it, and which, by a strange perversity of taste, was never rendered national. Its customs, manners, nay, its very plots, were Grecian; and scarcely more applicable to the Romans than to us.

[18]To extend this to Lucilius, as is sometimes done, is absurd, since he evidently had in view the old comedy of the Greeks, of which his Satires, according to Horace, were rigid imitations:"Eupolis atque Cratinus, Aristophanesque poëtæAtque alii, quorum comœdia prisca virorum est;Si quia erat dignus describi, quod malus, aut fur,Quod mœchus foret, aut sicarius, aut alioquiFamosus, multa cum libertate notabant.Hincomnis pendet Lucilius, hosce secutus,Mutatis tantum pedibus, numerisque."Here the matter would seem to be at once determined by a very competent judge. Strip the old Greek comedy of its action, and change the metre from Iambic to Heroic, and you have the Roman Satire! It is evident from this, that, unless two things be granted, first, that the actors in those ancient Satires were ignorant of the existence of the Greek comedy; and, secondly, that Ennius, who knew it well, passed it by for a ruder model; the Romans can have no pretensions to the honor they claim.And even if this be granted, the honor appears to be scarcely worth the claiming; for the Greeks had not only Dramatic, but Lyric and Heroic Satire. To pass by the Margites, what were the Iambics of Archilochus, and the Scazons of Hipponax, but Satires? nay, what were the Silli? Casaubon derives them απο του σιλλαινειν, to scoff, to treat petulantly; and there is no doubt of the justness of his derivation. These little pieces were made up of passages from various poems, which by slight alterations were humorously or satirically applied at will. The Satires of Ennius were probably little more; indeed, we have the express authority of Diomedes the grammarian for it. After speaking of Lucilius, whose writings he derives, with Horace, from the old comedy, he adds, "et olim carmen, quod ex variis poematibus constabat, satira vocabatur; quale scripserunt Pacuvius et Ennius." Modern critics agree in understanding "ex variis poematibus," of various kinds of metre; but I do not see why it may not mean, as I have rendered it, "of various poems;" unless we choose to compliment the Romans, by supposing that what was in the Greeks a mere cento, was in them an original composition.It would scarcely be doing justice, however, to Ennius, to suppose that he did not surpass his models, for, to say the truth, the Greek Silli appear to have been no very extraordinary performances. A few short specimens of them may be seen in Diogenes Laertius, and a longer one, which has escaped the writers on this subject, in Dio Chrysostom. As this is, perhaps, the only Greek Satire extant, it may be regarded as a curiosity; and as such, for as a literary effort it is worth nothing, a short extract from it may not be uninteresting. Sneering at the people of Alexandria, for their mad attachment to chariot-races, etc., he says, this folly of theirs is not ill exposed by one of those scurrilous writers of (Silli, or) parodies: ου κακως τις παρεποιησε των σαπρων τουτων ποιητων·Ἁρματα δ' αλλοτε μεν χθονι πιλνατο πουλυβοτειρῃ,Αλλοτε δ' αεξασκε μετηορα· τοι δε θεαταιΘωκοις εν σφετεροις, ουθ' ἑστασαν, ουδ' εκαθηντο,Χλωροι ὑπαι δειους πεφοβημενοι, ουδ' ὑπο νικεςΑλληλοισι τε κεκλομενοι, και πασι θεοισιΧειρας ανισχοντες, μεγαλ' ευχετοωντο ἑκαστοι.Ἡυτε περ κλαγγη γερανων πελει, ηε κολοιων,Ἁι τ' επει ουν ζυθον τ' επιον, και αθεσπατον οινον,Κλαγγῃ ται γε πετονται απο σταδιοιο κελευθου. κ. τ. λ.Ad Alexand. Orat.xxxii.

[18]To extend this to Lucilius, as is sometimes done, is absurd, since he evidently had in view the old comedy of the Greeks, of which his Satires, according to Horace, were rigid imitations:

"Eupolis atque Cratinus, Aristophanesque poëtæAtque alii, quorum comœdia prisca virorum est;Si quia erat dignus describi, quod malus, aut fur,Quod mœchus foret, aut sicarius, aut alioquiFamosus, multa cum libertate notabant.Hincomnis pendet Lucilius, hosce secutus,Mutatis tantum pedibus, numerisque."

