Works of John Dryden: Volume 4 Poems, 1693–1696 [Reprint 2020 ed.] 9780520905245

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T H E

WORKS

OF

General H. T .

JOHN

Editor

SWEDENBERG,

Associate

General

GEORGE

R.

Textual VINTON

DRYDEN

A.

JR.

Editor

GUFFEY

Editor DEARING

V O L U M E

FOUR

EDITORS

A. B. Chambers

William

TEXTUAL

EDITOR

Vinton A.

Dearing

Frost

FRONTISPIECE OF THE SECOND EDITION ( 1 6 9 7 ) OF The (MACDONALD

30B)

Satires

VOLUME

IV

The Works of John Dryden

Poems 1693-1696

University of California Press Berkeley

Los Angeles

1974

London

UNIVERSITY OF C A L I F O R N I A

Berkeley and Los Angeles,

PRESS

California

UNIVERSITY OF C A L I F O R N I A PRESS, LTD.

London,

England

The copy texts oj this edition have been drawn in the main from the Dryden Collection of the William Andretvs Clark Memorial Library

Copyright

© 1974 by The Regents of the University of California Printed in the United States of America ISBN: 0-520-02120-7 Library of Congress Catalog Card Number: 55-7149 Designed by Ward Ritchie

22 21 20 19 18 10987654

Preface The works collected in the present volume include Dryden's longest (and, some think, his strongest) essay, the Discourse of Satire; his translations of Juvenal and Persius; a large part of his Ovid and a foretaste of his Virgil; plus examples of his unflagging ability to produce new original poetry of characteristic Drydenian distinction during the last decade of his life. The editors have divided their tasks as follows: A. B. Chambers has prepared the Latin texts to accompany the Juvenal and Persius translations and has annotated the translations; William Frost has annotated the rest of the items in the volume, including the Discourse of Satire; and Vinton A. Dearing, Textual Editor of the edition, has been responsible for all the texts of the Dryden items included here. The editors are especially grateful for much valuable assistance and advice from the General Editor, H. T. Swedenberg, Jr., and from Earl Miner, Associate General Editor at the time of the preparation of the commentary; as rocll as for the shrewd and knowledgeable asides of Mrs. Geneva Phillips, by now a formidably experienced Drydenist, who serves as editorial assistant of the edition. For special aid of various sorts we wish to thank two Santa Barbara classicists, Professors Howard Clarke and Alva Bennett, the latter of whom has been especially helpful with a number of points relating to Renaissance Latin. We are especially indebted for courteous and obliging help to the staff of the following libraries: the William Andrews Clark Memorial Library, the University of California libraries at Los Angeles and Santa Barbara, the University of Wisconsin Library, the Henry E. Huntington Library, the Bodleian Library, and the British Museum. The libraries of many other universities and institutions have also assisted us in the gathering of texts for comparison and in the provision of other necessary kinds of information. Our gratitude also is due the University of California Press for making it possible for us, once again, to benefit from the invaluable editing skill of Mrs. Grace H. Stimson. Work on this volume of the edition has been greatly facili-

vi

Preface

tated by an ACLS research fellowship, by annual grants from the UCLA and UCSB research committees, by a summer fellowship from the University of California's Humanities Institute, and by the support of the Institute for Research in the Humanities at the University of Wisconsin. Finally, much is owed to the devoted labors, over a period of several years, of the following graduate research assistants of the UCLA and UCSB departments of English: Les Baker, Laurence Behrens, Patricia Brereton, Diane Eliel, Michael Foote, Phillip Glenn, George Holland, Shirley Horowitz, Jon Kite, A dele Kraus, Kay Lanier, David Latt, Janette Lewis, Mildred Linn, David McCarthy, James McCord, Melanie Rangno, Michael Seidel, Michael Villeneuve, William White, Jane Abelson, Lynda Boose, Sherron Knopp, and (especially) Karin Myers.

A. B. C. W. F. January 1973

Contents Contributions to The Satires of Decimus Junius Juvenalis. Together with the Satires of Aulus Persius Flaccus Discourse concerning the Original and Progress of Satire

3

The First Satyr of Juvenal D. Junii Juvenalis Satyrae: Satyra I

91 98

The Third Satyr of Juvenal Satyra III

111 112

The Sixth Satyr of Juvenal

145

Satyra VI

148

The Tenth Satyr of Juvenal

205

Satyra X

206

The Sixteenth Satyr of Juvenal Satyra XVI

245 246

Auli Persi Flacci Satirae: Satira I The First Satyr of Persius

254 255

The Second Satyr of Persius Satira II

281 282

The Third Satyr of Persius Satira III

293 294

The Fourth Satyr of Persius Satira IV

311 312

The Fifth Satyr of Persius Satira V

323 324

The Sixth Satyr of Persius Satira VI

347 348

Contributions to Examen Poeticum Dedication 363 The First Book of Ovid's Metamorphoses 376 The Fable of Iphis and Ianthe. From the Ninth Book of the Metamorphoses 408 The Fable of Acis, Polyphemus, and Galatea. From the Thirteenth Book of the Metamorphoses 414

Contents

viii

Song to a Fair, Young Lady, Going out of the Town in the Spring Veni Creator Spiritus, Translated in Paraphrase

421 422

Rondelay

424

The Last parting of Hector and Andromache. Sixth Book of Homer's Iliads

From

To my Dear Friend Mr. Congieve, on His Comedy, call'd,

the 425 The

Double-Dealer

432

Contributions to The Annual Miscellany: The Third Book of Virgil's Georgicks

For the Year 1694

To Sir Godfrey Kneller

436 461

An Ode, on the Death of Mr. Henry Purcell; Late Servant to his Majesty, and Organist of the Chapel Royal, and of St. Petefs Westminster 468 Preface and Epilogue to The Husband His own Cuckold The Preface of Mr. Dryden, to his Son's Play 471 Epilogue Ovid's Amours Book I. Elegy I Book I. Elegy IV Ovid's Art of Love. Book I Commentary Textual Notes Appendix: William Congreve's Poem on Diyden's

Persius

Index to the Commentary

473 475 476 480 507 777 Commendatory 809 811

Illustrations Juvenal The Satires Juvenal, Satire I Juvenal, Satire III Juvenal, Satire VI Juvenal, Satire X Juvenal, Satire X VI PAGE OF The Satires

T I T L E P A G E OF

Engraving Engraving Engraving Engraving Engraving

for for for for for

PART-TITLE

Persius T I T L E PAGE OF T I T L E PAGE OF

Frontispiece s Facing page 91 Facing page 1 1 1 Facing page 1 4 5 Facing page 205 Facing page 245 253

Facing page Examen Poeticum Annual Miscellany: For the Year 1694

An Ode, on the Death of Mr. Henry Purcell Henry Purcell Facing Page T I T L E PAGE OF The Husband His own Cuckold T I T L E PAGE OF The Art of Love T I T L E PAGE OF

255

362

435 467 467 470

479

T H E

SATIRES O F

Decimus Junius Juvenalis. Tranflated into

ENGLISH VERSE B Y

Mr. DRY DEN, A N D

Several other Eminent Hands. Together with the

SATIRES O F

Aulus Perfius Flaccus. Made Engliih by Mr. Dryden. With Explanatory Note* «t the end of etch

SATIRE.

T o which is Prefix'd a Difcourfe concerning the Original and Progrcfi of S A T I R E Dedicated to the Right Honourable Earl of fire. By Mr.

Dtrfet,

Printed

Cbiriet PR TP Bit. QaktmJ Mm* btmiatt, v*tm, thntr, in, vtluftv, Qtttdit, Mfitrfu, mfiri iflf*rr*g> libtli. l o ND o for •Jasti Tmfin ut the Jn^-Hfd in Chtntty-Um, FlntJhM M DC XCIII.

nwr

Fwlr Where you may have Complcat S«U of Mr. Dry i n ' i Works Volume» in Qjiirto, the PUyi being pot in the order they were Written.

T I T L E P A G E OF T H E F I R S T EDITION ( M A C D O N A L D 3 0 A )

Discourse

of

Satire

3

Contributions to T h e Satires of Decimus Junius Juvenalis. Together with the Satires of Aulus Persius Flaccus Discourse concerning the and Progress of Satire

Original

T o the Right Honourable Charles, Earl of Dorset and Middlesex, Lord Chamberlain of Their Majesties Household: Knight of the Most Noble Order of the Garter, &c. My Lord, HE Wishes and Desires of all good Men, which have attended your Lordship from your First appearance in the World, are at length accomplish'd in your obtaining those Honours and Dignities, which you have so long deserv'd. There are no Factions, tho irreconcilable to one another, that are not united in their Affection to you, and the Respect they pay you. They are equally pleas'd in your Prosperity, and wou'd be equally concern'd in your Afflictions. Titus Vespasian was not more the Delight of Human-kind. T h e Universal Empire made him only more known, and more Powerful, but cou'd not make him more belov'd. He had greater Ability of doing Good, but your Inclination to it, is not less; And tho' you could not extend your Beneficence to so many Persons, yet you have lost as few days as that Excellent Emperour; and never had his Complaint to make when you went to Bed, that the Sun had shone upon you in vain, when you had the Opportunity of relieving some unhappy man. This, My Lord, has justly acquir'd you as many Friends, as there are Persons who have the Honour to be known to you: Meer Acquaintance you have none: You have drawn them all into a nearer Line: And they who have Convers'd with you, are for ever after inviolably yours. This is a

T

4

Poems

1693-1696

T r u t h so generally acknowledg'd, that it needs no Proof: 'Tis of the Nature of a first Principle, which is receiv'd as soon as it is propos'd; and needs not the Reformation which Descartes us'd to his: For we doubt not, neither can we properly say, we think we admire and love you, above all other men: There is a certainty in the Proposition, and we know it. With the same Assurance I can say, you neither have Enemies, nor can scarce have any; for they who have never heard of you, can neither Love or Hate you: And they who have, can have no other notion of you, than that which they receive from the Publick, that you are the best of Men. After this, my Testimony can be of no farther use, than to declare it to be Day-light at High-Noon: And all who have the benefit of sight, can look up, as well, and see the Sun. 'Tis true, I have one Priviledge which is almost particular to my self, that I saw you in the East at your first arising above the Hemisphere: I was as soon Sensible as any Man of that Light, when it was but just shooting out, and beginning to Travel upwards to the Meridian. I made my early Addresses to your Lordship, in my Essay of Dramatick Poetry; and therein bespoke you to the World: Wherein, I have the right of a First Discoverer. When I was my self, in the Rudiments of my Poetry, without Name, or Reputation in the World, having rather the Ambition of a Writer, than the skill; when I was Drawing the OutLines of an Art without any Living Master to Instruct me in it; an Art which had been better Practis'd than Study'd here in England, wherein Shakespear who Created the Stage among us, had rather Written happily, than knowingly and justly; and Johnson, who by studying Horace, had been acquainted with the Rules, yet seem'd to envy to Posterity that Knowledge, and like an Inventer of some useful Art, to make a Monopoly of his Learning: W h e n thus, as I may say, before the use of the Loadstone, or knowledge of the Compass, I was sailing in a vast i acknowledg'd] O; acknowedg'd F. [Fluctuations in texts cited are explained in the T e x t u a l Notes.] 15 East] East F, O . 19 Essay of Dramatick Poetry] Essay of Dramatick Poetry F, O. 85 Practis'd] Fm (practisd); Prais'd F, O. 30 Art,] comma failed to print in some copies of F.

Discourse

of

Satire

5

Ocean, without other help, than the Pole-Star of the Ancients, and the Rules of the French Stage amongst the Moderns, which are extreamly different from ours, by reason of their opposite taste; yet even then, I had the presumption to Dedicate to your Lordship: A very unfinish'd Piece, I must Confess, and which only can be excus'd, by the little Experience of the Author, and the Modesty of the Title, An Essay. Yet I was stronger in Prophecy than I was in Criticism: I was Inspir'd to foretell you to Mankind, as the Restorer of Poetry, the greatest Genius, the truest Judge, and the best Patron. Good Sence and good Nature, are never separated, tho' the Ignorant World has thought otherwise. Good Nature, by which I mean Beneficence and Candor, is the Product of right Reason: Which of necessity will give Allowance to the Failings of others, by considering that there is nothing perfect in Mankind; and by distinguishing that which comes nearest to Excellency, tho not absolutely free from Faults, will certainly produce a Candor in the Judge. 'Tis incident to an Elevated Understanding, like your Lordships, to find out the Errors of other men: But 'tis your Prerogative to pardon them; to look with Pleasure on those things, which are somewhat Congenial, and of a remote Kindred to your own Conceptions: And to forgive the many Failings of those, who with their wretched Art, cannot arrive to those Heights that you possess, from a happy, abundant, and Native Genius: Which are as inborn to you, as they were to Shakespear; and for ought I know to Homer; in either of whom we find all Arts and Sciences, all Moral and Natural Philosophy, without knowing that they ever Study'd them. There is not an English Writer this day living, who is not perfectly convinc'd, that your Lordship excels all others, in all the several parts of Poetry which you have undertaken to adorn. T h e most Vain, and the most Ambitious of our Age have not dar'd to assume so much, as the Competitours of Themistocles: T h e y have yielded the first place, without dispute; and have been arrogantly content, to be esteem'd as second to your Lordship; and even that also, with a Longo, sed proximi Intervallo.

25 Genius:] — F, O.

29

English]

O; English 1".

6

Poems

1693-1696

If there have been, or are any, who go farther in their Selfconceipt, they must be very singular in their Opinion: They must be like the Officer, in a Play, who was call'd Captain, Lieutenant, and Company. T h e World will easily conclude, whether such unattended Generals can ever be capable of making a Revolution in Parnassus. I will not attempt in this place, to say any thing particular of your Lyrick Poems, though they are the Delight and Wonder of this Age, and will be the Envy of the next. T h e Subject of this Book confines me to Satire: And in that, an Author of your own Quality, (whose Ashes I will not disturb,) has given you all the Commendation, which his self-sufficiency cou'd afford to any Man: The best Good Man, with the worst-Natur'd Muse: (In that Character, methinks I am reading Johnson's Verses to the Memory of Shakespear:) A n Insolent, Sparing, and Invidious Panegyrick: Where good Nature, the most God-like Commendation of a Man, is only attributed to your Person, and deny'd to your Writings: for they are every where so full of Candour, that like Horace, you only expose the Follies of Men, without Arraigning their Vices; and in this excel him, T h a t You add that pointedness of Thought, which is visibly wanting in our Great Roman. There is more of Salt in all your Verses, than I have seen in any of the Moderns, or even of the Ancients: But you have been sparing of the Gaul; by which means you have pleas'd all Readers, and offended none. Donn alone, of all our Countrymen, had your Talent; but was not happy enough to arrive at your Versification. And were lie Translated into Numbers, and English, he wou'd yet be wanting in the Dignity of Expression. That which is the prime Vertuc, and chief Ornament of Virgil, which distinguishes him lrom the lest of Writers, is so conspicuous in your Verses, that it casts a shadow on all your Contemporaries; we cannot be seen, or but obscurely, while you are present. You equal Donn, in the Variety, Multiplicity, and Choice of Thoughts; you excel him in 3 Officer] Officer F, O . 8 L y r i c k Poems] I.yrick-Poems F; I.yricli 13-14 Muse: (I11] Muse. In F, O . 15 Shakespear:)] ~ : A F, O . b8 English} E n g l i s h F, O . 34 M u l t i p l i c i t y ] O ; M u l t i p i c i t y F .

Poems

O.

Discourse

of

Satire

1

the Manner, and the Words. I Read you both, with the same Admiration, but not with the same Delight. H e affects the Metaphysicks, not only in his Satires, but in his Amorous Verses, where Nature only shou'd reign; and perplexes the Minds of the Fair Sex with nice Speculations of Philosophy, when he shou'd ingage their hearts, and entertain them with the softnesses of Love. In this (if I may be pardon'd for so bold a truth) Mr. Coxvley has Copy'd him to a fault; so great a one, in my Opinion, that it throws his Mistress infinitely below his Pindariques, and his latter Compositions; which are undoubtedly the best of his Poems, and the most Correct. For my own part, I must avow it freely to the World, that I never attempted any thing in Satire, wherein I have not study'd your Writings as the most perfect Model. I have continually laid them before me; and the greatest Commendation, which my own partiality can give to my Productions, is that they are Copies, and no farther to be allow'd, than as they have something more or less of the Original. Some few Touches of your Lordship, some secret Graces which I have endeavour'd to express after your manner, have made whole Poems of mine to pass with approbation: But take your Verses altogether, and they are inimitable. If therefore I have not written better, 'tis because you have not written more. You have not set me sufficient Copy to Transcribe; and I cannot add one Letter of my own invention, of which I have not the Example there. ' T i s a general Complaint against your Lordship, and I must have leave to upbraid you with it, that, because you need not write, you will not. Mankind that wishes you so well, in all things that relate to your prosperity, have their intervals of wishing for themselves, and are within a little of grudging you the fulness of your Fortune: T h e y wou'd be more malicious if you us'd it not so well, and with so much generosity. Fame is in it self a real good, if we may believe Cicero, who was perhaps too fond of it. But even Fame, as Virgil tells us, acquires strength by going forward. Let Epicurus give Indolency as an Attribute to his Gods, and place in it the happiness 9

Mistress]

Mistress F, O .

13

Satire] O ; Satier F.

8

Poems

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of the blest: The Divinity which we Worship, has given us not only a Precept against it, but his own Example to the contrary. The World, my Lord, wou'd be content to allow you a Seventh Day for rest; or if you thought that hard upon you, we wou'd not refuse you half your time: If you came out, like some Great Monarch, to take a Town but once a year, as it were for your diversion, though you had no need to extend your Territories: In short, if you were a bad, or which is worse, an indifferent Poet, we wou'd thank you for our own quiet, and not expose you to the want of yours. But when you are so great, and so successful, and when we have that necessity of your Writing, that we cannot subsist in Poetry without it; any more, (I may almost say,) than the World without the daily Course of ordinary Providence, methinks this Argument might prevail with you, my Lord, to foregoe a little of your Repose for the Publick Benefit. 'Tis not that you are under any force of working daily Miracles, to prove your Being; but now and then somewhat of extraordinary, that is any thing of your production, is requisite to refresh your Character. This, I think, my Lord, is a sufficient Reproach to you; and shou'd I carry it as far as Mankind wou'd Authorise me, wou'd be little less than Satire. And, indeed, a provocation is almost necessary, in behalf of the World, that you might be induc'd sometimes to write; and in relation to a multitude of Scriblers, who daily pester the World with their insufferable Stuff, that they might be discourag'd from Writing any more. I complain not of their Lampoons and Libels, though I have been the Publick Mark for many years. I am vindictive enough to have repell'd force by force, if I cou'd imagine that any of them had ever reach'd me; but they either shot at Rovers, and therefore miss'd, or their Powder was so weak, that I might safely stand them, at the nearest distance. I answer'd not the Rehearsall, because I knew the Author sate to himself when he drew the Picture, and was the very Bays of his own Farce: Because also I knew, that my Betters were more concern'd than I was in that Satire: And lastly, because Mr. Smith, and Mr. Johnson, the 34

Bays] Bays F, O.

34

Farce:] — F, O.

Discourse

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Satire

0

main Pillars of it, were two such Languishing Gentlemen in their Conversation, that I cou'd liken them to nothing but to their own Relations, those Noble Characters of Men of Wit and Pleasure about the Town. T h e like Considerations have hinder'd me from dealing with the lamentable Companions of their Prose and Doggrel. I am so far from defending my Poetry against them, that I will not so much as expose theirs. And for my Morals, if they are not proof against their attacks, let me be thought by Posterity, what those Authors wou'd be thought, if any Memory of them, or of their Writings cou'd endure so long, as to another Age. But these dull Makers of Lampoons, as harmless as they have been to me, are yet of dangerous Example to the Publick: Some Witty Men may perhaps succeed to their Designs, and mixing Sence with Malice, blast the Reputation of the most Innocent amongst Men, and the most Virtuous amongst Women. Heaven be prais'd, our common Libellers are as free from the imputation of Wit, as of Morality; and therefore what ever Mischief they have design'd, they have perform'd but little of it. Yet these ill Writers, in all justice ought themselves to be expos'd: As Persius has given us a fair Example in his First Satire; which is level'd particularly at them: And none is so fit to Correct their Faults, as he who is not only clear from any in his own Writings, but is also so just, that he will never defame the good; and is arm'd with the power of Verse, to Punish and make Examples of the bad. But of this, I shall have occasion to speak further, when I come to give the Definition and Character of true Satires. In the mean time, as a Councellour bred up in the knowledge of the Municipal and Statute Laws, may honestly inform a just Prince how far his Prerogative extends; so I may be allow'd to tell your Lordship, who by an undisputed Title, are the King of Poets, what an extent of Power you have, and how lawfully you may exercise it, over the petulant Scriblers of this Age. As Lord Chamberlain, I know, you are absolute by your Office, in all that belongs to the Decency and Good Manners of the Stage. You can banish from thence Scurrility and Profaneness, and restrain the licentious insolence of Poets and their Actors, in all things

lo

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that shock the Publick Quiet, or the Reputation of Private Persons, under the notion of Humour. But I mean not the Authority, which is annex'd to your Office: I speak of that only which is inborn and inherent to your Person: What is produc'd in you by an Excellent Wit, a Masterly and Commanding Genius over all Writers: Whereby you are impower'd, when you please, to give the final decision of Wit; to put your Stamp on all that ought to pass for current; and set a Brand of Reprobation on Clipt Poetry, and false Coyn. A Shilling dipt in the Bath may go for Gold amongst the Ignorant, but the Scepters on the Guinies shew the difference. That your Lordship is form'd by Nature for this Supremacy, I cou'd easily prove, (were it not already granted by the World) from the distinguishing Character of your Writing: Which is so visible to me, that I never cou'd be impos'd on to receive for yours, what Avas written by any others; or to mistake your Genuine Poetry, for their Spurious Productions. I can farther add with truth (though not without some Vanity in saying it) that in the same Paper, written by divers Hands, whereof your Lordship's was only part, I cou'd separate your Gold from their Copper: And tho I cou'd not give back to every Author his own Brass, (for there is not the same Rule for distinguishing betwixt bad and bad, as betwixt ill and excellently good) yet I never fail'd of knowing what was yours, and what was not: And was absolutely certain, that this, or the other Part was positively yours, and cou'd not possibly be Written by any other. T r u e it is, that some bad Poems, though not all, carry their Owners Marks about 'em. There is some peculiar aukardness, false Grammar, imperfect Sense, or at the least Obscurity; some Brand or other on this Buttock, or that Ear, that 'tis notorious who are the Owners of the Cattel, though they shou'd not Sign it with their Names. But your Lordship, on the contrary, is distinguish'd, not only by the Excellency of your Thoughts, but by your Stile, and Manner of expressing them. A Painter judging of some Admirable Piece, may affirm with certainty, that it was of Holben, or Vandyke: But Vulgar Designs, and Common Draughts, are easily mistaken, and misapply'd. Thus, by my long 4 Person:] — V, O. 9 13-14 Writing:] /V. F» O.

