more particularly at the epic poetry: Which was not improper: For, 1. The drama, which he was about to criticize, had its rise and origin from the epos. Thus we are told by the great critic, that Homer was the first who invented dramatic imitations, μόνος — ὅτι μιμήσεις δραματικὰς ἐποίησε. And to the same purpose Plato : ἔοικε μὲν τῶν καλῶν ἁπάλων τέτων τῶν τραγικῶν πρῶτος διδάσκαλος καὶ ἡγεμὼν γενέσθαι [Όμηρος.] De Rep. l. x. Hence, as our noble critic observes, "There was no more "left for tragedy to do after him, than to erect a stage, and draw his dialogues and characters into scenes; turning in the same manner upon one principal action or event, with regard to place "and time, which was suitable to a real spectacle."

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[Characterist. vol. i. p. 198.] 2. The several censures, here pointed at the epic, would bear still more directly against the tragic poem; it being more glaringly inconsistent with the genius of the drama to admit of foreign and digressive ornaments, than of the extended, episodical epopeia. For both these reasons it was altogether pertinent to the poet's purpose, in a criticism on the drama, to expose the vicious practice of the epic models. Though, to preserve the unity of his piece, and for the reason before given in note on v. 1. he hath artfully done this under the cover of general criticism.

19. SED NUNC NON ERAT HIS LOCUS.] If one was to apply this observation to our dramatic writ

ings, I know of none which would afford pleasanter instances of the absurdity, here exposed, than the famous ORPHAN of Otway. Which, notwithstanding its real beauties, could hardly have taken so prodigiously, as it hath done, on our stage, if there were not somewhere a defect of good taste as well as of good morals.

23. DENIQUE SIT QUIDVIS: SIMPLEX DUNTAXAT ET UNUM.] Is not it strange that he, who delivered this rule in form, and, by his manner of delivering it, appears to have laid the greatest stress upon it, should be thought capable of paying no attention to it himself, in the conduct of this epistle?

25-28. BREVIS ESSE LABORO, OBSCURUS FIO: SECTANTEM LENIA NERVI DEFICIUNT ANIMIQUE : PROFESSUS GRANDIA TURGET: SERPIT HUMI TUTUS NIMIUM TIMIDUSQUE PROCELLAE.] If these characters were to be exemplified in our own poets, of reputation, the first, I suppose, might be justly applied to Donne; the second, to Parnell; the third, to Thomson; and the fourth, to Addison. As to the two following lines:

Qui variare cupit rem prodigialiter unam, Delphinum silvis adpingit, fluctibus aprum ; they are applicable to so many of our poets, that, to keep the rest in countenance, I will but just mention Shakespear himself; who, to enrich his scene with that variety, which his exuberant genius

so largely supplied, hath deformed his best plays with these prodigious incongruities.

29. QUI VARIARE CUPIT REM PRODIGIALITER UNAM, &c.] Though I agree with M. Dacier that prodigialiter is here used in a good sense, yet the word is so happily chosen by our curious speaker as to carry the mind to that fictitious monster, under which he had before allusively shadowed out the idea of absurd and inconsistent composition, in v. 1. The application, however, differs in this, that, whereas the monster, there painted, was intended to expose the extravagance of putting together incongruous parts, without any reference to a whole, this prodigy is designed to characterize a whole, but deformed by the ill-judged position of its parts. The former is like a monster, whose several members, as of right belonging to different animals, could, by no disposition, be made to constitute one consistent animal. The other, like a landskip, which hath no objects absolutely irrelative, or irreducible to a whole, but which a wrong position of the parts only renders prodigious. Send the boar to the woods; and the dolphin to the waves; and the painter might shew them both on the same canvass.

Each is a violation of the law of unity, and a real monster: the one, because it contains an assemblage of naturally incoherent parts; the other, because its parts, though in themselves coherent, are misplaced, and disjointed.

34. INFELIX OPERIS SUMMA: QUIA PONERE TOTUM NESCIET.] This observation is more particularly applicable to dramatic poetry, than to any other, an unity and integrity of action being of its very essence. The poet illustrates his observation very happily in the case of statuary; but it holds of every other art, that hath a whole for its object. Nicias, the painter, used to say, "That the subject was to him, what the fable is to the poet." Which is just the sentiment of Horace, reversed. For by the subject is meant the whole of the painter's plan, the totum, which it will be impossible for those to express, who lay out their pains so solicitously in finishing single parts. Thus, to take an obvious example, the landskip-painter is to draw together, and form into one entire view, certain. beautiful, or striking objects. This is his main care. It is not even essential to the merit of his piece, to labour, with extreme exactness, the principal constituent parts. But for the rest, a shrub or flower, a straggling goat or sheep, these may be touched very negligently. We have a great modern instance. Few painters have obliged us with finer scenes, or have possessed the art of combining woods, lakes, and rocks, into more agreeable pictures, than G. POUSSIN: Yet his animals are observed to be scarce worthy an ordinary artist. The use of these is simply to decorate the scene; and so their beauty depends, not on the truth and correct

a See Victor. Comm, in Dem. Phaler. p. 73. Florent. 1594.

ness of the drawing, but on the elegance of their disposition only. For, in a landskip, the eye carelessly glances over the smaller parts, and regards them only in reference to the surrounding objects. The painter's labour therefore is lost, or rather misemployed, to the prejudice of the whole, when it strives to finish, so minutely, particular objects. If some great masters have shewn themselves ambitious of this fame, the objects, they have laboured, have been always such, as are most considerable in themselves, and have, besides, an effect in illustrating and setting off the entire scenery. It is chiefly in this view, that Ruisdale's waters, and Claude Lorain's skies are 'so admirable.

40.—CUI LECTA potenter erit rES.] Potenter i. e. xalà dúvapy, Lambin: which gives a pertinent sense, but without justifying the expression. The learned editor of Statius proposes to read pudenter, a word used by Horace on other occasions, and which suits the meaning of the place, as well. A similar passage in the epistle to Augustus adds some weight to this conjecture;

nec meus audet

REM tentare PUDOR, quam vires ferre recusent.

45. Hoc AMET, HOC SPERNAT, PROMISSI CARMINIS AUCTOR-IN VERBIS ETIAM TENUIS CAUTUSQUE SERENDIS.] Dr. Bentley hath inverted the order of these two lines; not merely, as I conceive, without