Here the matter would seem to be at once determined by a very competent judge. Strip the old Greek comedy of its action, and change the metre from Iambic to Heroic, and you have the Roman Satire! It is evident from this, that, unless two things be granted, first, that the actors in those ancient Satires were ignorant of the existence of the Greek comedy; and, secondly, that Ennius, who knew it well, passed it by for a ruder model; the Romans can have no pretensions to the honor they claim.

And even if this be granted, the honor appears to be scarcely worth the claiming; for the Greeks had not only Dramatic, but Lyric and Heroic Satire. To pass by the Margites, what were the Iambics of Archilochus, and the Scazons of Hipponax, but Satires? nay, what were the Silli? Casaubon derives them απο του σιλλαινειν, to scoff, to treat petulantly; and there is no doubt of the justness of his derivation. These little pieces were made up of passages from various poems, which by slight alterations were humorously or satirically applied at will. The Satires of Ennius were probably little more; indeed, we have the express authority of Diomedes the grammarian for it. After speaking of Lucilius, whose writings he derives, with Horace, from the old comedy, he adds, "et olim carmen, quod ex variis poematibus constabat, satira vocabatur; quale scripserunt Pacuvius et Ennius." Modern critics agree in understanding "ex variis poematibus," of various kinds of metre; but I do not see why it may not mean, as I have rendered it, "of various poems;" unless we choose to compliment the Romans, by supposing that what was in the Greeks a mere cento, was in them an original composition.

It would scarcely be doing justice, however, to Ennius, to suppose that he did not surpass his models, for, to say the truth, the Greek Silli appear to have been no very extraordinary performances. A few short specimens of them may be seen in Diogenes Laertius, and a longer one, which has escaped the writers on this subject, in Dio Chrysostom. As this is, perhaps, the only Greek Satire extant, it may be regarded as a curiosity; and as such, for as a literary effort it is worth nothing, a short extract from it may not be uninteresting. Sneering at the people of Alexandria, for their mad attachment to chariot-races, etc., he says, this folly of theirs is not ill exposed by one of those scurrilous writers of (Silli, or) parodies: ου κακως τις παρεποιησε των σαπρων τουτων ποιητων·

Ἁρματα δ' αλλοτε μεν χθονι πιλνατο πουλυβοτειρῃ,Αλλοτε δ' αεξασκε μετηορα· τοι δε θεαταιΘωκοις εν σφετεροις, ουθ' ἑστασαν, ουδ' εκαθηντο,Χλωροι ὑπαι δειους πεφοβημενοι, ουδ' ὑπο νικεςΑλληλοισι τε κεκλομενοι, και πασι θεοισιΧειρας ανισχοντες, μεγαλ' ευχετοωντο ἑκαστοι.Ἡυτε περ κλαγγη γερανων πελει, ηε κολοιων,Ἁι τ' επει ουν ζυθον τ' επιον, και αθεσπατον οινον,Κλαγγῃ ται γε πετονται απο σταδιοιο κελευθου. κ. τ. λ.Ad Alexand. Orat.xxxii.

[19]I doubt whether he was ever a good royalist at heart; he frequently, perhaps unconsciously, betrays a lurking dissatisfaction; but having, as Johnson says of a much greater man, "tasted the honey of favor," he did not choose to return to hunger and philosophy. Indeed, he was not happy; in the country he sighs for the town, in town for the country; and he is always restless, and straining after something which he never obtains. To float, like Aristippus, with the stream, is a bad recipe for felicity; there must be some fixed principle, by which the passions and desires may be regulated.

[20]He is careful to disclaim all participation in public affairs. He accompanies Mæcenas in his carriage; but their chat, he wishes it to be believed, is on the common topics of the day, the weather, amusements, etc. Though this may not be strictly true, it is yet probable that politics furnished but a small part of their conversation. That both Augustus and his minister were warmly attached to him, can not be denied; but then it was as to a plaything. In a word, Horace seems to have been the "enfant gaté," of the palace, and was viewed, I believe, with more tenderness than respect.

[21]Mr. Drummond has given this passage with equal elegance and truth:"With greater art sly Horace gain'd his end,But spared no failing of his smiling friend;Sportive and pleasant round the heart he play'd,And wrapt in jests the censure he convey'd;With such address his willing victims seized,That tickled fools were rallied, and were pleased."

[21]Mr. Drummond has given this passage with equal elegance and truth:

"With greater art sly Horace gain'd his end,But spared no failing of his smiling friend;Sportive and pleasant round the heart he play'd,And wrapt in jests the censure he convey'd;With such address his willing victims seized,That tickled fools were rallied, and were pleased."