Bath] Bath

V, O.

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Study of your Lordship, I am arriv'd at the knowledge of your particular manner. In the Good Poems of other Men, like those Artists, I can only say, this is like the Draught of such a one, or like the Colouring of another. In short, I can only be sure, that 'tis the Hand of a good Master; But in your Performances 'tis scarcely possible for me to be deceiv'd. If you write in your strength, you stand reveal'd at the first view; and shou'd you write under it, you cannot avoid some Peculiar Graces, which only cost me a second Consideration to discover you: For I may say it, with all the severity of Truth, that every Line of yours is precious. Your Lordship's only fault is, that you have not written more: Unless I cou'd add another, and that yet greater, but I fear for the Publick, the Accusation wou'd not be true, that you have written, and out of a vicious Modesty will not Publish. Virgil has confin'd his Works within the compass of Eighteen Thousand Lines, and has not treated many Subjects; yet he ever had, and ever will have the Reputation of the best Poet. Martial says of him, that he cou'd have excell'd Varins in Tragedy, and Horace in Lyrick Poetry, but out of deference to his Friends he attempted neither. T h e same prevalence of Genius is in your Lordship, but the World cannot pardon your concealing it on the same consideration; because we have neither a Living Varins, nor a Horace, in whose Excellencies both of Poems, Odes and Satires, you had equall'd them, if our Language had not yielded to the Roman Majesty, and length of time had not added a Reverence to the Works of Horace. For good Sense is the same in all or most Ages; and course of T i m e rather improves Nature, than impairs her. What has been, may be again: Another Homer, and another Virgil may possibly arise from those very Causes which produc'd the first: T h o u g h it wou'd be impudence to affirm that any such have yet appear'd. 'Tis manifest, that some particular Ages have been more happy than others in the production of Great Men, in all sorts of Arts and Sciences: As that of Euripides, Sophocles, Aristophanes, and the rest for Stage-Poetry amongst the Greeks: T h a t of «4 35

Poems, O d e s a n d Satires] Poems, Euripides] O; Eurypiiles F.

Odes and Satires

1-', O .

12

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Augustus, for Heroick, Lyrick, Dramatick, Elegiaque, and indeed all sorts of Poetry; in the Persons of Virgil, Horace, Varius, Ovid, and many others; especially if we take into that Century the latter end of the Commonwealth; wherein we find Varro, Lucretius, and Catullus: And at the same time liv'd Cicero and Salust, and Ceesar. A Famous Age in Modern Times, for Learning in every kind, was that of Lorenzo de Medici, and his Son Leo the Tenth: Wherein Painting was reviv'd, and Poetry flourish'd, and the Greek Language was restor'd. Examples in all these are obvious: But what I wou'd infer, is this; T h a t in such an Age 'tis possible some Great Genius may arise, to equal any of the Antients; abating only for the Language. For great Contemporaries whet and cultivate each other: And mutual Borrowing, and Commerce, makes the Common Riches of Learning, as it does of the Civil Government. But suppose that Homer and Virgil were the only of their Species, and that Nature was so much worn out in producing them, that she is never able to bear the like again; yet the Example only holds in Heroick Poetry: In Tragedy and Satire I offer my self to maintain against some of our Modern Criticks, that this Age and the last, particularly in England, have excell'd the Ancients in both those kinds; and I wou'd instance in Shakespear of the former, in your Lordship of the latter sort. Thus I might safely confine my self to my Native Country: But if I wou'd only cross the Seas, I might find in France a living Horace and a Juvenal, in the Person of the admirable Boileau: Whose Numbers are Excellent, whose Expressions are Noble, whose Thoughts are Just, whose Language is Pure, whose Satire is pointed, and whose Sense is close; What he borrows from the Ancients, he repays with Usury of his own: in Coin as good, and almost as Universally valuable: For setting prejudice and Partiality apart, though he is our Enemy, the Stamp of a Louis, the Patron of all Arts, is not much inferiour to the Medal of an Augustus Ceesar. Let this be said without entring into the interests of Factions and Parties; and relating only to the Bounty of 8 Tenth:] F, O. 9 Greek] Greek F, O. 23 in your Lordship of] of your Lordship in F, O.

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that King to Men of Learning and Merit: A Praise so just, that even we who are his Enemies, cannot refuse it to him. Now if it may be permitted me to go back again, to the Consideration of Epique Poetry, I have confess'd, that no Man hitherto has reach'd, or so much as approach'd to the Excellencies of Homer or of Virgil; I must farther add, that Statins, the best Versificator next to Virgil, knew not how to Design after him, though he had the Model in his Eye; that Lucan is wanting both in Design and Subject, and is besides too full of Heat, and Affectation; that amongst the Moderns, Ariosto neither Design'd Justly, nor observ'd any Unity of Action, or Compass of Time, or Moderation in the Vastness of his Draught; his Style is Luxurious, without Majesty, or Decency; and his Adventures, without the compass of Nature and Possibility: Tasso, whose Design was Regular, and who observ'd the Rules of Unity in Time and Place, more closely than Virgil, yet was not so happy in his Action; he confesses himself to have been too Lyrical, that is, to have written beneath the Dignity of Heroick Verse, in his Episodes of Sophronia, Erminia, and Armida; his Story is not so pleasing as Ariosto's; he is too flatulent sometimes, and sometimes too dry; many times unequal, and almost always forc'd; and besides, is full of Conceipts, points of Epigram and Witticisms; all which are not only below the Dignity of Heroick Verse, but contrary to its Nature: Virgil and Homer have not one of them. And those who are guilty of so boyish an Ambition in so grave a Subject, are so far fiom being consider'd as Heroique Poets, that they ought to be turn'd down from Homer to the Anthologia} from Virgil to Martial and Owen's Epigrams, and from Spencer to Fleckno; that is, from the top to the bottom of all Poetry. But to return to Tasso, he borrows from the Invention of Boyardo, and in his Alteration of his Poem, which is infinitely for the worse, imitates Homer so very servilely, that (for Example) he gives the King of Jerusalem Fifty Sons, only because Homer had bestow'd the like number on King Priam; he kills the youngest in the same manner, and has provided his Hero with a 4 Epique] Epique ]•', O. 23 Heroick] Heroick F, O.

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Patroclus, under another Name, only to bring him back to the Wars, when his Friend was kill'd. The French have perform'd nothing in this kind, which is not far below those two Italians, and subject to a thousand more Reflections, without examining their Saint Lewis, their Pucelle, or their Alarique: The English have only to boast of Spencer and Milton, who neither of them wanted either Genius, or Learning, to have been perfect Poets; and yet both of them are liable to many Censures. For there is no Uniformity in the Design of Spencer: He aims at the Accomplishment of no one Action: He raises up a Hero for every one of his Adventures; and endows each of them with some particular Moral Virtue, which renders them all equal, without Subordination or Preference. Every one is most Valiant in his own Legend; only we must do him that Justice to observe, that Magnanimity, which is the Character of Prince Arthur, shines throughout the whole Poem; and Succours the rest, when they are in Distress. The Original of every Knight, was then living in the Court of Queen Elizabeth: And he attributed to each of them that Virtue, which he thought was most conspicuous in them: An Ingenious piece of Flattery, tho' it turn'd not much to his Account. Had he liv'd to finish his Poem, in the six remaining Legends, it had certainly been more of a piece; but cou'd not have been perfect, because the Model was not true. But Prince Arthur, or his chief Patron, Sir Philip Sidney, whom he intended to make happy, by the Marriage of his Gloriana, dying before him, depriv'd the Poet, both of Means and Spirit, to accomplish his Design: For the rest, his Obsolete Language, and the ill choice of his Stanza, are faults but of the Second Magnitude: For notwithstanding the first he is still Intelligible, at least, after a little practice; and for the last, he is the more to be admir'd; that labouring under such a difficulty, his Verses are so Numerous, so Various, and so Harmonious, that only Virgil, whom he profestly imitated, has surpass'd him, among the Romans; and only Mr. Waller among the English. As for Mr. Milton, whom we all admire with so much Justice, his Subject is not that of an Heroique Poem; properly so call'd: 5 .SVmii] Saint I", O.

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His Design is the Losing of our Happiness; his Event is not prosperous, like that of all other Epique Works: His Heavenly Machines are many, and his Humane Persons are but two. But I will not take Mr. Rymer"s Work out of his Hands. He has promis'd the World a Critique on that Author; wherein, tho' he will not allow his Poem for Heroick, I hope he will grant us, that his Thoughts are elevated, his Words Sounding, and that no Man lias so happily Copy'd the Manner of Homer; or so copiously translated his Grecisms, and the Latin Elegancies of Virgil. 'Tis true, lie runs into a flat of Thought, sometimes for a Hundred Lines together, but 'tis when he is got into a Track of Scripture: His Antiquated words were his Choice, not his Necessity; for therein he imitated Spencer, as Spencer did Chawcer. And tho', perhaps, the love of their Masters, may have transported both too far, in the frequent use of them; yet in my Opinion, Obsolete Words may then be laudably reviv'd, when either they are more Sounding, or more Significant than those in practice: And when their Obscurity is taken away, by joining other Words to them which clear the Sense; according to the Rule of Horace, for the admission of new Words. But in both cases, a Moderation is to be observ'd, in the use of them: For unnecessary Coynage, as well as unnecessary Revival, runs into Affectation; a fault to be avoided on either hand. Neither will I Justifie Milton for his Blank Verse, tho' I may excuse him, by the Example of Hannibal Caro, and other Italians, who have us'd it: For whatever Causes he alledges for the abolishing of Rhyme (which I have not now the leisure to examine) his own particular Reason is plainly this, that Rhyme was not his Talent; he had neither the Ease of doing it, nor the Graces of it; which is manifest in his Juvenilia, or Verses written in his Youth: Where his Rhyme is always constrain'd and forc'd, and comes hardly from him at an Age when the Soul is most pliant; and the Passion of Love, makes almost every Man a Rhymer, tho' not a Poet. By this time, My Lord, I doubt not but that you wonder, why 1 have run off from my Biass so long together, and made so te2

Epique] Epique

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dious a Digression from Satire to Heroique Poetry. But if You will not excuse it, by the tattling Quality of Age, which, as Sir William Davenant says, is always Narrative; yet I hope the usefulness of what I have to say on this Subject, will qualifie the remoteness of it; and this is the last time I will commit the Crime of Prefaces; or trouble the World with my Notions of any thing that relates to Verse. I have then, as You see, observ'd the Failings of many great Wits amongst the Moderns, who have attempted to write an Epique Poem: Besides these, or the like Animadversions of them by other Men, there is yet a farther Reason given, why they cannot possibly succeed, so well as the Ancients, even tho' we cou'd allow them not to be Inferiour, either in Genius or Learning, or the Tongue in which they write; or all those other wonderful Qualifications which are necessary to the forming of a true Accomplish'd Heroique Poet. T h e fault is laid on our Religion: T h e y say that Christianity is not capable of those Embellishments which are afforded in the Belief of those Ancient Heathens. And 'tis true, that in the severe notions of our Faith; the Fortitude of a Christian consists in Patience, and Suffering for the Love of God, what ever hardships can befall him in the World; not in any great Attempt; or in performance of those Enterprises which the Poets call Heroique; and which are commonly the Effects of Interest, Ostentation, Pride and Worldly Honour: That Humility and Resignation are our prime Vertues; and that these include no Action, but that of the Soul: When as, on the Contrary, an Heroique Poem requires, to its necessary Design, and as its last Perfection, some great Action of War, the Accomplishment of some Extraordinary Undertaking; which requires the Strength and Vigour of the Body, the Duty of a Souldier, the Capacity and Prudence of a General; and, in short, as much, or more of the Active Virtue, than the Suffering. But to this, the Answer is very Obvious. God has plac'd us in our several Stations; the Virtues of a private Christian are Patience, Obedience, Submission, and the like; but those of a Magistrate, or General, or a King, are Prudence, Counsel, active Fortitude, 9

Epique] Epique F, O.

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coercive Power, awful Command, and the Exercise of Magnanimity, as well as Justice. So that this Objection hinders not, but that an Epique Poem, or the Heroique Action of some Great Commander, Enterpris'd for the Common Good, and Honour of the Christian Cause, and Executed happily, may be as well Written now, as it was of old by the Heathens; provided the Poet be endu'd with the same Talents; and the Language, though not of equal Dignity, yet as near approaching to it, as our Modern Barbarism will allow, which is all that can be expected from our own or any other now extant, though more Refin'd, and therefore we are to rest contented with that only Inferiority, which is not possibly to be Remedy'd. I wish, I cou'd as easily remove that other difficulty which yet remains. 'Tis Objected by a great French Critique, as well as an Admirable Poet, yet living, and whom I have mention'd with that Honour, which his Merit exacts from me, I mean Boileau, that the Machines of our Christian Religion in Heroique Poetry, are much more feeble to Support that weight than those of Heathenism. Their Doctrine, grounded as it was on Ridiculous Fables, was yet the Belief of the T w o Victorious Monarchies, the Grecian, and Roman. T h e i r Gods did not only interest themselves in the Event of Wars (which is the Effect of a Superiour Providence) but also espous'd the several Parties, in a Visible Corporeal Descent, mannag'd their Intrigues, and Fought their Battels sometimes in Opposition to each other: T h o ' Virgil (more discreet than Homer in that last Particular) has contented himself with the Partiality of his Deities, their Favours, their Counsels or Commands, to those whose Cause they had espous'd, without bringing them to the Outrageousness of Blows. Now, our Religion (says he) is depriv'd of the greatest part of those Machines; at least the most Shining in Epique Poetry. T h o ' St. Michael in Ariosto seeks out Discord, to send her amongst the Pagans, and finds her in a Convent of Friars, where Peace should Reign, which indeed is fine Satire; and Satan, in Tasso, excites Solyman, to an Attempt by Night on the Christian Camp, and 19 34

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brings an Host of Devils to his Assistance; yet the Arch-Angel, in the former Example, when Discord was restive, and would not be drawn from her belov'd Monastery with fair Words, has the Whip-hand of her, Drags her out with many stripes, sets her, on Gods-name, about her business; and makes her know the difference of Strength betwixt a Nuncio of Heaven, and a Minister of Hell: T h e same Angel, in the latter Instance from Tasso (as if God had never another Messenger, belonging to the Court, but was confin'd like Jupiter to Mercury, and Juno to Iris,) when he sees his time, that is, when half of the Christians are already kill'd, and all the rest are in a fair way to be Routed, stickles betwixt the Remainders of God's Host, and the Race of Fiends; Pulls the Devils backward by their Tails, and drives them from their quarry; or otherwise the whole business had miscarri'd, and Jerusalem remain'd untaken. This, says Boileau, is a very unequal Match for the Poor Devils; who are sure to come by the worst of it in the Combat; for nothing is more easie, than for an Almighty Power to bring his old Rebels to Reason, when he Pleases. Consequently, what pleasure, what Entertainment can be rais'd from so pitiful a Machine, where we see the Success of the Battel, from the very beginning of it; unless that, as we are Christians, we are glad that we have gotten God on our side, to maul our Enemies, when we cannot do the work our selves? For if the Poet had given the Faithful more Courage, which had cost him nothing, or at least have made them exceed the Turks in Number, he might have gain'd the Victory for us Christians, without interessing Heaven in the quarrel; and that with as much ease, and as little Credit to the Conqueror, as when a Party of a Hundred Souldiers defeats another which consists only of Fifty. This, my Lord, I confess is such an Argument against our Modern Poetry, as cannot be answer'd by those Mediums, which have been us'd. We cannot hitherto boast, that our Religion 10 Christians] Christians F, O. «0-23 Machine, where . . . it; unless . . . selves?] O; less . . . — F. 22 Christians] Christians F, O.

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has furnish'd us with any such Machines, as have made the Strength and Beauty of the Ancient Buildings. But, what if I venture to advance an Invention of my own, to supply the manifest defect of our new Writers: I am sufficiently sensible of my weakness, and 'tis not very probable, that I shou'd succeed in such a Project, whereof I have not had the least hint from any of my Predecessors, the Poets, or any of their Seconds, and Coadjutors, the Critiques. Yet we see the Art of War is improv'd in Sieges, and new Instruments of Death are invented daily. Something new in Philosophy and the Mechanicks is discover'd almost every Year: And the Science of Former Ages is improv'd by the Succeeding. I will not detain you with a long Preamble to that, which better Judges will, perhaps, conclude to be little worth. 'Tis this, in short, That Christian Poets have not hitherto been acquainted with their own Strength. If they had search'd the Old Testament as they ought, they might there have found the Machines which are proper for their Work; and those more certain in their effect, than it may be the New Testament is, in the Rules sufficient for Salvation. The perusing of one Chapter in the Prophecy of Daniel, and Accommodating what there they find, with the Principles of Platonique Philosophy, as it is now Christianis'd, wou'd have made the Ministry of Angels as strong an Engine, for the Working up Heroique Poetry, in our Religion, as that of the Ancients has been to raise theirs by all the Fables of their Gods, which were only receiv'd for Truths by the most ignorant, and weakest of the People. 'Tis a Doctrine almost Universally receiv'd by Christians, as well Protestants as Catholicks, that there are Guardian Angels appointed by God Almighty, as his Vicegerents, for the Protection and Government of Cities, Provinces, Kingdoms, and Monarchies; and those as well of Heathens, as of true Believers. All this is so plainly prov'd from those Texts of Daniel, that it admits of no farther Controversie. The Prince of the Persians, and that other of the Grecians, are granted to be the Guardians and 15 26

Christian] Christian F, O. Truths] O; Tuths F.

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Protecting Ministers of those Empires. It cannot be deny'd, that they were opposite, and resisted one another. St. Michael is mention'd by his Name, as the Patron of the Jews, and is now taken by the Christians, as the Protector General of our Religion. These Tutelar Genij, who presided over the several People and Regions committed to their Charge, were watchful over them for good, as far as their Commissions cou'd possibly extend. T h e General Purpose, and Design of all, was certainly the Service of their Great Creatour. But 'tis an undoubted Truth, that for Ends best known to the Almighty Majesty of Heaven, his Providential Designs for the benefit of his Creatures, for the Debasing and Punishing of some Nations, and the Exaltation and Temporal Reward of others, were not wholly known to these his Ministers; else why those Factious Quarrels, Controversies, and Battels amongst themselves, when they were all United in the same Design, the Service and Honour of their common Master? But being instructed only in the General, and zealous of the main Design; and as Finite Beings, not admitted into the Secrets of Government, the last resorts of Providence, or capable of discovering the final Purposes of God, who can work Good out of Evil, as he pleases; and irresistably sways all manner of Events on Earth, directing them finally for the best, to his Creation in General, and to the Ultimate End of his own Glory in Particular: T h e y must of necessity be sometimes ignorant of the Means conducing to those Ends, in which alone they can jarr, and oppose each other. One Angel, as we may suppose the Prince of Persia, as he is call'd, judging, that it would be more for God's Honour, and the Benefit of his People, that the Median and Persian Monarchy, which deliver'd them from the Babylonish Captivity, shou'd still be uppermost: And the Patron of the Grecians, to whom the Will of God might be more particularly Reveal'd, contending on the other side, for the Rise of A lexander and his Successors, who were appointed to punish the Backsliding Jews, and thereby to put them in mind of their Offences, that they might Repent, and become more Virtuous, and more Observant of the Law Reveal'd. But how far these Controver36

Reveal'd.] period failed to print in some copies of F.

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sies and appearing Enmities of those glorious Creatures may be carri'd; how these Oppositions may best be manag'd, and by what Means conducted, is not my business to shew or determine: These things must be left to the Invention and Judgment of the Poet: If any of so happy a Genius be now living, or any future Age can produce a Man, who being Conversant in the Philosophy of Plato, as it is now accommodated to Christian use; for (as Virgil gives us to understand by his Example) that is the only proper of all others for an Epique Poem; who to his Natural Endowments, of a large Invention, a ripe Judgment, and a strong Memory, has join'd the knowledge of the Liberal Arts and Sciences, and particularly, Moral Philosophy, the Mathematicks, Geography and History, and with all these Qualifications is born a Poet; knows, and can practice the variety of Numbers, and is Master of the Language in which he Writes; if such a Man, I say, be now arisen, or shall arise, I am vain enough to think, that I have propos'd a Model to him, by which he may build a Nobler, a more Beautiful and more Perfect Poem, than any yet extant since the Ancients. There is another part of these Machines yet wanting; but by what I have said, it wou'd have been easily supply'd by a Judicious Writer. He cou'd not have fail'd, to add the opposition of ill Spirits to the good; they have also their Design, ever opposite to that of Heaven; and this alone, has hitherto been the practice of the Moderns: But this imperfect System, if I may call it such, which I have given, will infinitely advance and carry farther that Hypothesis of the Evil Spirits contending with the Good. For being so much weaker since their Fall, than those blessed Beings, they are yet suppos'd to have a permitted Power from God, of acting ill, as from their own deprav'd Nature they have always the Will of designing it: A great Testimony of which we find in Holy Writ, when God Almighty suffer'd Satan to appear in the Holy Synod of the Angels, (a thing not hitherto drawn into Example by any of the Poets,) and also gave him Power over all things belonging to his Servant Job, excepting only Life. 9 Epique] Epique 31 it:] F, O.

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Now what these Wicked Spirits cannot compass, by the vast disproportion of their Forces, to those of the Superiour Beings: They may by their Fraud and Cunning carry farther, in a seeming League, Confederacy or Subserviency to the Designs of some good Angel, as far as consists with his purity, to suffer such an aid, the end of which may possibly be disguis'd, and conceal'd from his finite Knowledge. This is indeed to suppose a great Errour in such a Being: Yet since a Devil can appear like an Angel of Light; since Craft and Malice may sometimes blind for a while a more perfect Understanding; and lastly, since Milton has given us an Example of the like nature, when Satan appearing like a Cherub, to Uriel, the Intelligence of the Sun, Circumvented him even in his own Province, and pass'd only for a Curious Traveller through those new Created Regions, that he might observe therein the Workmanship of God, and praise him in his Works: I know not why, upon the same supposition, or some other, a Fiend may not deceive a Creature of more Excellency than himself, but yet a Creature; at least by the connivance, or tacit permission of the Omniscient Being. Thus, my Lord, I have as briefly as I cou'd, given your Lordship, and by you the World a rude draught of what I have been long labouring in my Imagination, and what I had intended to have put in practice, (though far unable for the attempt of such a Poem) and to have left the Stage, to which my Genius never much inclin'd me, for a Work which wou'd have taken up my Life in the performance of it. This too, I had intended chiefly for the Honour of my Native Country, to which a Poet is particularly oblig'd: Of two Subjects, both relating to it, I was doubtful, whether I shou'd chuse that of King Arthur, Conquering the Saxons; which being farther distant in Time, gives the greater Scope to my Invention: Or that of Edioard the Black Prince in subduing Spain, and Restoring it to the Lawful Prince, though a Great Tyrant, Don Pedro the Cruel: Which for the compass of Time, including only the Expedition of one Year: For the greatness of the Action, and its answearable 16 Works: I] Works. I F, O. 2a 87-88 particularly] O; parcicularly F.

Imagination, and] — And F, O.

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Event; for the Magnanimity of the English Hero, oppos'd to the Ingratitude of the person whom he restor'd; and for the many Beautiful Episodes, which I had interwoven with the principal Design, together with the Characters of the chiefest English Persons; wherein, after Virgil and Spencer, I wou'd have taken occasion to represent my living Friends and Patrons of the Noblest Families, and also shadow'd the Events of future Ages, in the Succession of our Imperial Line. With these helps, and those of the Machines, which I have mention'd; I might perhaps have done as well as some of my Predecessors; or at least chalk'd out a way, for others to amend my Errors in a like Design. But being encourag'd only with fair Words, by King Charles II, my little Sallary ill paid, and no prospect of a future Subsistance, I was then Discourag'd in the beginning of my Attempt; and now Age has overtaken me; and Want, a more insufferable Evil, through the Change of the Times, has wholly dise n a b l e me: Tho' I must ever acknowledge, to the Honour of your Lordship, and the Eternal Memory of your Charity, that since this Revolution, wherein I have patiently suffer'd the Ruin of my small Fortune, and the loss of that poor Subsistance which I had from two Kings, whom I had serv'd more Faithfully than Profitably to my self; then your Lordship was pleas'd, out of no other Motive, but your own Nobleness, without any Desert of mine, or the least Sollicitation from me, to make me a most bountiful Present, which at that time, when I was most in want of it, came most seasonably and unexpectedly to my Relief. That Favour, my Lord, is of it self sufficient to bind any Grateful Man, to a perpetual Acknowledgment, and to all the future Service, which one of my mean Condition, can be ever able to perform. May the Almighty God return it for me, both in Blessing you here, and Rewarding you hereafter. I must not presume to defend the Cause for which I now suffer, because your Lordship is engag'd against it: But the more you are so, the greater is my Obligation to you: For your laying aside all the Considerations of Factions and Parties, to do an Action of pure disinteress'd Charity. This is one amongst many of your shining 17 me:] — I", O.

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Qualities, which distinguish you from others of your Rank: But let me add a farther Truth, T h a t without these Ties of Gratitude, and abstracting from them all, I have a most particular Inclination to Honour you; and if it were not too bold an Expression, to say, I Love you. 'Tis no shame to be a Poet, tho' 'tis to be a bad one. Augustus Ccesar of old, and Cardinal Richelieu of late, wou'd willingly have been such; and David and Solomon were such. You, who without Flattery, are the best of the present Age in England, and wou'd have been so, had you been born in any other Country, will receive more Honour in future Ages, by that one Excellency, than by all those Honours to which your Birth has intitl'd you, or your Merits have acquir'd you. Ne, forte, pudori, Sit tibi Musa Lyrce solers, & Cantor Apollo. I have formerly said in this Epistle, that I cou'd distinguish your Writings from those of any others: 'Tis now time to clear my self from any imputation of Self-conceipt on that Subject. I assume not to my self any particular lights in this Discovery; they are such only as are obvious to every Man of Sense and Judgment, who loves Poetry, and understands it. Your Thoughts are always so remote from the common way of thinking, that they are, as I may say, of another Species, than the Conceptions of other Poets; yet you go not out of Nature for any of them: Gold is never bred upon the Surface of the Ground; but lies so hidden, and so deep, that the Mines of it are seldom found; but the force of Waters casts it out from the Bowels of Mountains, and exposes it amongst the Sands of Rivers; giving us of her Bounty, what we cou'd not hope for by our search. T h i s Success attends your Lordship's Thoughts, which wou'd look like Chance, if it were not perpetual, and always of the same tenour. If I grant that there is Care in it, 'tis such a Care as wou'd be ineffectual, and fruitless in other Men. 'Tis the Curiosa felicitas which Petronius ascribes to Horace in his Odes. W e have not wherewithal to imagine so strongly, so justly, and so pleasantly: In 6

Richelieu]

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short, if we have the same Knowledge, we cannot draw out of it the same Quintessence; we cannot give it such a T u r n , such a Propriety, and such a Beauty. Something is deficient in the Manner, or the Words, but more in the Nobleness of our Conception. Yet when you have finish'd all, and it appears in its full Lustre, when the Diamond is not only found, but the Roughness smooth'd, when it is cut into a Form, and set in Gold, then we cannot but acknowledge, that it is the Perfect Work of Art and Nature: And every one will be so vain, to think he himself cou'd have perform'd the like, till he attempts it. 'Tis just the Description that Horace makes of such a Finish'd Piece: It appears so easie, Ut sibi quivis speret idem, sudet maltum, frustraque laboret, ausus idem. And besides all this, 'tis Your Lordships particular Talent to lay your Thoughts so close together, that were they closer, they wou'd be crouded, and even a due connexion wou'd be wanting. We are not kept in expectation of two good lines, which are to come after a long Parenthesis of twenty bad; which is the April Poetry of other Writers, a mixture of Rain and Sun-shine by fits: You are always bright, even almost to a fault, by reason of the excess. There is continual abundance, a Magazine of Thought, and yet a perpetual Variety of Entertainment; which creates such an Appetite in your Reader, that he is not cloy'd with any thing, but satisfy'd with all. 'Tis that which the Romans call Ccena dubia; where there is such plenty, yet withall so much Diversity, and so good Order, that the choice is difficult betwixt one Excellency and another; and yet the Conclusion, by a due Climax, is evermore the best; that is, as a Conclusion ought to be, ever the most proper for its place. See, my Lord, whether I have not studi'd Your Lordship with some Application: And since You are so Modest, that You will not be Judge and Party, I appeal to the whole World, if I have not drawn Your Picture to a great degree of likeness, tho' 'tis but in Miniature: And that some of the best Features are yet wanting. Yet what I have done is enough to distinguish You from any other, which is the Proposition that I took upon me to demonstrate. 33 Miniature] Meniature F, O.

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And now, my Lord, to apply what I have said, to my present Business; the Satires of Juvenal and Persius, appearing in this New English Dress, cannot so properly be Inscrib'd to any Man as to Your Lordship, who are the First of the Age in that way of Writing. Your Lordship, amongst many other Favours, has given me Your Permission for this Address; and You have particularly Encourag'd me by Your Perusal and Approbation of the Sixth and Tenth Satires of Juvenal, as I have Translated them. My fellow Labourers, have likewise Commission'd me, to perform in their behalf this Office of a Dedication to you; and will acknowledge with all possible Respect and Gratitude, your Acceptance of their Work. Some of them have the Honour to be known to your Lordship already; and they who have not yet that happiness, desire it now. Be pleas'd to receive our common Endeavours with your wonted Candor, without Intitleing you to the Protection of our common Failings, in so difficult an Undertakeing. And allow me your Patience, if it be not already tir'd with this long Epistle, to give you from the Best Authors, the Origine, the Antiquity, the Growth, the Change, and the Compleatment of Satire among the Romans. T o Describe, if not Define, the Nature of that Poem, with it's several Qualifications and Virtues, together with the several sorts of it. T o compare the Excellencies of Horace, Persius and Juvenal, and shew the particular Manners of their Satires. And lastly, to give an Account of this New Way of Version which is attempted in our Performance: A l l which, according to the weakness of my Ability, and the best Lights which I can get from others, shall be the Subject of my following Discourse. T h e most Perfect Work of Poetry, says our Master Aristotle, is Tragedy. His Reason is, because it is the most United; being more severely confin'd within the Rules of Action, T i m e and Place. T h e Action is entire of a Piece, and one, without Episodes: T h e T i m e limited to a Natural Day: And the Place Circumscrib'd at least within the Compass of one Town, or City. Being exactly Proportion'd thus, and Uniform in all it's Parts, 8 of] O; of F. a6 Performance:] — F, O. 33-34 Circumscrib'd] O; Circumbscrib'd F.

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T h e Mind is more Capable of Comprehending the whole Beauty of it without distraction. But after all these Advantages, an Heroique Poem is certainly the greatest Work of Human Nature. T h e Beauties and Perfections of the other are but Mechanical; those of the Epique are move Noble. Tho' Homer lias limited his Place to Troy, and the Fields about it; his Actions to Forty Eight Natural Days, whereof Twelve are Holy-clays, or Cessation from business, during the Funerals of Patroclus. T o proceed, the Action of the Epique is greater: T h e Extention of T i m e enlarges the Pleasure of the Reader, and the Episodes give it more Ornament, and more Variety. T h e Instruction is equal; but the first is only Instructive, the latter Forms a Hero, and a Prince. If it signifies any thing which of them is of the more Ancient Family, the best and most absolute Heroique Poem was written by Homer, long before Tragedy was Invented: But, if we consider the Natural Endowments, and acquir'd Parts which are necessary to make an accomplish'd Writer in either Kind, Tragedy requires a less and more confin'd Knowledge: moderate Learning, and Observation of the Rules is sufficient, if a Genius be not wanting. But in an Epique Poet, one who is worthy of that Name, besides an Universal Genius, is requir'd Universal Learning, together with all those Qualities and Acquisitions which I have nam'd above, and as many more as I have through haste or negligence omitted. And after all, he must have exactly Study'd Homer and Virgil, as his Patterns, Aristotle and Horace as his Guides, and Vida and Bossu, as their Commentators, with many others both Italian and French Critiques, which I want leisure here to Recommend. In a Word, what I have to say, in Relation to This Subject, which does not Particularly concern Satire, is, That the greatness of an Heroique Poem, beyond that of a Tragedy, may easily be discover'd by observing, how few have attempted that Work, in comparison of those who have Written Drama's; and of those few, how small a number have Succeeded. But leaving the Critiques on either side to contend about the preference due to this 12-13

Instructive] O ; I n s t u c t i v c F.

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or that sort of Poetry; I will hasten to my present business, which is the Antiquity and Origine of Satire, according to those Informations which I have receiv'd from the Learned Casaubon, Heinsius, Rigaltius, Dacier and the Dauphin's Juvenal; to which I shall add some Observations of my own. There has been a long Dispute amongst the Modern Critiques, whether the Romans deriv'd their Satire from the Grecians, or first Invented it themselves. Julius Scaliger and Heinsius, are of the first Opinion; Casaubon, Rigaltius, Dacier, and the Publisher of the Dauphin's Juvenal maintain the Latter. If we take Satire in the general signification of the Word, as it is us'd in all Modern Languages, for an Invective, 'tis certain that it is almost as old as Verse; and tho' Hymns, which are praises of God, may be allow'd to have been before it, yet the defamation of others was not long after it. After God had Curs'd Adam and Eve in Paradise, the Husband and Wife excus'd themselves, by laying the blame on one another; and gave a beginning to those Conjugal Dialogues in Prose; which the Poets have perfected in Verse. T h e T h i r d Chapter of Job is one of the first Instances of this Poem in Holy Scripture: Unless we will take it higher, from the latter end of the second; where his Wife advises him to curse his Maker. This Original, I confess, is not much to the Honour of Satire; but here it was Nature, and that deprav'd: When it became an Art, it bore better Fruit. Only we have learnt thus much already, that Scoffs and Revilings are of the growth of all Nations; and consequently that neither the Greek Poets borrow'd from other People their Art of Railing, neither needed the Romans to take it from them. But considering Satire as a Species of Poetry; here the War begins amongst the Criticks. Scaliger the Father will have it descend from Greece to Rome; and derives the word Satyre, from Satyrus, that mixt kind of Animal, or, as the Ancients thought him, Rural God, made up betwixt a Man and a Goat; with a Humane Head, Hook'd Nose, Powting Lips, a Bunch, or Struma under the Chin, prick'd Ears, and upright Horns; the Body shagg'd with hair, especially from 27

Greek] Greek F, O.

Discourse

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the waste, and ending in a Goat, with the legs and feet of that Creature. But Casaubon, and his Followers, with Reason, condemn this derivation; and prove that from Satyrus, the word Satira, as it signifies a Poem, cannot possibly descend. For Satira is not properly a Substantive, but an Adjective; to which, the word Lanx, in English a Charger, or large Platter, is understood: So that the Greek Poem made according to the Manners of a Satyr, and expressing his Qualities, must properly be call'd Satyrical, and not Satire: A n d thus far 'tis allow'd, that the Grecians had such Poems; but that they were wholly different in Specie, from that to which the Romans gave the Name of Satire. Aristotle divides all Poetry, in relation to the Progress of it, into Nature without Art: Art begun, and Art Compleated. Mankind, even the most Barbarous, have the Seeds of Poetry implanted in them. T h e first Specimen of it was certainly shewn in the Praises of the Deity, and Prayers to him: And as they are of Natural Obligation, so they are likewise of Divine Institution: Which Milton observing, introduces Adam and Eve, every Morning adoring God in Hymns and Prayers. T h e first Poetry was thus begun, in the wild Notes of Nature, before the invention of Feet, and Measures. T h e Grecians and Romans had no other Original of their Poetry. Festivals and Holydays soon succeeded to Private Worship, and we need not doubt but they were enjoyn'd by the true God to his own People; as they were afterwards imitated by the Heathens: who by the light of Reason knew they were to invoke some Superiour Being in their Necessities, and to thank him for his Benefits. T h u s the Grecian Holydays were Celebrated with Offerings to Bacchus and Ceres, and other Deities, to whose Bounty they suppos'd they were owing for their Corn and Wine, and other helps of Life. A n d the Ancient Romans, as Horace tells us, paid their thanks to Mother Earth, or Vesta, to Silvanus, and their Genius, in the 6 English] English I', O. 7 Greek] Greek F, O. 10 were] O; where 1\ 15 Barbarous,] O; ~ A F. 18-19 Institution:] F, O. ai Nature] F (corrected state)-, Natural Poetry F (uncorrected 26 Heathens] Heathens F, O.

state), O.

30

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same manner. B u t as all Festivals have a double Reason of their Institution; the first of Religion, the other of Recreation, for the u n b e n d i n g of our Minds: So both the Grecians and Romans agreed, after their Sacrifices were perform'd, to spend the remainder of the day in Sports and Merriments; amongst which, Songs and Dances, and that which they call'd W i t , (for want of k n o w i n g better,) Avere the chiefest Entertainments. T h e Grecians had a notion of Satyres, w h o m I have already describ'd; and taking them, and the Sileni, that is the y o u n g Satyrs and the old, for the Tutors, Attendants, and H u m b l e Companions of their Bacchus, habited themselves like those R u r a l Deities, and imitated them in their Rustick Dances, to which they join'd Songs, with some sort of rude Harmony, but without certain Numbers; and to these they added a kind of Chorus. T h e Romans also (as Nature is the same in all places) though they knew nothing of those Grecian Demi-Gods, nor had any Communication with Greece, yet had certain Y o u n g Men, w h o at their Festivals, Danc'd and Sung after their uncouth manner, to a certain kind of Verse, which they call'd Saturnian; what it was, we have no very certain light from A n t i q u i t y to discover; but we may conclude, that, like the Grecian} it was void of Art, or at least with very feeble beginnings of it. T h o s e Ancient Romans, at these Holydays, which were a mixture of Devotion and Debauchery, had a Custom of reproaching each other with their Faults, in a sort of Extempore Poetry, or rather of tunable hobling Verse; and they answer'cl in the same kind of gross Raillery; their W i t and their Musick being of a piece. T h e Grecians, says Casaabon, had formerly clone the same, in the Persons of their petulant Satyrs: B u t I am afraid he mistakes the matter, and confounds the Singing and Dancing of the Satyrs, with the Rustical Entertainments of the first Romans. T h e Reason of my O p i n i o n is this; that Casaubon finding little light from Antiquity, of these beginnings of Poetry, amongst the Grecians, but only these Representations of Satyrs, who carry'd Canisters and Cornucopias full of several Fruits in their hands, and danc'd with them at their Publick Feasts: A n d afterwards 20 35

no very] F (corrected state); n o F (uncorrected state), Canisters a n d C o r n u c o p i a s ] Canisters a n d Cornucopias

O. F, O .

Discourse

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31

reading Horace, who makes mention of his homely Romans, jesting at one another in the same kind of Solemnities, might suppose those wanton Satyrs did the same: And especially because Horace possibly might seem to him, to have shewn the Original of all Poetry in general, including the Grecians, as well as Romans: Though 'tis plainly otherwise, that he only describ'd the beginning, and first Rudiments of Poetry in his own Country. The Verses are these, which he cites from the First Epistle of the Second Book, which was Written to Augustus. Agricola prisci, fortes, parvoq; beati, Condita post frumenta, levantes tempore festo Corpus & ipsum animum spe finis dura ferentem, Cum sociis operum, ir pueris, ir conjuge fidd, Tellurem Porco, Silvanum lacte piabant; Floribus if vino Genium memorem brevis cevi: Fescennina per hunc inventa licentia morem Versibus alternis, opprobria rustica fudit. Our Brawny Clowns of Old, who turn'd the soyl, Content with little, and inur'd to toyl, At Harvest home, with Mirth and Country Cheer Restor'd their Bodies for another year: Refresh'd their Spirits, and renew'd their Hope, Of such a future Feast, and f uture Crop. Then with their Fellow-joggers of the Ploughs, Their little Children, and their faithful Spouse; A Soto they slew to Vesta'5 Deity; And kindly Milk, Silvanus, pour'd to thee. With Flow'rs, and Wine, their Genius they ador'd; A short Life, and a merry, was the word. From flowing Cups defaming Rhymes ensue, And at each other homely Taunts they threiv. Yet since it is a hard Conjecture, that so Great a Man as Casaubon shou'd misapply what Horace writ concerning Ancient Rome, to the Ceremonies and Manners of Ancient Greece, g

same:]

F, O.

¡¡y

Genius] Genius F, O.

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I will not insist on this Opinion, but rather judge in general, that since all Poetry had its Original from Religion, that of the Grecians and Rome had the same beginning: Both were invented at Festivals of Thanksgiving: And both were prosecuted with Mirth and Raillery, and Rudiments of Verses: Amongst the Greeks, by those who Represented Satyrs; and amongst the Romans by real Clowns. For, Indeed, when I am Reading Casaubon, on these two Subjects, methinks I hear the same Story told twice over with very little alteration: Of which Dacier takeing notice, in his Interpretation of the Latine Verses which I have Translated, says plainly, that the beginning of Poetry was the same, with a small variety in both Countries: And that the Mother of it in all Nations, was Devotion. But what is yet more wonderful, that most Learned Critique takes notice also, in his Illustrations on the First Epistle of the Second Book, that as the Poetry of the Romans, and that of the Grecians, had the same beginning at Feasts of Thanksgiving, as it has been Observ'd; and the old Comedy of the Greeks which was Invective, and the Satire of the Romans which was of the same Nature, were begun on the very same Occasion, so the Fortune of both in process of time was just the same; the old Comedy of the Grecians was forbidden, for its too much License in exposing of particular Persons, and the Rude Satire of the Romans was also Punish'd by a Law of the Decemviri, as Horace tells us, in these Words, Libertasque recurrentes accepta per Annos, Lusit amabiliter, donee jam stevus apertam In rabiem verti ccepit jocus; ir per honestas Ire domos impune minax: Doluere cruento Dente lacessiti; fuit intactis quoque cura Conditione super communi: Quin etiam Lex, Pcenaq; lata, malo quee nollet carmine quemquam Describí; vertere modum formidine fitstis; Ad benedicendum delectandumq; redacti. 8

Casaubon] F (corrected state), O; Casauban F (uncorrected state).

10 alteration:]

]•', O.

28 ccepit] ctcpil F, O.

is beginning] O; begining F.