[22]Dusaulx accounts for this by the general consternation. Most of those, he says, distinguished for talents or rank, took refuge in the school of Zeno; not so much to learn in it how to live, as how to die. I think, on the contrary, that this would rather have driven them into the arms of Epicurus. "Let us eat and drink, for to-morrow we die," will generally be found, I believe, to be the maxim of dangerous times. It would not be difficult to show, if this were the place for it, that the prevalency of Stoicism was due to the increase of profligacy, for which it furnished a convenient cloak. This, however, does not apply to Persius.

[23]I believe that Juvenal meant to describe himself in the following spirited picture of Lucilius:"Ense velut stricto quoties Lucilius ardensInfremuit, rubet auditor, cui frigida mens estCriminibus, tacita sudant præcordia culpa."

[23]I believe that Juvenal meant to describe himself in the following spirited picture of Lucilius:

"Ense velut stricto quoties Lucilius ardensInfremuit, rubet auditor, cui frigida mens estCriminibus, tacita sudant præcordia culpa."

[24]This is an error which has been so often repeated, that it is believed. What liberty was destroyed by the usurpation of Augustus? For more than half a century, Rome had been a prey to ambitious chiefs, while five or six civil wars, each more bloody than the other, had successively delivered up the franchises of the empire to the conqueror of the day. The Gracchi first opened the career to ambition, and wanted nothing but the means of corruption, which the East afterward supplied, to effect what Marius, Sylla, and the two triumvirates brought about with sufficient ease.

[25]This is a very strange observation. It looks as if Dusaulx had leaped from the times of old Metellus to those of Augustus, without casting a glance at the interval. The chef d'œuvres of Roman literature were in every hand, when he supposed them to be neglected: and, indeed, if Horace had left us nothing, the qualities of which Dusaulx speaks might still be found in many works produced before he was known.

[26]I have often wished that we had some of the pleadings of Juvenal. It can not be affirmed, I think, that there is any natural connection between prose and verse in the same mind, though it may be observed, that most of our celebrated poets have written admirably "solutâ oratione:" yet if Juvenal's oratory bore any resemblance to his poetry, he yielded to few of the best ornaments of the bar. The "torrens dicendi copia" was his, in an eminent degree; nay, so full, so rich, so strong, and so magnificent is his eloquence, that I have heard one well qualified to judge, frequently declare that Cicero himself, in his estimation, could hardly be said to surpass him.

[27]With all my respect for the learning of the good old man, it is impossible, now and then, to suppress a smile at his simplicity. In apologizing for his translation, he says: "As for publishing poetry, it needs no defense; there being, if my Lord of Verulam's judgment shall be admitted, 'adivine rapturein it!'"

[28]He evidently alludes to the versions of the second and eighth Satires by Tate and Stepney, but principally to the latter, in which Juvenal illustrates his argument by the practice of Smithfield and Newmarket! Indeed, Dryden himself, though confessedly aware of its impropriety, is not altogether free from "innovation;" he talks of the Park, and the Mall, and the Opera, and of many other objects, familiar to the translator, but which the original writer could only know by the spirit of prophecy.I am sensible how difficult it is to keep the manners of different ages perfectly distinct in a work like this: I have never knowingly confounded them, and, I trust, not often inadvertently; yet more occasions perhaps of exercising the reader's candor will appear, after all, than are desirable.

I am sensible how difficult it is to keep the manners of different ages perfectly distinct in a work like this: I have never knowingly confounded them, and, I trust, not often inadvertently; yet more occasions perhaps of exercising the reader's candor will appear, after all, than are desirable.

[29]Yet Johnson knew him well. The peculiarity of Juvenal, he says (vol. ix., p. 424), "is a mixture of gayety and stateliness, of pointed sentences, and declamatory grandeur." A good idea of it may be formed from his own beautiful imitation of the third Satire. His imitation of the tenth (still more beautiful as a poem) has scarcely a trait of the author's manner—that is to say, of that "mixture of gayety and stateliness," which, according to his own definition, constitutes the "peculiarity of Juvenal." "The Vanity of Human Wishes" is uniformly stately and severe, and without those light and popular strokes of sarcasm which abound so much in his "London."

[30]In the fourteenth Satire, for example, there is an omission of fifteen lines, and this, too, in a passage of singular importance.

[31]Sub-Dean and Prebendary of Westminster, and Vicar of Croydon, in Surrey.

[32]The architect of Eton Hall, Cheshire, a structure which even now stands pre-eminent among the works which embellish the nation, and which future times will contemplate with equal wonder and delight.

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