32 Pccnaq;] O; Painaq; F.

Discourse

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Satire

33

T h e Law of the Decemviri, was this: Siquis Occentassit malum Carmen, sive Condidisit, quod Infamiam faxit, Flagitiumve alteri, Capital esto. A strange likeness, and barely possible: But the Critiques being all of the same Opinion, it becomes me to be silent, and submit to better Judgments than my own. But to return to the Grecians, from whose Satyrick Drama's, the Elder Scaliger and Heinsius, will have the Roman Satire to proceed, I am to take a View of them first, and see if there be any such Descent from them as those Authors have pretended. Thespis, or whosoever he were that Invented Tragedy, (for Authors differ) mingl'd with them a Chorus and Dances of Satyres, which had before been us'd, in the Celebration of their Festivals; and there they were ever afterwards retain'd. T h e Character of them was also kept, which was Mirth and Wantonness: And this was given, I suppose, to the folly of the Common Audience, who soon grow weary of good Sense; and as we daily see, in our own Age and Country, are apt to forsake Poetry, and still ready to return, to Buffoonry and Farce. From hence it came, that in the Olympique Games, where the Poets contended for Four Prizes, the Satyrique Tragedy was the last of them: for in the rest, the Satyrs were excluded from the Chorus. Amongst the Plays of Euripides, which are yet remaining, there is one of these Satyriques, which is call'd the Cyclops; in which we may see the nature of those Poems; and from thence conclude, what likeness they have to the Roman Satire. T h e Story of this Cyclops, whose Name was Polyphemus, so famous in the Grecian Fables, was, T h a t Ulysses, who with his Company was driven on that Coast of Sicily, where those Cyclops Inhabited, coming to ask Relief from Silenus, and the Satyres, who were Herdsmen to that One-ey'd Gyant, was kindly receiv'd by them, and entertain'd; till being perceiv'd by Polyphemus, they were made Prisoners, against the Rites of Hospitality, for which Ulysses Eloquently pleaded, were afterwards i this:] O; F. so Olympique Games] O (Gaines); Olympique-Games 23 Euripides] O; Eurypides F.

F.

34

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put down into the Den, and some of them devour'd: After which, Ulysses having made him Drunk, when he was asleep, thrust a great Firebrand into his Eye, and so Revenging his Dead Followers, escap'd with the remaining Party of the Living: And Silenus and the Satyrs, were freed from their Servitude under Polyphemus, and remitted to their first Liberty, of attending and accompanying their Patron Bacchus. This was the Subject of the Tragedy, which being one of those that end with a happy Event, is therefore by Aristotle, judg'd below the other sort, whose Success is unfortunate: Notwithstanding which, the Satyrs, who were part of the Dramatis Persona, as well as the whole Chorus, were properly introduc'd into the Nature of the Poem, which is mix'd of Farce and Tragedy. T h e Adventure of Ulysses was to entertain the Judging part of the Audience, and the uncouth Persons of Silenus, and the Satyrs, to divert the Common People, with their gross Railleries. Your Lordship has perceiv'd, by this time, that this Satyrique Tragedy, and the Roman Satire have little Resemblance in any of their Features. T h e very Kinds are different: For what has a Pastoral Tragedy to do with a Paper of Verses Satirically written? T h e Character and Raillery of the Satyres is the only thing that cou'd pretend to a likeness, were Scaliger and Heinsius alive to maintain their Opinion. And the first Farces of the Romans, which were the Rudiments of their Poetry, were written before they had any Communication with the Greeks; or, indeed, any Knowledge of that People. And here it will be proper to give the Definition of the Greek Satyrique Poem from Casaubon, before I leave this Subject. T h e Satyrique, says he, is a Dramatick Poem, annex'd to a Tragedy; having a Chorus, which consists of Satyrs: T h e Persons Represented in it, are Illustrious Men: T h e Action of it is great; the Stile is partly Serious, and partly Jocular; and the Event of the Action most commonly is Happy. io 16 23

unfortunate:] F, O. 12 Chorus] Chorus F, O. Satyrs] Satyrs F, O. 22 Satyres] Satyres F, O. likeness, were] — : Were F, O. 31 Satyrs] Satyrs F, O.

Discourse

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35

T h e Grecians, besides these Satyrique Tragedies/had another kind of Poem, which they call'd Si Hi; which were more of kin to the Roman Satire: Those Silli were indeed Invective Poems, but of a different Species from the Roman Poems of Ennius, Pacuvius, Lucilius, Horace, and the rest of their Successors. They were so call'd, says Casaubon in one place, from Silenus, the Foster-Father of Bacchus; but in another place, bethinking himself better, he derives their Name am TO« aikkalvtiv, from their Scoffing and Petulancy. From some Fragments of the Silli, written by Timon, we may find, that they were Satyrique Poems, full of Parodies; that is, of Verses patch'd up from great Poets, and turn'd into another Sence than their Author intended them. Such amongst the Romans is the Famous Cento of Ausonius; where the words are Virgil's: But by applying them to another Sense, they are made a Relation of a Wedding-Night; and the Act of Consummation fulsomly describ'd in the very words of the most Modest amongst all Poets. Of the same manner are our Songs, which are turn'd into Burlesque; and the serious words of the Author perverted into a ridiculous meaning. T h u s in Timon's Silli the words are generally those of Homer, and the Tragick Poets; but he applies them Satyrically, to some Customs and Kinds of Philosophy, which he arraigns. But the Romans not using any of these Parodies in their Satyres; sometimes, indeed, repeating Verses of other Men, as Persius cites some of Nero's, but not turning them into another meaning; the Silli cannot be suppos'd to be the Original of Roman Satire. T o these Silli consisting of Parodies, we may properly add, the Satires which were written against particular Persons; such as were the Iambiques of Archilocus against Lycambes, which Horace undoubtedly imitated in some of his Odes and Epodes, whose Titles bear sufficient witness of it: I might also name the Invective of Ovid against Ibis; and many others: But these are the Under-wood of Satire, rather than the Timber-Trees: T h e y are not of General Extension, as reaching only to some Individual Person. And Horace seems to have purg'd himself from those Splenetick Reflections in those Odes and Epodes, before 25

Nero's,

. . . meaning;]

. . ,

F, O.

36

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he undertook the Noble Work of Satires; which were properly so call'd. Thus, my Lord, I have at length disengag'd my self from those Antiquities of Greece; and have prov'd, I hope, from the best Critiques, that the Roman Satire was not borrow'd from thence, but of their own Manufacture: I am now almost gotten into my depth; at least by the help of Dacier, I am swimming towards it. Not that I will promise always to follow him, any more than he follows Casaubon; but to keep him in my Eye, as my best and truest Guide; and where I think he may possibly mislead me, there to have recourse to my own lights, as I expect that others should do by me. Quintilian says, in plain words, Satira quidem tota, nostra est: And Horace had said the same thing before him, speaking of his Predecessor in that sort of Poetry, Et Greecis intacti Carminis Auctor. Nothing can be clearer than the Opinion of the Poet, and the Orator, both the best Criticks of the two best Ages of the Roman Empire, that Satire was wholly of Latin growth, and not transplanted to Rome from Athens. Yet, as I have said, Scaliger, the Father, according to his Custom, that is, insolently enough, contradicts them both: and gives no better Reason, than the derivation of Satyrus from cr&dv, Salacitas; and so from the Lechery of those Fauns, thinks he has sufficiently prov'd, that Satyre is deriv'd from them: As if Wantonness and lubricity, were Essential to that sort of Poem, which ought to be avoided in it. His other Allegation, which I have already mention'd, is as pitiful: T h a t the Satyres carried Platters and Canisters full of Fruit, in their Hands. If they had enter'd emptyhanded, had they been ever the less Satyres? Or were the Fruits and Flowers, which they offer'd, any thing of kin to Satyre? Or any Argument that this Poem was Originally Grecian? Casaubon judg'd better, and his Opinion is grounded on sure Authority; that Satyre was deriv'd from Satura, a Roman word, which 16 18 24 33

Auctor] Author F, O . 18 that] t h a n t h a t F. O . Latin] L a t i n F, O . aa M c c h a n i c k ] O ; Mecanick F. so English] English F, O . 23 c a p a b l e of] O ; c a p a b l e or F

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Satire

I wou'd excuse the performance of this Translation, if it were all my own; but the better, tho' not the greater part being the Work of some Gentlemen who have succeeded very happily in their Undertaking; let their Excellencies attone for my Imperfections, and those of my Sons. I have perus'd some of the Satires, which are done by other Hands: And they seem to me as perfect in their kind, as any thing I have seen in English Verse. T h e common way which we have taken, is not a Literal Translation, but a kind of Paraphrase; or somewhat which is yet more loose, betwixt a Paraphrase and Imitation. It was not possible for us, or any Men, to have made it pleasant, any other way. If rendring the exact Sense of these Authors, almost line for line, had been our business, Barten Holiday had done it already to our hands: And, by the help of his Learned Notes and Illustrations, not only Juvenal, and Persius, but what yet is more obscure, his own Verses might be understood. But he wrote for Fame, and wrote to Scholars: W e write only for the Pleasure and Entertainment, of those Gentlemen and Ladies, who tho they are not Scholars are not Ignorant: Persons of Understanding and good Sense; who not having been conversant in the Original, or at least not having made Latine Verse so much their business, as to be Critiques in it, wou'd be glad to find, if the Wit of our T w o great Authors, be answerable to their Fame, and Reputation in the World. W e have therefore endeavour'd to give the Publick all the Satisfaction we are able in this kind. And if we are not altogether so faithful to our Author, as our Predecessours Holiday and Stapylton, yet we may Challenge to our selves this praise, that we shall be far more pleasing to our Readers. W e have follow'd our Authors, at greater distance; tho' not Step by Step, as they have done. For oftentimes they have gone so close, that they have trod on the Heels of Juvenal and Persius; and hurt them by their too near approach. A Noble Authour wou'd not be persu'd too close by a Translator. W e lose his Spirit, when we think to take his Body. T h e grosser Part remains with us, but the Soul is flown away, in 7 English] English F. O . 15 only] only of F, O.

13

line for line,] O;

—

F.

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some Noble Expression or some delicate turn of Words, or Thought. Thus Holiday, who made this way his choice, seiz'd the meaning of Juvenal; but the Poetry has always scap'd him. They who will not grant me, that Pleasure is one of the Ends of Poetry, but that it is only a means of compassing the only end, which is Instruction; must yet allow that without the means of Pleasure, the Instruction is but a bare and dry Philosophy, a crude preparation of Morals, which we may have from Aristotle and Epictetus, with more profit than from any Poet. Neither Holiday nor Stapylton, have imitated Juvenal, in the Poetical part of him, his Diction and his Elocution. Nor had they been Poets, as neither of them were; yet in the way they took, it was impossible for them to have Succeeded in the Poetique part. The English Verse, which we call Heroique, consists of no more than Ten Syllables; the Latine Hexameter sometimes rises to Seventeen; as for example, this Verse in Virgil, Pulverulenta putrem sonitu quatit ungula

Campion.

Here is the difference, of no less than Seven Syllables in a line, betwixt the English and the Latine. Now the Medium of these, is about Fourteen Syllables; because the Dactyle is a more frequent foot in Hexameters than the Spondee. But Holiday, without considering that he Writ with the disadvantage of Four Syllables less in every Verse, endeavours to make one of his Lines, to comprehend the Sense of one of Juvenal's According to the falsity of the Proposition, was the Success. He was forc'd to crowd his Verse with ill sounding Monosyllables, of which our Barbarous Language affords him a wild plenty: And by that means he arriv'd at his Pedantick end, which was to make a literal Translation: His Verses have nothing of Verse in them, but only the worst part of it, the Rhyme: And that, into the bargain, is far from good. But which is more Intollerable, by cramming his ill chosen, and worse sounding Monosyllables so close together; the very Sense which he endeavours to explain, is become more obscure, 8 Philosophy, a] A !•', O.

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than that of his Author. So that Holiday himself cannot be understood, without as large a Commentary, as that which he makes on his T w o Authours. For my own part, I can make a shift to find the meaning of Juvenal without his Notes: but his Translation is more difficult than his Authour. And I find Beauties in the Latine to recompence my Pains; but in Holiday and Stapylton, my Ears, in the First Place, are mortally offended; and then their Sense is so perplex'd, that I return to the Original, as the more pleasing task, as well as the more easy. This must be said for our Translation, that if we give not the whole Sense of Juvenal, yet we give the most considerable Part of it: We give it, in General, so clearly, that few Notes are sufficient to make us Intelligible: We make our Authour at least appear in a Poetique Dress. We have actually made him more Sounding, and more Elegant, than he was before in English: And have endeavour'd to make him speak that kind of English, which he wou'd have spoken had he liv'd in England, and had Written to this Age. If sometimes any of 11s (and 'tis but seldome) make him express the Customs and Manners of our Native Country, rather than of Rome; 'tis, either when there was some kind of Analogy, betwixt their Customes and ours; or when, to make him more easy to Vulgar Understandings, we gave him those Manners which are familiar to us. But I defend not this Innovation, 'tis enough if I can excuse it. For to speak sincerely, the Manners of Nations and Ages, are not to be confounded: We shou'd either make them English, or leave them Roman. If this can neither be defended, nor excus'd, let it be pardon'd, at least, because it is acknowleg'd; and so much the more easily, as being a fault which is never committed without some Pleasure to the Reader. Thus, my Lord, having troubl'd You with a tedious Visit, the best Manners will be shewn in the least Ceremony. I will slip away while Your Back is turn'd, and while You are otherwise em ploy'd: with great Confusion, for having entertain'd You so long with this Discourse; and for having no other Recompence to make You, than the Worthy Labours of my Fellow-Under-

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takers in this Work; and the Thankful Acknowledgments, Prayers, and perpetual good Wishes of, My Your

Lord,

Lordships,

Most Obliged, Most Aug. 18. 1692

and Most Obedient

Humble, Servant,

JOHN DRYDEN. 6 Sowing] O;

F.

E N G R A V I N G FOR J U V E N A L , (1697)

OF

The

SATIRE Satires

I , F R O M T H E SECOND (MACDONALD

30B)

EDITION

The First Satyr of Juvenal, into English

Translated

Verse A R G U M E N T O F T H E FIRST

SATYR.

The Poet gives us first a kind of humorous That

being provok'd

Reason for his

Writing:

by hearing so many ill Poets rehearse

Works, he does himself Justice

then-

on them, by giving them as bad as

they bring. But since no man ivill rank himself xuith ill Writers, easie to conclude, he thought

that if such Wretches

it no hard matter

esteem with the Publick. rather addicts

himself

Next

to excel

cou'd draw an

them, and gain a greater

he informs us more openly, why he

to Satyr, than any other

kind

of

Poetry.

And here he discovers that it is not so much his indignation Poets, as to ill Men, which has prompted

reigning in his time. So that this first Satyr is the natural but strikes indifferently

to ill

him to write. He

fore gives us a summary and general vietu of the Vices and work of all the rest. Herein

'tis

Audience,

he confines himself

thereFollies

Ground-

to no one

Subject,

at all Men in his way: In every

following

Satyr he has chosen some particular Moral tohich he wou'd

inculcate;

and lashes some particular Lampooners

Vice or Folly, (An Art with which

are not much acquainted.)

But our Poet being

to reform his own Age, and not daring to attempt

our

desirous

it by an Overt

act of naming living Persons, inveighs onely against those who were his, whereby

he not

only gives a fair warning to Great Men, that their Memory

infamous

in the times immediately

lies at

the mercy of future stroke

of his Pen,

Poets

preceding

and Historians,

brands ev'n

the living,

but also with a finer and personates

them

under dead mens Names. I have avoided as much as I cou'd possibly the borrow'd Learning of Marginal Notes and Illustrations, and for that Reason have Translated this Satyr somewhat largely, and freely oxon (if it be a fault) that I have likewise omitted most of the Proper Names, because I thought they zuou'd not much edifie the Reader. To conclude, if in two or three places I have deserted all the Commentators, 'tis because I thought they first deserted my Author, or at least have left him in so much obscurity, that too much room is left for guessing. 20 27

preceding] F (corrected state), O, M; preceeding largely, and] largely. And F, O, M.

F (uncorrected slate).

Poems

92

D. J UNI I JUVENALIS SATYRA

1693-1696

SATYRAE

I

S

ego auditor tantiim? nunquamne reponam, Vexatus toties ranci Theseide Codri? Impune ergo mihi recitaverit ille togatas, Hie Elegos? impune diem consumpserit ingens Telephus? aut sumni plend jam margine libri Scriptùs & in tergo necdum finitus Orestes? EMPER

Nota magis nulli domus est sua, quàm mihi lucus Martis, )-I6

. S. L ; optas C (1O47).

Persius:

Satyr I

She wip'd the Sweat, from the Dictator's Brow; And, o're his Back, his Robe did rudely throw; T h e Lictors bore, in State, their Lord's Triumphant Plough. Some, love to hear the Fustian Poet roar; And some on Antiquated Authours pore: Rummage for Sense; and think those only good W h o labour most, and least are understood. 150 W h e n thou shalt see the Blear-Ey'd Fathers Teach Their Sons, this harsh and mouldy sort of Speech; Or others new affected ways to try, Of wanton smoothness, Female Poetry; One wou'd enquire, from whence this motley Stile Did first our Roman Purity defile: For our Old Dotards cannot keep their Seat; But leap and catch at all that's obsolete. Others, by Foolish Ostentation led, When call'd before the Bar, to save their Head, ir,o Bring trifling Tropes, instead of solid Sence: And mind their Figures more than their Defence: Are pleas'd to hear their thick-scull'd Judges cry Well mov'd, oh finely said, and decentlyl Theft, (says th' Accuser) to thy Charge I lay O Pedius! What does gentle Pedius say? Studious to please the Genius of the Times, With 8 Periods, Points, and Tropes, he slurs his Crimes: " H e Robb'd not, but he Borrow'd from the Poor; A n d took but with intention to restore." 170 He lards with flourishes his long Harangue; 'Tis fine, say'st thou; what, to be Prais'd and Hang? Effeminate Roman, shall such Stuff prevail T o tickle thee, and make thee wag thy Tail? Say, shou'd a Shipwrack'd Saylor sing his woe, An Alms? What's more prepost'rous than to see Woud'st thou be mov'd to pity, or bestow A Merry Beggar? Mirth in Misery? 1G1 Dcfcncc:] I', O, M. 171 what,] O; Before the Nobler Parts, are tainted to decay. J There dwells below, a Race of Demi-Gods, 250 Of Nymphs in Waters, and of Fawns in Woods: Who, tho not worthy yet, in Heav'n to live, Let 'em, at least, enjoy that Earth we give. Can these be thought securely lodg'd below, When I my self, who no Superior know, I, who have Heav'n and Earth at my command, Have been attempted by Lycaon's Hand? A t this a murmur, thro' the Synod went, And with one Voice they vote his Punishment. Thus, when Conspiring Traytors dar'd to doom 2co T h e fall of Ctvsar, and in him of Rome, T h e Nations trembled, with a pious fear; A l l anxious for their Earthly Thunderer: Nor was their care, O Ccrsar! less esteem'd By thee, than that of Heav'n for Jove was deem'd: ¡¡(KJ dccni'd:]

O.

384

Poems

1693-1696

Who with his Hand and Voice, did first restrain Their Murmurs, then resum'd his Speech again. The Gods to silence were compos'd, and sate With Reverence, due to his Superior State. Cancel your pious Cares; already he 270 Has paid his Debt to Justice, and to me. Yet what his Crimes, and what my Judgments were, Remains for me, thus briefly to declare. The Clamours of this vile degenerate Age, T h e Cries of Orphans, and th' Oppressor's Rage Had reach'd the Stars; I will descend, said I, In hope to prove this loud Complaint a Lye. Disguis'd in Humane Shape, I Travell'd round The World, and more than what I hear'd, I found. O're Mcenahis I took my steepy way, 280 By Caverns infamous for Beasts of Prey: Then cross'd Cyllene, and the piny shade, More infamous by Curst Lycaon made. Dark Night had cover'd Heav'n and Earth, before I enter'd his Unhospitable Door. Just at my entrance, I display'd the Sign That somewhat was approaching of Divine. The prostrate People pray; the Tyrant grins; And, adding Prophanation to his Sins, I'll try, said he, and if a God appear, 290 T o prove his Deity shall cost him dear. Twas late; the Graceless Wretch, my Death prepares, When I shou'd soundly Sleep, opprest with Cares: This dire Experiment, he chose, to prove If I were Mortal, or undoubted Jove: But first he had resolv'd to taste my Pow'r; Not long before, but in a luckless hour Some Legates, sent from the Molossian State, Were on a peaceful Errant come to Treat: 281-282 shade, . . . infamous] . . . O, 289-290 appear, . . . Deity] . . . O,

Examen

Poeticum

Of these he Murders one, he boils the Flesh; 300 And lays the mangl'd Morsels in a Dish: Some part he Roasts; then serves it up, so drest, And bids me welcome to this Humane Feast. Mov'd with disdain, the Table I o're-turn'd; And with avenging Flames, the Palace burn'd. T h e Tyrant in a fright, for shelter, gains T h e Neighb'ring Fields, and scours along the plains. Howling he fled, and fain he wou'd have spoke; But Humane Voice, his Brutal T o n g u e forsook. About his lips, the gather'd foam he churns, 310 And, breathing slaughters, still with rage he burns, But on the bleating Flock, his fury turns. His Mantle, now his Hide, with rugged hairs Cleaves to his back, a famish'd face he bears. His arms descend, his shoulders sink away, T o multiply his legs for chace of Prey. H e grows a Wolf, his hoariness remains, And the same rage in other Members reigns. His eyes still sparkle in a narr'wer space: His jaws retain the grin, and violence of face. T h i s was a single mine, but not one Deserves so just a punishment alone. Mankind's a Monster, and th' Ungodly times Confed'rate into guilt, are sworn to Crimes. All are alike involv'd in ill, and all Must by the same relentless Fury fall. T h u s ended he; the greater Gods assent; By Clamours urging his severe intent; T h e less fill up the cry for punishment. Yet still with pity, they remember Man; 330 And mourn as much as Heav'nly Spirits can. T h e y ask, when those were lost of humane birth, W h a t he wou'd do with all this waste of Earth: If his dispeopl'd World, he would resign T o Beasts, a mute, and more ignoble Line; 320

385

3 86

Poems

i6p3~i6(j6

Neglected Altars must no longer smoke, If none were left to worship and invoke: T o whom the Father of the Gods reply'd,' Lay that unnecessary fear aside. Mine be the care, new People to provide. »40 I will from wondrous Principles ordain A Race unlike the first, and try my skill again. Already had he toss'd the flaming Brand; And roll'd the Thunder in his spatious hand; . Preparing to discharge on Seas and Land: But stopt, for fear thus violently driven, T h e Sparks should catch his Axle-tree of Heav'n: Remembring in the Fates, a time when Fire Shou'd to the Battlements of Heav'n aspire: And all his blazing Worlds above shou'd burn; 350 And all th' inferiour Globe, to Cinders turn. His dire Artill'ry thus dismist, he bent His thoughts to some securer Punishment: Concludes to pour a Watry Deluge down; And what he durst not burn, resolves to drown. T h e Northern breath, that freezes Floods, lie binds: With all the race of Cloud-dispelling Winds. T h e South he loos'd, who Night and Horror brings; And Foggs are shaken from his flaggy Wings. From his divided Beard, two Streams he pours, 360 His head and rhumy eyes, distill in showers. With Rain his Robe and heavy Mantle flow: And lazy mists, are lowring on his brow; Still as he swept along, with his clench't fist He squeez'd the Clouds, th' imprison'd Clouds resist: T h e Skies from Pole to Pole, with peals resound; And show'rs inlarg'd, come pouring on the ground. 336 348 356

invoke:] O. 3.(3 T h u n d e r ] T u i u l e r O. aspire:] — O. 35« Punishment:] O. Winds.] some copies of O have colon.

346

Heav'n:]

O.

Examen

Poelicum

Then, clad in Colours of a various dye, Junonian Iris, breeds a new supply; T o feed the Clouds: Impetuous Rain descends; 370 The bearded Corn, beneath the Burden bends: Defrauded Clowns, deplore their perish'cl grain; And the long labours of the Year are vain.

Nor from his Patrimonial Heav'n alone Is Jove content to pour his Vengeance down, Aid from his Brother of the Seas he craves; T o help him with Auxiliary Waves. The watry Tyrant calls his Brooks and Floods, Who rowl from mossie Caves (their moist abodes;) And with perpetual Urns his Palace fill: 380 T o whom in breif, he thus imparts his Will. Small Exhortation needs; your Pow'rs employ: And this bad World, so Jove requires, destroy. Let loose the Reins, to all your watry Store: Bear down the Damins, and open every door. The Floods, by Nature Enemies to Land, And proudly swelling with their new Command, Remove the living Stones, that stopt their way, And gushing from their Source, augment the Sea. Then, with his Mace, their Monarch struck the Ground: 390 With inward trembling, Earth receiv'd the wound; And rising streams a ready passage found. T h ' expanded Waters gather on the Plain: They flote the Fields, and over-top the Grain; Then rushing onwards, with a sweepy sway, Bear Flocks and Folds, and lab'ring Hinds away. Nor safe their Dwellings were, for, sap'd by Floods, Their Houses fell upon their Household Gods. The solid Piles, too strongly built to fall, High o're their Heads, behold a watry Wall:

387

388

Poems

1693-1696

400 Now Seas and Earth were in confusion lost; A World of Waters, and without a Coast. One climbs a Cliff; one in his Boat is born; And Ploughs above, where late he sow'd his Corn. Others o're Chimney tops and Turrets row, And drop their Anchors, on the Meads below: Or downward driv'n, they bruise the tender Vine, Or tost aloft, are knock't against a Pine. And where of late, the Kids had cropt the Grass, The Monsters of the deep, now take their place. 410 Insulting Nereids on the Cities ride, And wondring Dolphins o're the Palace glide. On leaves and masts of mighty Oaks they brouze; And their broad Finns, entangle in the Boughs. The frighted Wolf, now swims amongst the Sheep; The yellow Lyon wanders in the deep: His rapid force, no longer helps the Boar: T h e Stag swims faster, than he ran before. The Fowls, long beating on their Wings in vain, Despair of Land, and drop into the Main. 420 Now Hills and Vales, no more distinction know; And levell'd Nature, lies oppress'd below. T h e most of Mortals perish in the Flood: The small remainder dies for want of Food. A Mountain of stupendous height there stands Betwixt th' Athenian and Boeotian Lands, T h e bound of fruitful Fields, while Fields they were, But then a Field of Waters did appear: Parnassus is its name; whose forky rise Mounts through the Clouds, and mates the lofty Skies. 430 High on the Summet of this dubious Cliff, Deucalion wafting, moor'd his little Skiff. He with his Wife were only left behind Of perish'd Man; they two, were Humane Kind. T h e Mountain Nymphs and Themis they adore,

Examen

Poeticum

And from her Oracles relief implore. The most upright of Mortal Men was he; The most sincere and holy Woman, she. When Jupiter, surveying Earth from high, Beheld it in a Lake of Water lie, 440 That where so many Millions lately liv'd, But two, the best of either Sex surviv'd; He loos'd the Northern Wind; fierce Boreas flies T o puff away the Clouds and purge the Skies: Serenely, while he blows, the Vapours, driven, Discover Heav'n to Earth, and Earth to Heav'n. The Billows fall, while Neptune lays his Mace On the rough Sea, and smooths its furrow'd face. Already Triton, at his call appears, Above the Waves; a Tyrian Robe he wears; 450 And in his hand a crooked Trumpet bears. The Soveraign bids him peaceful sounds inspire; And give the Waves the signal to retire. His writhen Shell he takes; whose narrow vent Grows by degrees into a large extent, Then gives it breath; the blast, with doubling sound, Runs the wide Circuit of the World around: T h e Sun first heard it, in his early East, And met the rattling Eccho's in the West. The Waters, listning to the Trumpets roar, 460 Obey the Summons, and forsake the Shoar. A thin Circumference of Land appears; And Earth, but not at once, her visage rears, And peeps upon the Seas from upper Grounds; T h e Streams, but just contain'd within their bounds, By slow degrees into their Channels crawl: And Earth increases, as the Waters fall. In longer time the tops of Trees appear; Which Mud on their dishonour'd Branches bear. 447 Sea] Seas O. 462 rears,] O.

389

Poems

39«

j 693-16(^6

At length the World was all restor'd to view; 470 But desolate, and of a sickly hue: Nature beheld her self, and stood aghast, A dismal Desart, and a silent waste: Which when Deucalion, with a piteous look Beheld, he wept, and thus to Pyrrha spoke: Oh Wife, oh Sister, oh of all thy kind T h e best and only Creature left behind, By Kindred, Love, and now by Dangers joyn'd, Of Multitudes, who breath'd the common Air, W e two remain; a Species in a pair: 480 T h e rest the Seas have swallow'd; nor have we Ev'n of this wretched life a certainty. T h e Clouds are still above; and, while I speak, A second Deluge, o're our heads may break. Shou'd I be snatch'd from hence, and thou remain, Without relief, or Partner of thy pain, How cou'd'st thou such a wretched Life sustain? Shou'd I be left, and thou be lost, the Sea That bury'd her I lov'd, shou'd bury me. Oh cou'd our Father his old Arts inspire, 490 And make me Heir of his informing Fire, T h a t so I might abolisht Man retrieve, And perisht People in new Souls might live. But Heav'n is pleas'd, nor ought we to complain, T h a t we, th' Examples of Mankind, remain. He said; the careful couple joyn their Tears; And then invoke the Gods, with pious Prayers. Thus, in Devotion having eas'd their grief, From Sacred Oracles, they seek relief: And to Cephisus Brook, their way pursue: 500 T h e Stream was troubl'd, but the Foord they knew; With living Waters, in the Fountain brecl, 1 They sprinkle first, their Garments, and their Head, T h e n took the way, which to the Temple led. I ,yji al belch. 62 Willi this conception Dryden is under much less pressure to deal; after all, lie has followed Oasaubon in separating satyr from satire, he has presented the unsatyrlike Dorset as an ideal satirist, and the Elizabethans are for the most part forgotten, anyway. But one Elizabethan, at least, was by 110 means forgotten, even in Dryden's modernizing day, and as to his problematic style, Dryden anticipates more recent analyses. 53 Dryden's interest in Donne's work, and his strong objections to its manner, led, as is well known, to the modernization of Donne's satires by Dryden's follower, Alexander Pope. Yet dismissing Persius and Donne as stylistic exemplars was only part of Dryden's task in discussing how satires should be written. Even as late as Dryden's 1683 elegy on Oldham, the traditional idea that satiric style should, or might as well, be rough had once again emerged. 84 Having contributed to such a tradition as recently as ten years previously, Dryden —never one to reject a changed viewpoint if a new insight presented itself—makes up for his former stand in favor of harshness by an elaborate discussion of appropriate meters and of that stylistic delicacy, the "turn," in the last pages of his Discourse. His model is Boileau, master of "the most Noble kind of Satire," and beyond Boileau, Virgil in the mock-heroic portions of the Georgics. Here, as elsewhere in the Discourse, the objective is to clear away what Dryden sees as the undergrowth of the subject, to sketch out pathways and main lines of development, and, above all, to win a hearing for satire as a kind of writing which (though never discussed under that name by Aristotle) can even be mentioned in the same piece of criticism with other kinds more traditionally honored: with epic, or with verse tragedy. 05 A close reading of the Discourse reveals that Dryden believed a successful writer of satire must be a man of virtue, intelligence, and candor, that is, of generosity. Among the moderns he considered the Earl of Dorset an exemplar, and among the ancients, Persius. Dryden observed that 51

Kernan, Cankered Muse, p. 62. " Q u o t e d by Peter, Complaint and Satire, p. 147: " I t is a cordial of a candy taste . . . Whose druggy lees . . . I'll bclch into your throats all open wide. . . ." 83 See, for example, Hodgart, Satire (p. 142): "Donne's satires are packed with brilliant ideas and images, but they are very hard to read aloud, and suffer f r o m obscurity of thought. Yet Donne is by f a r the best of the Elizabethan satirists." " T h i s point is made by I-Iodgart (ibid., pp. 1 4 2 - 1 4 3 ) . M A version of the preceding paragraphs appeared in SEI, (Summer, 1971).

526

Commentary

satire in his own day had come to be synonymous with attack 011 vice and foible, but he pointed out that in ancient Rome it was used for praise as well as for blame. Horace, for example, had attacked passions, vice, unnaturalness, boundless desires, confusion of falsehood with truth, prejudice, and obstinacy in clinging to inherited opinions; but he also, either directly or by implication, had advocated the reverse of these human weaknesses. I n Dryden's opinion, moreover, the successful satirist is a public figure, either praised and rewarded by the political standard-bearers of his society (Maecenas, Dorset, Louis XIV) or neglected by them to society's discredit. What the satirist says is relevant to his society, and his fate (whether or not there is enough money to bury him in state) is an implicit judgment on that society. In a good age the satirist attacks folly, as did Horace; in a bad, vice, as did Juvenal. T h e attack on folly is more difficult and demands a subtler, more conversational style; the attack on vice is more spectacular and can give the greater pleasure. I n establishing satire's identity as a distinct mode of composition, Dryden separated it from three related but distinguishable modes: satire of any obviously non-Horatian-Persian-Juvenalian sort, like Spenser's Mother Hubberds Tale or Apuleius's Golden Ass; the satyr play annexed to ancient Greek tragedy; and the lampoon. Dryden excluded from the category of true satire prose dialogues such as those of Varro or Lucian, as well as Hudibras, Absalom and Achitophel, and Mac l'lecknoe, at the same time calling them Varronian or Menippean satires. T h e satyr play and Varronian satire were evidently excluded on the grounds of form; the lampoon, on the other hand, failed to qualify on the grounds of content. Clearly, a lampoon is not satire in the sense that Dryden uses the term in the Discourse; and in addition, lampoons, in Dryden's opinion, are potentially antisocial destructive instruments to be viewed with suspicion for the harm they might do if wielded by wittily malicious poetasters. As a translator of Juvenal and Persius, Dryden inevitably concerned himself with questions relating to the way satires should be written, to the way language in satire should be handled, and to the semantic and linguistic shapes most appropriate for the genre. Since the satirist is using words to communicate strongly felt attitudes, he should strive to use them as clearly as possible; either he should have a full mastery of his art or he should avoid the satiric mode altogether. Satire is written in verse because verse is the most expressive way of using language, and the satirist, like the epigrammatist, aims at maximum intensity of expression. T h e proper verse for satire is that most widely and naturally used in the period when the satire is written: in Rome it was the dactylic hexameter of Virgil and Lucretius; in France, the twelve-syllable couplet of Corneille and Racine; in England, the ten-syllable couplet perfected by Waller and made familiar by a series of plays after the return of the King. T h e verse form of satire should not call attention to itself (as it does in the verse of Butler and others), but should permit modulation from the most familiar conversa-

Notes to Page 5

527

tional tone characteristic of Horace to the grandeur of the mock-heroic as it was practiced by J u v e n a l . 6 0

In the following notes, except for notes to the Juvenal and Persius satires, translations from classical texts, unless otherwise credited, are by William Frost.

T I T L E PAGE Epigraph. Dryden's motto is from J u v e n a l , I, vv. 85-86. For Dryden's translation, see 11. 1 3 0 - 1 3 2 .

Discourse

of Satire

P. s the Right Honourable Charles, Earl of Dorset. An unusual combination of high birth, wealth, public influence, temperament, generosity, and literary talent had long since made Dorset (1678-1706) a key figure in the English political patronage system of his day. Beginning life as Charles Sackville, he was given the courtesy title L o r d Buckhurst in 1652, was created Earl of Middlesex in 1675, and succeeded his father as sixth E a r l of Dorset in 1677. H e was made L o r d Chamberlain in 1689 and received the Garter in 1691. Brice Harris (Charles Sackville Sixth Earl of Dorset [1940], pp. 1 8 8 - 1 8 9 ) compares Dryden's dedication of the Discourse to Dorset with J o h n Dennis's dedication of his Miscellanies in Prose and Verse to the same nobleman 111 the same year. See also the account of Dorset in Works, X V I I , 359-360. Dorset's writings were first collected in 1 7 1 4 ( T h e Works of the Earls of Rochester, Roscommon, Dorset). Some works that were reputed to be Dorset's had become well known during his lifetime: for example, the famous song " T o all you Ladies now at L a n d , " published anonymously in the winter of 1664-65; a version of Corneille's Pompcy the Great (1664) in which Dorset had a hand; and the satiric To Mr. Edward Howard on his Incomparable, Incomprehensible Poem, called "The British Princes" (1669), which circulated in manuscript in the 1670's (see Harris, Earl of Dorset, pp. 26, 33, 44-46). 3 : 5 - 6 no Factions . . . that are not united in their Affection to you. T h o u g h Dorset had opposed the policy of J a m e s I I and supported William of Orange, he continued to be a friend and patron of writers on both sides of the controversy—of Shadwell and Prior, who were aligned M F o r a detailed analysis of Dryden's theory of satire 111 the Discourse, see William Frost, "Dryden's Theory and Practice of Satire," in Dryden's Mind and Art, ed. Bruce King (1969). Materials drawn from the essay and reprinted above are used with the permission of the publisher, Oliver and Boyd.

528

Commentary

with William, and of Dryden, a defender of James. T h i s impartiality seems to have been typical of Dorset. 3:8-9 Titus Vespasian . . . Delight of Human-kind. Suetonius in his Lives of the Caesars had called this emperor (69-79) amor atque deliciae generis humani ("the love and delight of humankind"), a phrase Dryden had already echoed, as Noyes notes, in his praise of Charles I I as "Mankinds Delight" (Absalom and Achitophel, 1. 318). Yonge notes that Tacitus in his Histories also praises Titus. 3:9 The Universal Empire. Rome, by contrast with countries like England, France, and Holland. 3 : 1 3 - 1 4 lost as few days. See Suetonius, V I I I , 8: "remembering at dinner that he had done nothing for anybody all that day, he gave utterance to that memorable and praiseworthy remark: 'Friends, I have lost a d a y ' " (Loeb). 4:3 the Reformation which Descartes us'd. Descartes found that he could doubt everything except his own existence: cogito ergo sum: je pense, done je suis. " T h e 'reformation' is the qualification of the statement [I am] by prefixing 'I think' " (Ker). Dryden uses philosophy to decorate a point essentially semantic and rhetorical: if one actually is certain, he does not say he thinks he is certain. 4 : 1 3 the Sun. Dryden's imagery associates Dorset's power and beneficence with natural phenomena in the manner of the standard sun-king imagery of the Renaissance. See E. M. W. Tillyard, The Elizabethan World Picture (1943), pp. 27-28; Ruth Nevo, The Dial of Virtue (1963), pp. 149-150; and E. R . Curtius, European Literature and the Latin Middle Ages, trans. W. R . Trask (1953), pp. 1 7 6 - 1 7 7 (on the ideal of the imperator literatus). 4 : 1 9 Essay of Dramatick Poetry. T h e Essay was dedicated (1668) to Dorset (then Buckhurst), who is commonly identified with "well born" Eugenius, one of the four speakers in the dialogue (see Works, X V I I , 3 5 2 353)4:20 I have the right of a First Discoverer. Though Dryden's first prose criticism, the epistle dedicatory of The Rival Ladies (1664), is addressed to Orrery, it hails Buckhurst's ancestor Thomas Sackville and greets Buckhurst himself as "that Excellent Person, who (as he Inherits his Soul and Title) I wish may Inherit his good Fortune" (Works, V I I I , 99; see Harris, Earl of Dorset, p. 31). T h e following year, 1665, saw the naval defeat of the Dutch in the battle that forms the background for the essay, Of Dramatick Poesie, in which Dorset (Buckhurst) appears as speaker and dedicatee. I n the dedication of the Essay Dryden wishes that Dorset "may be soon call'd to bear a part in the affairs of the Nation" and hopes that the Essay might awaken in him "the desire of writing something, in whatever kind it be, which might be an honour to our Age and Country" (Works, X V I I , 5). T h e only other literary "discoverer" of the young Dorset seems to have been George Etherege (a fellow courtier), who dedicated his Comical Revenge to Buckhurst in 1664 "and thereby made him a patron of literature at the age of twenty-one" (Harris, Earl of Dorset, p. 31). 4:23-24 when I was Drawing the Out-Lines of an Art. See the discussion

Notes

to Pages

3-6

529

of Dryden's "historic mission" as a critic in H o y t T r o w b r i d g e ' s " T h e Place of Rules in Dryden's Criticism," MP, X L I V (1946), 90. 4:27 happily. By .means of good luck rather than deliberate intention. 4:29 envy. Begrudge ( O E D , which cites this passage). 4:30-31 Monopoly of his Learning. Cf. R y m e r ' s preface to R a p i n ' s Reflections, 1674: " A t this time with us many great Wits flourished, b u t Ben Johnson, I think, had all the Critical learning to himself; and till of late years England was as free from Criticks, as it is from Wolves, that a harmless well-meaning Book might pass without any danger" (Rymer, Critical Works, p. 2). 5:4 the presumption to Dedicate. I.e., Of Dramatick Poesie. 5 : 1 3 Candor. "Freedom from malice, f a v o u r a b l e disposition, kindliness; 'sweetness of temper, kindness' " (OED). 5:21 Congenial, and of a remote Kindred. "I.e. to things both sympathetic and unsympathetic" (Watson). 5:30 excels all others. See Harris, Earl of Dorset, pp. 231-232, for "praises of Dorset's poetry by a score of writers" including Dryden, Lee, Addison, Dennis, Congreve, and Pope, who "rated him above better-known poets" such as Donne, Sedley, O l d h a m , and Rochester. 5:33 the Competitours of Themistocles. See Herodotus, viii, 123. In a competition to award a prize for bravery, each participant voted for himself first, but a majority rated Themistocles second. 5:36 Longo, sed proximi Intervallo. Virgil, Aeneid, V , 320, with Virgil's proximus pluralized to proximi to fit Dryden's sentence. " T h e next, but tho' the next, yet far dis-join'd" (Dryden's Aeneis, V , 420). 6:3-4 the Officer . . . call'd Captain, Lieutenant. Perhaps Pistol, called " C a p t a i n " in a Henry IV by Hostess Q u i c k l y (II, iv), " L i e u t e n a n t " by Falstaff (V, v), and "ancient" by Falstalf, Bardolf, and the Drawer (II, iv). 6:6 Revolution in Parnassus. Dorset was sometimes seen as replacing A p o l l o . Cf. the anonymous Uzziah and Jotham (1690): W h e n to the Muses Hill he does repair, ( T o o seldom he affords his Visits there I) T h e C h o i r rise up, and Phoebus yields the Chair. 6:8-9 your Lyrick Poems, . . . Envy of the next. " T h e s e Lyrical pieces, after all, are only a few smooth songs, where wit is sufficiently overbalanced by indecency" (Scott). But Harris (Earl of Dorset, p. 243) notes Dorset's place in a line of noble authors from Sidney to Byron and cites Ezra Pound's high praise of his work. 6:10-13 an Author of your own Quality, (whose Ashes I will not disturb,) has given you all the Commendation etc. A s all editors point out, the author referred to by Dryden is Rochester, from whose Allusion to the Tenth Satire of the First Book of Horace Dryden quotes the line "The best Good Man, with the worst-Natur'd Muse." For Quality, see OED: " R a n k . " Kinsley refers to Burnet (I, 264) on Dorset's generosity and amiability, and Harris (Earl of Dorset, p. 233) notes Dorset's attacks o n dunces (foreshadowing Peri Bathous and the Dunciad) and the Augustan tradition about his biting Muse. See also David Vieth, Attribution in

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Commentary

Restoration Poetry (1963), pp. 252-253, on Dorset's "Come on ye Critticks!" On Dryden's forbearance toward the dead Rochester (whose Ashes I will not disturb), see Francis Whitfield, Beast in View (1936), p. 10. Cf. Dryden's remarks on literary noblemen made while Rochester was still living, in the preface to All for Love (1678, sig. b3-b4; Watson, I, 2 2 6 227). 6:14 Johnson's Verses. Prefixed to the 1623 first folio. 6:1 g like Horace. O n Horace as exposer of men's follies, see the Discourse, 52:5-6, 62:13, a n d 63:7-8. Harris (Earl of Dorset, pp. 239-241) notes Dryden's comparison of Dorset with Horace, gives evidence that many poets of the period agreed, and argues that Dorset "in h u m b l e fashion" exemplified, in fact, many specific H o r a t i a n qualities. 6:22 Salt. Pungency. Cf. preface to An Evening's Love (Works, X, 206). 6:25-27 Donn . . . Versification. Cf. Dryden's other comments on Donne's versification in Of Dramatick Poesie (Works, XVII, 30) and in the dedication of Eleonora (Works, III, 233). 6:27 were he Translated. " T h i s probably suggested to Pope the scheme of modernizing Donne's Satires" (Malone). 7:3 Metaphysicks. Dryden's only use of this word, says H . James Jensen (A Glossary of John Dryden's Critical Terms [1969], p. 78). 7 : 4 - 5 perplexes the Minds of the Fair Sex. Cf. Dryden's version of Ovid's Art of Love, 11. 5 3 0 - 5 3 1 : " N o n e but vain Fools to simple W o m e n Preach; / A learned Letter oft has m a d e a Breach." Kinsley cites Urquhart's The Jewel (1652): "the sweetness of their disposition is more easily gained by u n d e r m i n i n g passion than storming reason." 7:8 Cowley has Copy'd him to a fault. See f u r t h e r comments on Cowley's style in the Discourse, 84:30-34. Dryden also criticizes faults of style in the author h e h a d so admired as a youth elsewhere in his work. I n the dedication of the Aeneis (1697, sig. f; Watson, II, 22g) lie attacks Cowley's violent metaphors and " i m p u r e " language; a n d in the preface to Fables (1700, sig.*Ci; Watson, II, 280) h e criticizes Cowley's overuse of conceits. 7 : 1 3 - 1 4 your Writings as the most perfect Model. Malone, finding only o n e poem "of [satirical] complexion" a m o n g Dorset's collected works, inferred f r o m Dryden's "high eulogy, that several of Lord Dorset's satirical poems have not come down to us, at least with his name," a n d cited Pope's opinion, recorded by Joseph Spence, that several of Dorset's pieces were "to be met with in those State Poems" i.e., the collection Poems on Affairs of State, of which Pope owned the 1705 volume. James Osborn (Spence's Anecdotes, §474) discusses in detail Dorset's appearances in the POAS collection: the various volumes ascribe five poems to him; Pope in manuscript marginalia ascribes three more; a n d the forthcoming edition of Dorset's poems by his biographer, Brice Harris, will list others now attributed to Dorset. T h e playfully ironic tone of Dryden's eulogy in this a n d the three following paragraphs, however, seems more consistent with the highly probable supposition that, like the other literary noblemen or "holiday writers," as

Notes

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Pope genially called them (Spcncc's Anecdotes, §469), Dorset produced very little indeed by comparison with a professional man of letters such as Dryden, Pope, or Samuel Johnson. Expressions of Dryden's like "few Touches," "secret Graces," "because you have not written more," and "You have not set me sufficient Copy to Transcribe" accord much better with the supposition of Dorset's brevity and infrequency than with Malone's hypothesis that Dorset may have been more productive than we now know. 7:33 Fame is in it self a real good, if we may believe Cicero. Cicero, however, says, in the passage cited by Noyes and Kinsley, " I pass over . . . public reputation [as a thing we feel bound to pronounce good] where it is called into being by the united voice of fools and knaves" (Tusciilan Disputations, V, xvi, 46 [Loeb]). Dryden's whole passage is tinged with irony, always allowing for the countersuggestion that Dorset may be better off not famous. 7:34-35 Fame, as Virgil tells us etc. Yonge quotes Dryden's translation of Aeneid, IV, 174-175 (Aeneis, IV, 252-254): Fame, the great 111, from small beginnings grows. Swift from the first; and ev'ry Moment brings New Vigour to her Rights, new Pinions to her wings. 7:35-36 Let Epicurus give Indolency . . . to his Gods. Kinsley cites Kyriai Doxai, i, and compares Lucretius, De Rerum Natura, ii, 646-651. 8:2 a Precept against it. Cf. the parable of the talents, Matthew, xxv, 14-30. 8:2 his own Example. The six-day labor of creation. 8:3-4 allow you a Seventh Day for rest. This playful irony continues the supernatural and regal implications of the Dorset-sun comparison in the second paragraph of the Discourse. 8:5-6 some Great Monarch, to take a Town. Louis XIV comes immediately to mind. 8 : 1 3 - 1 4 the daily Course of ordinary Providence. On the doctrine implied, see Hooker, Laws of Ecclesiastical Polity (ed. John Keble [Oxford, 1888], II, 239), V, lv, 3. 8:22 little less than Satire. I.e., of Dorset for having written so little. 8:27 their Lampoons and Libels. A representative collection of these can be conveniently assembled from Poems on Affairs of State, ed. George deF. Lord and others (1963-1968). Hugh Macdonald ("The Attacks on Dryden," Essays and Studies by Members of the English Association, X X I [1936], 41-74), discussing more than fifty separate attacks in pamphlets, prologues, and occasional verses, writes that Dryden, throughout his life, suffered attacks from every quarter. 8:30 shot at Rovers. A rover is "a mark selected at will or at random" (OED). 8:32 I anstoer'd not the Rehearsall. Though Dryden's portrait of Zimri in Absalom and Achitophel (1681), 11. 544-568, has attained at least as great subsequent repute for devastation as Buckingham's of Bayes in The Rehearsal (first acted 1671), the occasion of the Zimri portrait was the political history of the intervening decade and Buckingham's repent al-

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Commentary

liance with the chief targets of the poem, Monmouth (Absalom) and Shaftesbury (Architophel). T h e function of the portrait in the poem is to strengthen the general impression of the unfitness of the conspirators for governmental responsibility. (See Works, II, 257-260.) For both these reasons, neither the Zimri portrait nor the whole poem, whose authorship Drydcn first acknowledges in this Discourse, would need to be regarded as an "answer" to The Rehearsal even if (as Dryden here declines to admit) Dryden is taken as that play's chief subject. 8:33 the Author sale to himself. Dryden's usual rebuttal; Kinsley notes The Vindication of The Duke of Guise (1G83, p. 22): Much less am I concern'd at the noble name of Bayes; that's a Brat so like his own Father, that he cannot be mistaken for any other body: they might as reasonably have call'd Tom Sternhold, Virgil, and the resemblance would have held as well. 8:35 my Belters were more concern'd than I. According to S. Briscoe's Key to The Rehearsal (1704; reprinted in Cedric Gale's edition of the play, 1960), Buckingham began writing the play before the end of 1663 and had it ready for acting, with a cast rehearsed, when the plague of 1665 prevented its performance. T h e target of the 1G63-1665 version, according to Gale, was either Davenant, then the laureate, or Sir Robert Howard. According to Scott (Life, pp. 1 1 8 - 1 1 9 ) , As, besides the reputation of Dryden, that of many inferior poets, but greater men, was assailed by the Duke's satire, it would appear that the play met a stormy reception on the first night of representation. T h e friends of the Earl of Orrery, of Sir Robert Howard and his brothers, and other men of rank, who had produced heroic plays, were loud and furious in their opposition. Despite these two grounds for Dryden's allusion to his "Betters," the fact is that the 1671 version actually made him the chief target. 8:36 Mr. Smith, and Mr. Johnson. T h e chief interlocutors, or "straight men," of the farce, Smith being the country gentleman and Johnson the town wit. 9:5-6 the lamentable Companions of their Prose and Doggrel. Either the other figures in The Rehearsal or, more probably, such forgotten attackers as Martin Clifford (Notes upon Mr. Dryden's Poems in Four Letters, dated 1672, printed 1687), Richard Leigh (The Censure of the Rota, c. 1673), and perhaps Edward Ravenscroft (prologue to The Citizen Turn'd Gentleman, 1672). On these, and on Dryden's contemptuous reference to such criticism in his dedication of The Assignation (1672), see Scott, Life, pp. 1 3 1 - 1 3 8 , and Ward, Life, pp. 89-92. 9:33-34 Lord Chamberlain. T h e office had exercised the authority Dryden describes from 1624. Cf. Chambers's Encyclopaedia (1967), X I I , 2 2 23, s.v. R O Y A L HOUSEHOLD; and Harris, Earl of Dorset, p. 127. 9:34 are absolute by. Have absolute authority by virtue of. 10:4 inborn and inherent. Cf. Prior's praise of Dorset's conversation

Noies

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8~n

533

(cited in a h e a d n o t e by M a l o n e ) in his " H e a d s f o r a T r e a t i s e u p o n L e a r n i n g , " in The Literary Worlts of Matthew Prior, e d . H . B u n k e r W r i g h t a n d M o n r o e K. Spears (1959), I, 584: W i t in C o n v e r s a t i o n , w h i c h is easier p e r c e i v e d w h e n o n e h e a r s it t h e n e x p l a i n ' d by a n y difRnition d e p e n d s u p o n t h e S u p p o r t of g r e a t Stock a n d p l e n t i f u l variety of r e a d i n g . . . . T h e L a t e E a r l of Dorset was i n d e e d a g r e a t E x c e p t i o n to this R u l e f o r h e h a d t h o u g h t s w h i c h n o B o o k c o u l d l e n d h i m , a n d a way of e x p r e s s i n g t h e m which n o M a n ever k n e w to prescribe. 10:9 Clipt Poetry, and false Coyn. Cf. The Medall, 11. 2 2 8 - 2 2 9 a n d n {Works, II, 50, 297). 10:9 dipt in the Bath. T h e chemist's b a t h , f o r g i l d i n g (Ker). " ' B a t h ' m a y b e used in t h e c h e m i c a l sense or literally, t h e p l a t e b e i n g b u r n i s h e d a n d yellowed by t h e s u l p h u r of t h e w a t e r " (S-S). 1 0 : 1 0 - 1 1 the Scepters on the Guinies shew the difference. " S o m e issues of b o t h g u i n e a s a n d shillings in t h e reign of C h a r l e s I I bore, on t h e reverse side, f o u r c r o w n e d shields in t h e f o r m of a cross. A t t h e c e n t r e of t h e g u i n e a o n l y w e r e f o u r sceptres, t e r m i n a t i n g respectively in t h e o r b , thistle, fleur-de-lis, a n d h a r p " (Kinsley). 1 0 : 1 3 distinguishing Character. Joint authorship, anonymity, and m a n u s c r i p t c i r c u l a t i o n of p o e m s m a d e q u e s t i o n s of a t t r i b u t i o n lively during the seventeenth century. 10:30 Cattel. D r y d e n c o m p a r e s p o e m s to c a t t l e a n d i m i t a t o r s of p o e m s to k e e p e r s of o t h e r m e n ' s c a t t l e in A Parallel betwixt Painting and Poetry (1C95, sig. ear; W a t s o n , II, 195). 10:35 Holben, or Vandyke. H a n s Holbein (1497-1543). court painter f o r H e n r y V I I I , a n d Sir A n t h o n y V a n Dyck ( 1 5 9 9 - 1 6 4 1 ) , c o u r t p a i n t e r f o r C h a r l e s I. 1 1 : 1 5 - 1 6 Eighteen Thousand Lines. " R e a l l y a b o u t f o u r t e e n t h o u s a n d " (Noyes). " D o n o t exceed 13,000 lines" (Yonge). 1 1 : 1 7 - 1 8 Martial. See Epigrams, V I I I , 18, vv. 5 - 8 . Y o n g e translates as follows: So, t h o u g h h e m i g h t h a v e m a t c h e d g r e a t P i n d a r ' s lyre. T h e m o d e s t Virgil l e f t those c h o r d s u n t r i e d ; N o r sought to rival Varius' tragic fire, T h o u g h fit his g r a n d e s t t o n e s to h a v e o u t v i e d . T h e works of V a r i u s R u f u s (1st cent. B.C.) h a v e n o t survived; Y o n g e n o t e s t h a t H o r a c e speaks of h i m as a n e p i c p o e t , n o t m e n t i o n i n g his tragedies. 1 1 : 2 7 For good Sense is the same. Cf. A Parallel betwixt Painting and Poetry (1695, sig. d i w ; W a t s o n , I I , 191): " F o r N a t u r e is still t h e s a m e i n all Ages, a n d c a n n e v e r b e c o n t r a r y to h e r self"; a n d t h e p r e f a c e to Fables (1700, sig.*Cw; W a t s o n , I I , 285): " f o r M a n k i n d is ever t h e same, a n d n o t h i n g lost o u t of N a t u r e , t h o u g h every t h i n g is a l t e r ' d . " B u t cf, Heads of an Answer to Rymer (1677) (Works, X V I I , 188): Shakespear a n d Fletcher h a v e w r i t t e n to t h e G e n i u s of t h e Age a n d N a t i o n in which they liv'd: F o r t h o '

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Commentary

Nature, as he [Rymer] objects, is the same in all Places, and Reason too the same; yet the Climate, the Age, the Dispositions of the People . . . may be so different, that what plcas'd the Greeks, would not satisfie an English Audience. 1 1 : 2 8 course of Time rather improves Nature, than impairs her. A subject of debate in the seventeenth century. See Ernest Tuveson, Millennium and Utopia (1949), pp. vii-viii and passim. See also the headnote to Milton's Naturam Non Pati Senium in Merritt Y. Hughes, Milton's Complete Poems and Major Prose (1957), p. 32. 1 1 : 3 3 some particular Ages. Ker cites Of Dramatick Poesie (Works, X V I I , 15): It has been observed of Arts and Sciences, that in one and the same Century they have arriv'd to great perfection; and no wonder, since every Age has a kind of Universal Genius, which inclines those that live in it to some particular Studies: the Work then being push'd on by many hands, must of necessity go forward. 12:4 the Commomucalth. T h a t is, the Roman Republic. 13:6 A Famous Age in Modern Times. Leo was pope from 1 5 1 3 to 1521 and patronized such artists as Lascaris, Bembo, Raphael, Michelangelo, and Bramante. 12:9 the Greek Language was restor'd. Malone notes that the restorer was Leontius Pilatus (fl. 1360-1363) and refers to Gibbon's account of him. 1 2 : 1 3 great Contemporaries . . . each other. Malone compares Velleius Paterculus, Roman History, I, 17, 6: "Genius is fostered by emulation, and it is now envy, now admiration, which enkindles imitation, and, in the nature of things, that which is cultivated with the highest zeal advances to the highest perfection" (Loeb). Cf. Of Dramatick Poesie (Works, X V I I , 44)12:26 the admirable Doileau. Boileau (Nicolas, Sieur Despréaux, 16361 7 1 1 ) had written ten of his eleven satires and ten of his twelve epistles by 1693 and had published his Art of Poetry in 1672; the satires put him in the Horace-Persius-Juvenal tradition, the epistles and Art of Poetry, in that of Horace especially. 1 2 : 3 2 - 3 3 Louis, the Patron of all Arts. Cf. Vincent Cronin, Louis XIV (1964), and W. H. Lewis, Louis XIV (1959) and The Splendid Century (1953). Louis gave Boileau a priory and made him King's Historian, jointly with Racine, in 1677. In 1684 he got Boileau into the Academy. He pensioned Racine in 1664 and his widow in 1699 and Molière in 1665. Louis's patronage of the famous Delphin editions of the classics (for the use of the Dauphin) would have been known to Dryden, who used the Delphin Juvenal and Ovid in preparing his translations and had consulted the Delphin Tacitus. 13:6 Statins. Publius Papinius Statins (45?-?96), author of the epic the Thebaid and of Sylvae (shorter poems); mentioned by Juvenal in Satire

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V I I ; condemned by Drydcn for boldness, glaring colors, and bluster in A Parallel betivixt Painting and Poetry (1695, sig. g Watson, II, 239): "Ariosto, who, with all his faults, must be acknowledged a great poet." 13:13 loithout Majesty, or Decency. Ariosto's epic is partly comic in spirit. 13:14-15 Tasso, whose Design was Regular. T o r q u a t o Tasso (»544-1595). author of Gerusalemme Liberata (Jerusalem Delivered), 1575 (trans. Edward Fairfax, 1600). Dryden calls Tasso "the most excellent of modem Poets" and links him with H o m e r and Virgil in his preface to An Evening's Love (Works, X, 211), as Kinsley points out. In the dedication of the Aeneis (1697, sig. 331;; Watson, II, 232-233) Drydcn ranks Gerusalemme Liberata well below the Iliad and the Aeneid but well above various Italian and French poems, as well as Spenser's Faerie Queene and Milton's Paradise Lost. 13:17 he confesses himself to have been loo Lyrical. Ker notes Dryden's acquaintance with Tasso's letters and suggests that Dryden may also have had in mind the comments in Segrais's preface to his translation of the Aeneid (Paris, 1668) and Rapin's censure of Tasso in Réflexions sur la Poétique (Paris, 1694). 13:22-23 Witticisms. A coinage of Dryden's; see The Authors Apology for Heroiquc Poetry and Poetique Licence (1677, sig. en; Watson, I, 205 and 11) and the OLD. 13:23-24 Dignity of Heroiclt Versa. Cf. Dryden's comments on the "proper wit of an Heroick or Historical P o e m " in the preface to Annus Mirabilis (Works, I, 53). 13:28 the Anthologia. I.e., The Greek Anthology, a standard collection of some 4,000 epigrams composed by more than 300 Greek authors from about 700 B.C. 011; its present form dates from A.D. 1300 (OCD). 13:28 from Virgil to Martial. Kinsley cites the dedication of the Aeneis (1697, sig. C3V; Watson, II, 243): " T h e r e are a middle sort of Readers (as we [Roman Catholics] hold there is a middle state of Souls [i.e., in purgatory rather than in hell or heaven]) such as . . . have not the capacity of j u d g i n g right . . . I mean a C o m p a n y of warm young Men, w h o are not yet arriv'd so far as to discern the difference betwixt Fustian, or ostentatious Sentences, and the true sublime. T h e s e are above liking Martial, or Owen's Epigrams, but they wou'd certainly set Virgil below Statius, or Lucan."

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Commentary

13:38 Owen's Epigrams. A collection of Latin epigrams by J o h n Owen (d. 1622). 13:29 Fleckno. Richard Flecknoe, a target of Dryden's satire in Mac Flecknoe. Cf. Dryden's comment in the dedication of The Kind Keeper (1680, sig. A2; S-S, VI, C): "you may please to take notice by the way, how natural the connection of thought is betwixt a bad Poet and Fleckno." 14:1 Palroclus, under another Name. "Perhaps Eustazio (Gerusalemme liberala, V. 1 2 - 1 3 ) who is, however, jealous of the hero Rinaldo" (Watson). 1 4 : 1 - 2 to bring him back to the W

585

and b, and the letters he prints from Thomas Farnaby and J . Selden. In the next age Pope's Homer represented an attempt to reach both audiences, scholars and gentry, at once. 87:33 their too near approach. " A Translator, that wou'd write with any Force or Spirit of an Original, must never dwell on the Words of his Author" (Life of Lucian, 1 7 1 1 , sig. e6u; S-S, X V I I I , 83). 87:36 the Soul is flown away. " I write not to such Translators, but to Men capacious of the Soul and Genius of their Authors, without which, all their Labour will be of no use, but to disgrace themselves, and injure the Author that falls into their Slaughter-House" (Life of Lucian, 1 7 1 1 , p. (m : S-S, X V I I I , 84). 8 8 : 1 1 - 1 4 No> hail they been Poets etc. Malone rearranges Dryden's colloquially relaxed sentence as follows: "Nor, had they been Poets, as neither of them were, was it possible for them, in the way they took, to have Succeeded in the Poetick part." 8 8 : 1 5 - 1 6 The English Verse, which toe call Heroique, consists of no more than Ten Syllables. Yonge suggests that it may have been regard for Chaucer which led Dryden to call it "the English Verse," though of course from Dryden's point of view Chaucer would have been a very irregular practitioner. 88:18 Pulverulenta putrem etc. Noyes notes: "Aeneiil, V I I I , 596, misquoted; the first word should be quadrupedante." Cf. Dryden's Aeneis, V I I I , 789-790: T h e Neighing Coursers answer to the sound: And shake with horny Hoofs the solid ground. 88:27-28 ill sounding Monosyllables. Cf. Dryden's statement that "Monosyllables . . . clogg'd with Consonants . . . are the dead weight of our Mother-Tongue" (dedication of the Aeneis, 1697, sig. e4~e4i>; Watson, II, 245)89:8-10 I return to the Original, as the more pleasing task, as well as the more easy. Scott quoted Holyday's opening lines to illustrate the failure of his translation: Shall I be still an Auditor? and ne're Repay, that have so often had mine eare Vext with hoarse Codrus Theseads? Shall one sweat Whiles his gown'd Comique Scene he docs repeat? Another, whiles his Elegies soft strain He reads? and shall not I vex them again? Shall mighty Telcphus be unrequited, T h a t spends a Day in being All recited? Or Volume-swolne Orestes, that does fill T h e Margin of an ample Book, yet still (As if the Book were mad too) is extended Upon the very back, nor yet is ended? 8 9 : 1 7 - 1 9 endeavour'd to make him speak that kind of English etc. Kinsley contrasts the preface to Ovid's Epistles (Works, I, 114), where Dryden had censured Ovid for what he now prides himself on doing: "perhaps he has Romaniz'd his Grecian Dames too much, and made them

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speak sometimes as if they h a d been b o r n in the City of Rome, a n d u n d e r the E m p i r e of Augustus." D r y d e n u p d a t e d his theory in t h e light of further experience. 89:25-26 I defend not this Innovation, 'tis enough if I can excuse it. M a l o n e gives a sample: " t o m e n t i o n o n e o u t of m a n y instances, if t h e i n q u i r y were, w h e n the practice of castration, for t h e p u r p o s e of i m p r o v i n g t h e voice, first c o m m e n c e d , the i n q u i r e r w o u l d n a t u r a l l y s u p p o s e t h a t it was c o m m o n in t h e t i m e of J u v e n a l , 011 r e a d i n g these lines of D r y d e n ' s version of t h e t e n t h Satire: ' W e never read of such a t y r a n t king, ' W h o gelt a boy d e f o r m ' d , to hear him sing.' [11. 472-473] B u t on e x a m i n i n g the original, we find it f u r n i s h e s us with n o proof whatsoever on this subject, a n d t h a t o u r a u t h o r , w h e n h e t r a n s l a t e d these lines, was t h i n k i n g of m o d e r n , n o t ancient, Italy; f o r J u v e n a l only says, t h a t n o t y r a n t ever emasculated a d e f o r m e d youth. So t h a t it appears, w h i l e t h e t r a n s l a t o r e n d e a v o u r e d to give a decorous t u r n to t h e passage, h e i n t r o d u c e d a custom, n o t only n o t m e n t i o n e d by J u v e n a l , b u t p r o b a b l y u n k n o w n i n t h a t age."

The

Translations

of Juvenal

and

Persius

T h e p r i n c i p a l sources of D r y d e n ' s translations of J u v e n a l a n d Persius are the L a t i n texts of those a u t h o r s , the massive L a t i n c o m m e n t a r i e s n o r m a l l y f o u n d in s e v e n t e e n t h - c e n t u r y editions of t h e m , a n d t h e m a n y English translations p u b l i s h e d p r i o r to D r y d e n ' s own. I n o r d e r to see h o w D r y d e n used these materials o n e needs t o look at all of t h e m simultaneously, f o r in any given l i n e o r passage D r y d e n may take o n e detail f r o m t h e o r i g i n a l L a t i n , a n o t h e r f r o m a gloss in o n e of the commentaries, a t h i r d f r o m a n earlier English t r a n s l a t i o n . B u t since each of these sources poses certain p r o b l e m s of its own, s e p a r a t e accounts of t h e m a r e in order. First, t h e L a t i n texts. M o d e r n e d i t i o n s of J u v e n a l a n d Persius a n d those of t h e s e v e n t e e n t h c e n t u r y are o f t e n identical in their readings. T h e reason is t h a t t h e best single codex f o r b o t h a u t h o r s is a n i n t h - c e n t u r y m a n u s c r i p t , n o w k n o w n as t h e C o d e x P i t h o e a n u s , first discovered by Peter P i t h o e u s a n d used as the basis of his edition of 1585. 1 S e v e n t e e n t h - c e n t u r y editors thus h a d access, t h r o u g h P i t h o e u s ' s edition, t o t h e same codex o n which m o d e r n editors heavily rely. Even so, n o m o d e r n e d i t i o n is a satisfactory g u i d e to any L a t i n text f r o m which D r y d e n c o u l d h a v e w o r k e d . M o d e r n editors d e p e n d o n codices o t h e r t h a n t h e P i t h o e a n u s a n d sometimes i n c l u d e c o n j e c t u r a l e m e n d a t i o n s . E a r l i e r editors followed t h e same practice, a n d t h e v a r i a t i o n in editorial j u d g m e n t results ¡11 i n n u m e r a b l e differences n o t only in substantive readings b u t also in m a t t e r s such as spelling, p u n c t u a t i o n , p a r a g r a p h i n g , a n d so on. D r y d e n ' s t r a n s l a t i o n is too p a r a p h r a s t i c to reflect all these differences b u t n o t too p a r a p h r a s t i c to rc' S e c t e x t u a l i n t r o d u c t i o n to the L.oeb e d i t i o n of J u v e n a l a n d Persius.

Translations

of Juvenal

and Persius

587

fleet a n u m b e r of t h e m . A f e w e x a m p l e s , t a k e n for the sake of c o n v e n i e n c e f r o m the J u v e n a l sixth, w i l l illustrate. In v. 46 the L o e b t e x t reads nimiatn . . . venam; t h e t r a n s l a t i o n is " o v e r - b l o o d e d v e i n s . " S e v e n t e e n t h - c e n t u r y texts read mediam venam, l i t e r a l l y translated by D r y d e n as " m i d d l e v e i n . " T h e L o e b t e x t p l a c e s a s e m i c o l o n at the e n d of v. 65 b u t s e v e n t e e n t h c e n t u r y texts d o n o t ; D r y d e n ' s t r a n s l a t i o n clearly reflects t h e d i f f e r e n c e in s y n t a x w h i c h results. 2 T h e f o r m of the w o m a n ' s n a m e m e n t i o n e d in v. 82 is, in the L o e b t e x t , " E p p i a " ; D r y d e n , l i k e s e v e n t e e n t h - c e n t u r y texts, h a s " H i p p i a . " T h e L o e b o m i t s v. 126; D r y d e n r e q u i r e s a c o u p l e t (II. 1 7 8 - 1 7 9 ) to translate it. V e r s e s 1 9 6 - 1 9 9 are p u n c t u a t e d in t w o d i f f e r e n t w a y s e v e n in s e v e n t e e n t h - c e n t u r y texts; D r y d e n a p p a r e n t l y offers t w o translations, o n e f o r e a c h p o i n t i n g . B e t w e e n v. 365 a n d v. 366 the L o e b p r i n t s t h i r t y - f o u r verses n o t f o u n d in s e v e n t e e n t h - c e n t u r y texts; they w e r e first discovered in 1899. T h i s list c o u l d easily b e c o n t i n u e d (other e x a m p l e s are m e n t i o n e d b e l o w in notes to i n d i v i d u a l lines or passages), b u t t h e p o i n t is o b v i o u s : s e v e n t e e n t h - c e n t u r y t e x t s m u s t b e a d o p t e d if D r y d e n ' s translations are t o be understood. T h e q u e s t i o n , t h e r e f o r e , is w h i c h specific e d i t i o n o r e d i t i o n s to use. W i t h Persius t h e q u e s t i o n can be a n s w e r e d q u i c k l y . T h e most c e l e b r a t e d e d i t i o n of Persius a v a i l a b l e to D r y d e n w a s Isaac C a s a u b o n ' s (Paris, 1605; gd ed., L o n d o n , 1647). E d i t o r s of s u b s e q u e n t e d i t i o n s occasionally, a n d w i t h g r e a t c a u t i o n , t o o k e x c e p t i o n to C a s a u b o n ' s text o r c o m m e n t a r y t h e r e o n , b u t t h e y r e p e a t e d l y r e f e r r e d to b o t h . D r y d e n , of course, also r e f e r s to C a s a u b o n , o f t e n e n o u g h in the Discourse of Satire b u t e v e n m o r e f r e q u e n t l y in D r y d e n ' s A r g u m e n t s a n d in h i s e x p l a n a t o r y n o t e s to the t r a n s l a t i o n s o f Persius, T h e L a t i n t e x t of Persius p r i n t e d in the p r e s e n t e d i t i o n t h e r e f o r e is C a s a u b o n ' s , a l t h o u g h , f o r reasons shortly to b e n o t e d , it seems p r o b a b l e t h a t D r y d e n used o t h e r e d i t i o n s as w e l l . 3 W i t h J u v e n a l t h e p r o b l e m is m o r e difficult. T h e f u l l e s t e d i t i o n of J u v e n a l p u b l i s h e d p r i o r to D r y d e n ' s t r a n s l a t i o n s w a s t h a t of H . C . H e n n i n i u s ( U t r e c h t , 1G85), a q u a r t o of 980 p a g e s e x c l u s i v e of t h e conc o r d a n c e . A s a source f o r R e n a i s s a n c e a n d s e v e n t e e n t h - c e n t u r y s c h o l a r s h i p o n J u v e n a l this e d i t i o n has 110 serious rivals, b u t its o r g a n i z a t i o n m a k e s it u n u s a b l e e x c e p t b y the m o s t p a t i e n t of readers; v a r i a n t r e a d i n g s f o r t h e t e x t are listed in several d i f f e r e n t p l a c e s in the v o l u m e a n d v a r i o u s e x p l a n a t i o n s of the text by the e a r l i e r c o m m e n t a t o r s are also g i v e n in m a n y d i f f e r e n t places. It is n o t l i k e l y that D r y d e n w o u l d h a v e b e e n w i l l i n g to u s e H e n n i n i u s as h i s basic t e x t b e c a u s e o t h e r editions, less f u l l t h a n H e n n i n i u s b u t q u i t e f u l l e n o u g h , w o u l d h a v e b e e n so m u c h easier to use, p r i n t i n g in o n e p l a c e all the m a t e r i a l t h o u g h t b y the editors to b e r e l e v a n t t o a n y g i v e n verse o r passage. T w o e d i t i o n s of this k i n d are p a r t i c u l a r l y i m p o r t a n t since, a g a i n f o r reasons shortly to b e g i v e n , D r y d e n a l m o s t c e r t a i n l y used t h e m . T h e s e are the D c l p h i n a n d V a r i o r u m editions, b o t h See Juvenal VI, 11. 93-9911. T h e copy text is the third edition because place and date of publication, London, 1647, perhaps made it more accessible to Dryden than the first edition. T h e text of the Paris, 1605, edition, however, has also been consulted. 2 a

5 88

Commentary

including, as most texts of the time dicl, Persius as well as Juvenal. T h e first was prepared by Ludovicus Prateus, in usum Serenissimi Delphini according to the title page (Paris, 1684; London, 1691); the second was edited by Cornelius Schrevellius from variorum, commentariis (many editions; e.g., Leyden, 1648; Amsterdam, 1684). 4 T h e text of J u v e n a l in either of these editions is acceptable as the basis for Dryden's translations; indeed, at times Dryden seems to reflect the reading and pointing of both texts. 5 Since only one could be printed, the text chosen is the Delphin's. 0 T h e copy texts for Juvenal and Persius have been closely followed, since a critical Latin text would be far beyond the scope or need of this edition. This practice has resulted in several inconsistencies, notably of spelling, use of diacritical marks, and employment of i, j, u, and v, but the copy texts themselves are inconsistent on these matters. Typographical abbreviations, other than if for et, have been expanded silently (quoda to quondam, e.g.). In addition, obvious misprints have been corrected, and a very few of the principal variant readings have been noted. 7 Sigla employed in the textual notes are identified in the first textual footnote to each Latin text. Second to be considered are the Latin commentaries on Juvenal and Persius. Casaubon's text of Persius occupies 23 pages; his commentary, an additional 519. Separately paginated are an appendix, dealing with Persius's imitations of Horace, and prefatory material of various kinds. In the Delphin edition only a few verses of poetry appear 011 any page; v. 49 of the third Persius stands, in fact, alone. T h e remaining space is given over to an interprelatio—a prose paraphrase, often helpful because of the prose word order and the simplified syntax—and to a running commentary. T h e 1691 edition thus runs to 414 pages exclusive of indexes. Schrevellius omits the interpretatio, though many of the notes he compiled from previous editors are paraphrases, but he adds the notes of the Scholiast so that no more verses appear on the pages of the Variorum than on those of the Delphin. Because of their great length, the commentaries thus overshadow the texts they accompany. With so much space at their disposal the * Editions of this kind weic not original with the seventeenth century. The best-known sixteenth-century edition, ed. John Dritannicus (many printings; e.g. Basle, 1551), is also of this kind. A few of the notes below refer to Hiitanniuis's edition. 6

See, e.g., J u v e n a l VI, 11. 5'-9-.r>30'

" T h e copy text is the edition of London, iG ^ Oldham: if that be a scullle, where Another gives the blows I only bear. Stapylton: Heare how we quarrell'd, if a quarrel 'twere, Where he lays on, the blowes I only bear. 454 Poor me. Cf. Oldham: "Poor me, who use 110 light to walk about." 460 Guts. Cf. Stapylton: "whose beanes have swel'd thy gut?" 461 Holyday's rhyme word also is "Vineger" (translating aceto, v. 292: sour wine or vinegar), but there are no other similarities. T h e commentaries do not make clear why Dryden introduces black Thumbs. 463 Cf. Schrevellius, glossing elixi vervecis labra (v. 294: boiled lips of a wether): vel caput vervecis vel arietis (the head either of a wether or of a ram). 466-477 Dryden evidently translates proseucha (v. 296: a place of prayer) twice, as a nasty Cellar and as a Church-Porch. Cf. Schrevellius, who explains that proseucha could refer either to underground crypts wherein Christians met to pray or to temples before which beggars gathered. 468-469 Cf. Oldham's translation of Tantundem est: feriunt pariter (v. 298: it is the same: they beat you equally): " 'tis all a case; Still he lays on." 472 You beg his Pardon. Cf. Schrevellius, paraphrasing Pulsatus rogat (v. 300: beaten he begs): veniam petit (he seeks pardon). 473 Cf. Holyday: "entreat / They'l leave him a few teeth to eat his meat." 474 Nor is this all. Cf. Stapylton: "Nor is this all thy danger." Oldham: "Nor is this all which you have cause to fear." 478-479 As Schrevellius notes, a grassator (v. 305; footpad) might be either a common thief or a villainous soldier. 482-483 Cf. Schrevellius, who says in a note on vv. 306-307 that when robbers or criminals are denied their customary places, they invade Rome itself. Oldham uses the same rhyme words. 482 Padders. Cf. Oldham: "Oft we encounter midnight padders here." 485-487 Cf. Holyday: What Forge, what Anvil makes not heavy Chains? What Ir'n we spend in shackels!

6i8

Commentary

493-494 Holyday uses the same rhyme words. 495 - 4i)6 Cf. Holyday: I must begon: the Carter calls away. And jerk'd his whip to signifie my stay. 502-503 Dryden follows the reading Adjutor . . . veniam (v. 322: I shall come as an assistant); the more common reading of the last verse now it auditor . . . veniam (I shall come as a listener). Cf. Holyday: " a Booted Aid I'le come." EXPLANATORY NO'IES I T h i s note and the two following are very similar to the notes of Prateus. 5 - 6 Close parallels in Schrevellius, who says, e.g., that Numa simnlavit (feigned) to meet with Egeria. 7 Cf. Schrevellius: Cumas intelligit (he means Cumae). 8-9 Similar notes in Prateus and Schrevellius. 10 Holyday explains that the crowd, if displeased, "did clinch one hand, the thumb standing upwards, and so cast their hand moderately over their shoulder, in a kind of contempt." I I Prateus supplies similar information but does so in connection with v. 26, where the name also appears. 12 Cf. Prateus: Tagus fliwius Hispaniae nobilissimus, aureas volvere arenas decantatus, Castellam novam permeat, Lusitaniae partem rigat, 6* ad Ulyssiponem . . , sub it Oceanum (Tagus, the most famous river of Spain, often said to tumble golden sand, passes through New Castile, waters part of Portugal, and near Lisbon enters the ocean). 13 Prateus and Schrevellius also identify this river. T h e y apparently thought, however, that no one would need the information given in Dryden's next note (14). 15 Prateus says that Quirinus (v. 67) is the cognomen for Romulus and that it is also a reference to Mars. 16 An instance of mistranslation, since Alhenis appears in v. 80, 17 Cf. Prateus, glossing Antioches and Stratocles: Hi tempore Juvenalis arte mimicd if histrionid praestabant (they were distinguished in the mimic and acting art in the time of Juvenal).

Juvenal,

Satire VI

ARGUMENT P. 145: 1. 27 Sir C. S. As Noyes and Kinsley note, the reference is to Sir Charles Sedley. 146:22 Loader. As Noyes and Kinsley note, the metaphor is from games of dice, in which a "loader" is a doublet.

Notes

to Pages

141-149

619

POEM 3 - 4 C f . S t a p y l t o n ' s " o n e c o m m o n s h a d e " ( r h y m i n g with " m a d e " ) a n d H o l y d a y ' s " S h e p h e a r d s shade" (again r h y m i n g w i t h " m a d e " ) . H o l y d a y , Stapylton, a n d D r y d e n are all i n a g r e e m e n t w i t h Schrevellius's suggestion that dominos (v. 4: masters) h e r e m e a n s pastores (shepherds). D r y d e n , l i k e H o l y d a y , translates parvas (v. 2: small) as " n a r r o w . " 5-7 Cf. Holyday: W h e n the r u d e W o o d - m a n s Mount.iin-House-wife spi ed Leaves, R e e d s a n d neighbour-beast-skins for a bed. A n d Stapylton: W h e n first the M o u n t a i n - w i f e , leafes, sedges spread A n d skins of n e i g h b ' r i n g beasts, to m a k e h e r b e d . H o l y d a y a n d D r y d e n agree w i t h Schrevellius that culmo (v. 6: straw or stem) h e r e m e a n s calamis (reeds). J u v e n a l , u n l i k e H o l y d a y a n d D r y d e n , does n o t refer to a " r u d e " h u s b a n d . D r y d e n ' s o t h e r i n t e r p o l a t i o n in l i n e 7, "Mossy P i l l o w s rais'd," p e r h a p s was suggested by J u v e n a l ' s reference to a torum (v. 5: literally, a swelling). 8 - 9 D r y d e n ' s scornful tone may h a v e b e e n suggested by Schrevellius's p o i n t e d comparison b e t w e e n t h e m o u n t a i n w i f e w h o was n o t so ambitiously elegant a n d a d o r n e d a n d m o r e m o d e r n wives a n d w o m e n . 1 0 - 1 1 A s the c o m m e n t a r i e s e x p l a i n , J u v e n a l ' s reference in cujus turbavit nitidos extinctus passer ocellos (vv. 7 - 8 : whose b r i g h t eyes a d e a d sparrow troubled) is to C a t u l l u s ' s o d e to L e s b i a o n the d e a t h of h e r sparrow (Catullus, III); D r y d e n thus supplies the n a m e " L e s b i a . " Schrevellius explains that the sparrow t r o u b l e d Lesbia's eyes w i t h tears: nam ob ilium in lacrymis if moerore erat (for because of it she was i n tears a n d sorrow). C f . H o l y d a y ' s r e f e r e n c e to " T e a r s , for thy Sparrow's d e a t h . " 13 Gave Suck. D r y d e n attenuates the h y p e r b o l e of J u v e n a l ' s polanda . . . ubera (v. 9). A s Schrevellius makes clear, these are breasts n o t so m u d i for s u c k i n g as for d r i n k i n g ( n o n sugenda tanturn, sed potanda ubera). 15 D r y d e n ' s a d j e c t i v e , " F a t , " is i n t e r p o l a t e d ; cf. Schrevellius's statement that the m e n belch because they h a v e eaten to the p o i n t of satiety. 17 undebauch'd. J u v e n a l ' s u n d e r s t a t e m e n t , aliter tunc . . . vivebant homines (vv. 1 1 - 1 a: m e n l i v e d differently then), is intensified also by Schrevellius w h o says that such m e n w e r e n o t attracted by the allurem e n t s of pleasure or the baits of evil things. 2 0 - a i A n i n t e r p o l a t i o n e x c e p t f o r the clause, " N o Sires they h a d , " translating nullos habuere parenles. K i n s l e y cites Lucretius, De Rerum Natura, V , 797-820. 22-23 Stapylton's r h y m e w o r d s are " b e a r d " a n d " h e a r d . " H o l y d a y a n d S t a p y l t o n also use the phrase, " E v ' n u n d e r J o v e . " A beardless Jove, as P r a t e u s explains, i m p l i e s a J o v e too y o u n g to c o m m i t adultery. 24-25 T h e point, as Prateus notes, is that the Greeks h a d n o t yet invented perjury. 25 Bounteous Year. D r y d e n ' s i n t e r p o l a t i o n . C f . Schrevellius: Cum olera, quibus illo tempore vivebant abunde omnibus ir singulis suppetebant (when the v e g e t a b l e s on w h i c h in that time they l i v e d w e r e a b u n d a n t l y present for o n e a n d all).

620

Commentary

27 enclosed. Cf. Schrevellius, glossing aperto . . . horto (v. 18: with open garden): Incustodito, sepimentis hand munito (unguarded, n o t defended by enclosures). «8-29 O n earth Astraea (v. 19) was the goddess o£ justice b u t after her departure she became the constellation Virgo, a fact ironically relevant to this discussion of unchastity a n d perhaps alluded to by Dryden's interpolated reference to "the Stars" (1. 29). 30-33 Dryden alters the logic of Juvenal's argument. H a v i n g referred to a beardless Jove, Juvenal now turns to h u m a n adulterers a n d next will argue that when adultery is ubiquitous all marriage is folly; only then will h e turn the satire directly on women. Dryden, however, first interpolates " W h o r i n g " a n d then introduces "Adult'rers." 32-33 Nuptial State, / And Marriage-Beds. Cf. Schrevellius, who glosses sacri Genium . . . fulcri (v. 22: genius of the sacred fulcrum, i.e., bed) as the conjugal or matrimonial bed, the nuptial couch. 37 an Age to Buckle with a Bride. Cf. Prateus, who glosses Nostrd / Tempestate (vv. 25-26: literally, in our time, b u t perhaps with the connotations of disaster sometimes implicit in tempestas), as an age than which none was or shall be more corrupt. Buckle. " T o unite oneself in wedlock" ( O E D , citing this line). 41 What Fury. Cf. Schrevellius, glossing qua Tisiphone (v. 29: by what Tisiphone): Id est, quibus . . . Furiis (that is, by what Furies). 43-44 Halter . . . Noose. Holyday a n d Stapylton also translate restibus (v. 30: ropes) as "halter." Prateus paraphrases with laquei (nooses). For "noose" as the marriage tie, cf. Oldham, The Eighth Satire of Monsier Boileau, Imitated, 11. 5 1 - 5 2 : "Shall I t u r n husband, a n d my station choose / Amongst the reverend martyrs of the noose?" Dryden seems to have interpolated 1. 44 for the sake of the rhyme. 46-47 Schrevellius also stresses that the catamite actually exists a n d is not part of a hypothetical comparison. For "her Drudge," cf. Schrevellius's statement that the reference to the wife as a dominam (v. 30: mistress) can only imply that the husband is a servus (slave). 48 nightly Brawls. Cf. Holyday: "Night-brawls." 52 T h e J u l i a n law of v. 38 was to promote marriage. 54-55 Schrevellius, commenting on the turture (v. 39: turtledove) a n d Mullorum (v. 40: mullets) to which J u v e n a l refers, says that such gifts used to be sent to the childless by f o r t u n e hunters, a n d those who h a d children did n o t accept. 59 Marriage Noose. Cf. Holyday: "Marriage-nooze." 60-61 According to Schrevellius, the cista Latini (v. 44: box of Latinus) refers to a farce in which the adulterer Latinus hides in a box when the husband unexpectedly returns. 62 dotingly. Perhaps suggested by Prateus's statement that Ursidius is stultus (foolish, fatuous). 64-65 T h e commentaries note that lancing the middle vein eases madness, a n d Dryden incorporates the explanation into his translation. "Middle-vein" serves as a rhyme word for Holyday (rhyming with "fain") a n d for Stapylton (rhyming with "strain"), as well as for Dryden.

Notes

to Pages

149-153

621

66 a Heyfer with Gilt Horns. Juvenal's auratam . . . juvencam (v. 48), translated as "a gilt H e i f e r " by Stapylton, obviously means, as Prateus points out, auratis cornibus (with gilded horns). Cf. Holyday: "A H e i f e r with her guilded horns." 67 Regent of the Marriage-Bed. Prateus, Schrevellius, a n d Holyday also explain Juvenal's reference to J u n o (v, 48) in this way. Sec Prateus, e.g.: Junoni Pronubae, conjugii praesidi (to J u n o , she who prepares for marriage, the protectress of wedlock). 68 every Deity. Although J u v e n a l mentions only J u n o by n a m e in referring to the Tarpeium limen (v. 47: T a r p e i a n threshold, i.e., the temple on the Capitoline Hill where the T a r p e i a n rock was kept), he implies, as Schrevellius says, the gods in general. 70 In Head and Tail etc. As Schrevellius notes, capitis . . . pudici (v. 49: of chaste head) is a synecdoche. 75-76 T h e commentaries explain that garlands and ivy (see vv. 51-52: corortam . . . corymbos) were customary at weddings; cf. Dryden's interpolated "and W e d . " Dryden's summation, 1. 76, has no equivalent verse in Juvenal. 84 Cf. Holyday: "Are J u p i t e r and Mars so old?" (rhyming with "cold"). 85-86 Kinsley cites "Prologue for the W o m e n , " 11. 9-10 (Works, I, 144). 88 The Park, the Mall. Cf. Prateus, who glosses porticibus (v. fio: porches, colonnades) as places where women are accustomcd to gather to promenade. go Secure . . . of Chastity. Noyes glosses with "Safe from finding." Cf. Prateus, glossing securus (v. 6a): Nil metuens de ejus . . . castimonia (fearing n o t h i n g concerning her chastity). g2 Extasie. W i t h sexual connotations, clearly, since, as Schrevellius notes, Prae libidinis pruritu urinam retinere non potest (because of the itching of lust she is u n a b l e to hold her urine). 93-99 T h e Loeb prints a semicolon at the end of v. 65; as a result, Appula . . . longum (vv. 64-65) is one sentence, translated by "your Apulian maiden heaves a sudden a n d longing cry of ecstasy, as though she were in a man's arms." Schrevellius reports this possibility b u t prefers, like Prateus, to place a colon after amplexu (v. 65) and to omit punctuation at the e n d of the verse; as a result, Appula gannit / Sicut in amplexu is o n e clause, while subitum if miserabile longum / Attendit Thymele (vv. 65-66) is another. Since, as Schrevellius notes, amplexu (literally, "embrace") is a euphemism for coitus (cf. Lewis a n d Short, s. v. amplexus), the first clause means " A p p u l a grunts [literally, barks, as of dogs] as if in the act of love" (Cf. Dryden's "as in the feat of Love"). T h e second clause is more difficult. Prateus a n d Schrevellius agree that the words subitum, miserabile, longum (sudden, pitiable, long) either are names of the mime's gestures or are, to quote Prateus, voculas nunc subitd, nunc in longum tractas ad luctum exhibendum (small sounds now quickly, now drawn out at length, to express sorrow). Dryden apparently adopts all these possibilities. H e allows A p p u l a ("Another," 1. 93) to see the mime's "Motions," as if following o n e p u n c t u a t i o n and interpretation, b u t h e also allows T h y m e l e ("A third," 1. 95) to hear "Opera Notes," as if following the

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Commentary

second punctuation and interpretation. In addition, he supplies a fourth ( " T h e Country L a d y , " 1. 97), probably suggested by T h y m e l e ' s epithet rustica (v. 66: rustic), who combines both activities by using "both . . . Eyes, and Ears." 100 Cf. Schrevellius, glossing quoties aulaea recondita cessant (v. 67: when the curtains, put away, are idle), says: Id est, quando . . . feriae sunt (that is, when there are holidays). Stapylton, like Dryden, translates aliae (v. 67: the others) as " T h e rest." 103 In borrow'd Breeches act. Schrevellius explains Juvenal's statement in v. 70, that the women hold Accius's mask, thyrsus, and tights, by suggesting that the women put on the attire of the players and act the plays. 105 the Singing-Boy. T h e Atellan exodium with which Urbicus raises a laugh (see vv. 71-72) almost certainly is an "after play," i.e., a farce; Dryden may have been influenced by Prateus, who suggests that it is a ridiculous song sung after the exodus of the chorus. 107 Quail-pipe. Probably an obscene pun; the fibula (v. 73) was a "stitching-needle drawn through the prepuce" (Lewis and Short) to prevent intercourse and thus, as Prateus and Schrcvellius explain, to conserve the voice; " q u a i l " can mean "courtesan" ( O E D ) . 109 T h e r e is no Latin equivalent for this line. 114 a Fencer. Cf. Holyday: "the Fcnccr." 116 Hippia. T h e L o e b spelling is Eppia, but Prateus, Schrevellius, and Holyday print H i p p i a . 124 the Players. According to Prateus and Schrevellius, Paris (see v. 87) is an actor. 125 nicely bred. Cf. Schrevellius: mollissime & delicatissime educala (most gently and delicately reared). 132 For Dryden's interpolation here, cf. Schrevellius: am ore turpis moechi mare intrare sastinuit (she endured going to sea for the love of a foul adulterer). 133 some honest Cause. Juvenal's Justa . . . ratio . . . ir honesta (vv. 94-95: a just and honest reason) becomes a causa in Prateus's commentary, "some just cause" in Stapylton, and honesta aliqua caussa in Schrevellius. 139-140 Cf. Prateus, glossing senlina gravis (v. 99: foul bilge water): graveolens 6- teter odor emittitur (a rank and foul smell is emitted). 141 nothing can offend. Dryden's interpolation. Cf. Schrevellius: sine omni difficultate, nulla nausea (without any difficulty, with no nausea). 145 Juvenal's statement is rather different: if the husband is present, the wife is easily sick; if he is an adulterer, she is not sick. 146 T h e line looks back to 11. 120-122; Schrevellius gives a comparable but much longer summary. 148 What was the Face. Cf. Schrevellius, w h o paraphrases the question quid vidit (v. 144: what did she see?) with venustam faciem conspexit (did she behold a pleasing face?). 150 Prateus takes jam radere guttur / Coeperat (vv. 105-106: he had already begun to shave his neck) to mean that he had a chin so plentifully bearded as to betray advanced age.

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155 blear Eyes. Cf. Schrevellius, who explains stillantis ocelli (v. 109: dropping eye) by referring to lippitudine (bleavedness or rheum). 158 Cruelty. Schrevellius, q u o t i n g the Scholiast, also refers to crudelitas, though Juvenal does not. 160 her Lord. Cf. Prateus and Schrevellius, both of whom take Veiento (v. 113) to be the woman's husband. 170-172 Juvenal says only that Messalina had no more than one maid as companion, but Schrevellius, like Dryden, elaborates: formerly, innumeris famulis . . . stiparetur (she was surrounded by innumerable attendants; cf. Dryden's " O f all her T r a i n " ) ; now, unam tantum secum habebat, rerum suarum consciam, quam ex prostitutis elegerat. Hanc autem elegerat in cerlamen libidinis (she had only one with her, the conspirator in her affairs, w h o m she had chosen from the prostitutes for rivalry of lust). 175 According to Prateus, Lycisca (see v. 123) was a famous prostitute; according to Schrevellius, she leaves the room just before Messalina enters. 176-179 Cf. lines attributed to Dryden (see textual footnote). Et resupina jacens multorum absorbuit ictus (v. 126: and lying stretched o u t she devoured the thrusts of many) is omitted by the Loeb, but subsequent verses are numbered as if it were present. Prateus and Schrevellius also omit the verse, though Schrevellius quotes it in a note, and both number subsequent verses accordingly. H e n n i n i u s prints the verse and numbers it 126. From this point on, our Latin text verse numbers agree with those in the L o e b and in H e n n i n i u s but not with those in Prateus and Schrevellius. 180 Dryden's interpolation; the Scholiast also suggests that Messalina remained through the whole night. 186 Old Casar's lied. Cf. Prateus and Schrevellius, w h o paraphrase ad pulvinar (v. 132: to the couch) with ad ledum Imperatoris (to the bed of the emperor). 191 Charms. I.e., incantations, translating carmen (see v. 133). 194 they say. Schrevellius also explains that v. 136 is spoken not by the poet but by someone else. T h e spelling of the woman's name in this verse varies widely: Cesennia (Prateus), Caesennia (Schrevellius and Henninius), Censennia (Loeb). 197-198 Cf. Stapylton: "She brought ten thousand, at that rate she's chast" (rhyming with "grac'd"). 205 you disprove. A c c o r d i n g to Schrevellius, v. 142 is spoken by Posthumus, not by Juvenal. 212 Pack up. T r a n s l a t i n g collige (gather); cf. Holyday and Stapylton: "Pack up." 216 Dryden's interpolation; cf. Schrevellius's statement that the woman rules only while she is y o u n g and beautiful. 217-218 Dryden here apparently translates Schrevellius's note rather than Juvenal's text. Schrevellius explains that the woman demands Canusian sheep because at Canusia the best sheep and precious wool were to be found, and that she orders Falernian elms because the best w i n e came f r o m vines wedded to elms in Falcrna.

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2ig-220 Cf. Stapyhon: Falerne vine-yards craves, T h a t ' s nothing. A l l fine boyes, all Jayls for slaves. 219 Whole Droves of Pages. Cf. Schrevellius, glossing Pueros omnes (v. 155: all the [slave] boys): Magnam servorum multitudinem (a great multitude of slaves). 2 i o Cf. Schrevellius, glossing ergastula tola (v. 151: whole prisons): servos omnes ex ergastulis (all the slaves from the prisons). 223-224 Verses 153-154 were generally misunderstood in Dryden's time. Literally translated, they mean, "Even in the m o n t h of the winter solstice, when the merchant Jason is now closed, and the white shed stands before the armed sailors." T h e Scholiast correctly interprets the verses to mean that during the December feast of the Sigillaria merchants made sheds, or booths, out of l i n e n — h e n c e " w h i t e " sheds—in which to sell the sigillaria or statues, and that these booths hid from view the colonnade of the A g r i p p i o n which the history of the Argonauts was d e p i c t e d — h e n c e the reference to "Jason" and the "armed sailors." T h i s interpretation is mentioned but rejected by Prateus and Schrevellius. T h e y take Jason to represent any avaricious merchant. H e is "closed," according to Schrevellius, because during the winter the sea is closed to sailors. T h e sheds are white, according to Prateus, because they are concealed by snow and frost. 225-226 Since " R i c h Crystals of the R o c k " evidently translates crystallina (v. 155), both "4gat Vases" and "old China W a r e " translate Myrrhina (v. 156). Schrevellius advances two theories as to the nature of myrrhina: either the reference is to some material condensed from moisture beneath the earth (cf. "Agat"), or the word refers to cups made from Signia (a kind of plaster) by the Chinese (cf. "China Ware"). 227-228 Cf. Schrevellius's statement that Juvenal, in saying that the diamond was "made more precious on the finger of Berenice," means preliosior . . . non quod tanlum hunc Berenice tulerit, sed if quod ab Agrippa fratre, cum quo solebat concumbere, acceperit (more precious not so much that Berenice wore it, but that she accepted it from her brother Agrippa, with w h o m she was accustomed to lie). 230 of Judah's Tribe, Cf. Prateus, commenting on v. 159, "where kings observe the sabbath with bare feet": In Judaea mempe (in Judea, of course). 231 the Sacred Shrine. Dryden's interpolation; cf. Schrevellius's reference to sacra loca (sacred places). 242-243 so hung with Virtues . . . cou'd support the xueiglit. Cf. Schrevellius: omnibus his bonis praeponderabit (she would be weighed down by all these good things). 244 Cf. Prateus, commenting on Venusinam (v. 167: a woman from Venusia): Pauperem . . . rasticam, humilem (a poor rustic, base). 246-247 Supercilious, Haughty, Proud, and Vain etc. Dryden's amplification of supercilium (supercilious) is comparable to Prateus's: Fastum, superbiam, arrogantiam (haughtiness, pride, arrogance). T h e triumphos (v. 169: triumphs) to which Juvenal refers are, as the commentaries ex-

Notes to Pages

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plain, those granted to Cornelia's father, Scipio Africanus, for his victories over Syphax (omitted by Dryden) and I-Iannibal (mentioned in 1. 249). 254 T h e ipsumque parentem (v. 175: the p a r e n t him- or herself) slain by Paean is usually taken to be A m p h i o n (v. 174), b u t Schrevellius, like Dryden, assumes that Niobe (v. 177) is meant, all his Boys. Cf. Sclirevellius's reference to omnes filios (all the sons). 256-257 Schrevellius also supplies the detail that the white sow of v. 177 is the o n e that bore thirty offspring. See Dryden's explanatory note a n d Aeneid, III, 390-393. 258 Chastity. J u v e n a l mentions only beauty and nobility; Schrevellius, like Dryden, adds chastity. 260 insults. Cf. Schrevellius, who paraphrases lmputet (v. 179: boasts) with insultet. 262 Upbraided. Prateus refers to cxprobrationes (reproaches, upbraidings). 265 "Nauseous" evidently translates Juvenal's rancidius (v. 185), b u t "Affected" appears to translate Praieus's gloss, affectans. 267 Grecian Cant. Prateus points out that Graecula (v. 186), a diminutive form, implies contempt. 275 Schrevellius, commenting on Dones tamen ista puellis (v. 191: you pardon such things in girls, however), says that the affectation of a young girl is to be condoned. 276 Dryden reduces the woman's age f r o m eighty-six to sixty-three, perhaps for the alliteration of "Threescore" a n d " T h r e e . " 277 Cf, Schrevellius, glossing adhuc graecè (v. 193: still in Greek): Graece concumbis (do you make love in Greek?). 278 Z(iiit Kal fvxi. Cf. Prateus: Vita mea, anima mea; quibus verbis uti solebant meretrices (my life, my soul—words that prostitutes were accustomed to use). 281 publick Streets. Prateus glosses in turba (v. 196: in a crowd) with in publico (even in public). 282-285 Verses 196-199 can be p u n c t u a t e d in two ways. Schrevellius's punctuation, almost certainly correct, indicates that quod . . . habet is o n e statement, tit . . . annos another, a n d the lines thus mean, "For what penis would a blandishing a n d licentious voice n o t excite? I t [such a voice] has fingers. But your face numbers your years so that, though you say these things more softly than H a e m o or Carpophorus, all feathers nevertheless subside." Prateus, however, punctuates differently, a n d his interpretatio is this: Nam sermo illecebrosus ac malus ecquod non movet * * habet digitos, quamvis etiam cunctae pinnae conquiescant (For enticing a n d evil speech would n o t move what penis? I t has fingers, although even every feather is at rest). Various theories are offered concerning pinnae (feathers), b u t the relevant one is in Prateus's gloss: Metaphora ab avibus: significat. . . . nervos (a m e t a p h o r f r o m birds: it means "nerves"). Dryden's 11. 282-283 a p p e a r to translate Prateus's pointing of the text, equating quiescent feathers with "the Dead." Lines 284-

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Commentary

285 appear to translate Schrevellius's pointing of the text, equating the feathers this time with "slacken'd Nerve." See the addition attributed to Dryden in the textual footnote to 1. 285. 288 Charges of the Nuptial Feast. Schievellius also refers to impensas (expenses) and nuptialem (nuptial). 289 The mustacea (v. 202: wedding cakes) are said by Prateus to be dulcia (sweet cakes or sugar cakes) and to contain must. He also says that these cakes were served ad . . . accelerandam coctionem (to hasten digestion). 290 Cf. Prateus, commenting on illud / Quod prima pro nocte datur (v. 204: that which is given for the first night): Munera quae maritus novae nuptae donate solet in virginitatis delibatae praemium (gifts the husband is accustomed to give to the new bride in recompense for her lost virginity). 303 thy Imperious Wife. Cf. Prateus's reference to imperiosa uxore (an imperious wife). 316 She-Tyrant. Cf. Schrevellius's reference to Tyrannica verba (tyrannical words). 319 she to the first retires. Verse 226, spreti repetit vestigia lecti, means either that "she seeks again the tracks [i.e., the way] to the spurned bed," or that "she seeks again the imprints [she formerly made] in the spurned bed." Dryden solves the problem as Prateus does: redit ad primum virum (she goes back to the first man). 320-324 Cf. Stapylton: Leavs the door New trimm'd, the rooms fresh liang'd, green boughs oth' floor. Thus numbers she eight Husbands in five years, How rare th' inscription on her tomb appears. 326 Living. Cf. Schrevellius, who paraphrases salvd (v. 231: well) with viva (living). 328 divides the Prey. Prateus also makes explicit the idea that part of the spoils goes to the mother. 333-334 T h e point of the trick is obscure. Juvenal (see vv. 235-236) says merely that "the body being well, she calls Archigenes." Archigenes is identified by the commentaries as a famous doctor. Schrevellius paraphrases with aegritudinem simulat (she feigns sickness). Holyday suggests that the mother, not the daughter, pretends illness so that an adulterer can arrive disguised as a doctor. 335-336 A bowdlerization, but see the alternate lines attributed to Dryden in textual footnote. 337 in Reason, hope. Cf. Schrevellius's statement that such a hope is absurdum. 340 As Prateus explains, Juvenal says that it is useful for the evil old woman to produce an evil daughter, for the one makes a profit from the adulteries of the other. 341 Litigious. Cf. Schrevellius's statement that Manilla (v. 243) is iitigiosa.

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346 Virago's. Cf. Holyday's note: " R o m a n virago." 348 wicker Shields. Cf. Schrevellius, glossing scuto (v. 248: with shield): cum crate (with wickerwork). T h e reading of v. 248 varies between sudibus and rudibus; in either case wooden weapons are meant. 349 Plastron. "A leather-covered wadded shield or pad, worn by professional fencers over the breast" ( O E D , citing Dryden's line). 350-351 T h e explanation of omnes implet numeros (v. 249: she completes every number, i.e., each step) given by Schrevellius is that the woman omits nothing from the appointed exercise. 353 on the Stage. Cf. Prateus: iit in amphitheatro (as in the amphitheater). 355 Inur'd to Arms. Dryden's interpolation. Cf. Schrevellius: arma virorum induit (she puts on the arms of men). 359-360 Cf. Holyday: " A brave sight 'twere, should thy wife's G o o d s be sould" (rhyming with "bold"). 361 crested Plume. Cf. Holyday: " P l u m ' d Crest." 362 Spanish Leather Boots. T r a n s l a t i n g crurisque sinistri / Dimidium tegmen (half cover for the left leg). 363-364 Cf. Stapylton: T h e s e are the dames that in thin Holland sweat, Whose silks too much their tender bodies heat. 367 Her Coats Tuck'd up. Cf. Prateus: enim mulieres pugnabant suecinctae (for women fought tucked up). 370 A rare instance of Dryden spoiling the joke; the point, of course, is that the athlctic woman is finally revealed to be very unlike a man. 374 Curtain-Lecture. "A reproof given by a w i f e to her husband in b e d " (OED, quoting Dr. Johnson). Cf. Dryden's epilogue to Henry the Second, 1. 10 (Works, III, 259). 377 she teyzes first. A s Prateus explains, the wife, anticipating her husband's complaints, objects to her husband's adultery so that she may conceal her own. 378 Thy Servants are accus'd. Schrevellius suggests that odit pueros (v. 272: she hates the boys) refers to imaginary catamites, but Prateus paraphrases with vexat . . . servos, quasi marito in suis adulteriis operam navantes (she abuses the slaves as if they assisted the husband in his adulteries). 381 Poor Cuckold-Fool. Holyday says that Juvenal "means, Fond cuckold, the curruca [v. 276] . . . being a bird in whose nest the cuckow lays eggs, which the silly curruca hatches." Prateus and Schrevellius have similar notes. 384 Tiller. "A drawer in a cabinet" (OED, citing this line). 387 Impudence. Schrevellius also refers to procacia (boldness, impudence). 3gi pleas'd. Cf. Schrevellius: complacitum (pleased). 393-394 T h i s expansion of homo sum (v. 284: I am human) is paralleled by Schrevellius: Appellatione hominis, mas if foemina continetur (in the appellation " m a n " both male and female are included).

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Commentary

399 Luxury. Schrcvollius paraphrases vitiis (v. s88: faults, vices) with libidine (lust, luxury). 404 Gate. Cf. Prateus, commenting on Colline . . . lurre (v. 291: at the Colline tower): Ad portam Collinam turribus munitam (to the Colline gate guarded with towers). 405 Dryden's interpolation. Cf. Prateus: Per otium enim virtus elanguescit, gliscit luxuria (for through idleness virtue becomes feeble and wantonness increases). 407 Riot. T r a n s l a t i n g Luxuria (v. 293); cf. Holyday: "riot." 4 1 1 Prateus associates pride with Rhodes a n d luxury or debauchery with all the cities mentioned by Juvenal; Dryden suppresses the names b u t preserves the meaning. 4 1 6 - 4 1 7 Dryden softens the vulgarity. T h e point is not "to w h o m " they spread b u t "how." As Schrevellius explains, not to know Inguinis, ir capitis . . . discrimina (v. 301: the difference between tail and head) means n o t to know vulvae ir oris differentias (the difference between vulva a n d mouth). Prateus probably read the verse in this way too, since he asserts that modesty prevents an interpretation of it. 419 Eringoes. " T h e root of the sea holly ( E r y n g i u m maritimum) was considered aphrodisiac" (Kinsley). 420 Full Brimmers. T r a n s l a t i n g concha (v. 304), a vessel for holding oil, so called because of its shellfish shape. Cf. Prateus: ingenti vase (a huge vase). 421 Provocatives of Lust. Prateus explains that J u v e n a l mentions wine a n d oysters because they were thought to be aphrodisiacs. 422 Prateus refers to the vapors of the wine, a n d Schrevellius adds that the fumes disturb the brain. 424-429 A partial bowdlerization of Juvenal's Latin, b u t see the lines attributed to Dryden in textual footnote to 1. 427. I t is clear from v. 310 that the women are Lesbians (Lewis a n d Short, s.v. moveo and equito). T h e reading in v. 310 varies between collactea (foster sister) and Collacia or Collatia (a p r o p e r name); Dryden: "confiding Slave." 426 Statue. Cf. Schrevellius, paraphrasing aram (altar): statuam (statue). 432-433 Schrevellius explains that the flute incites the loins either to dancing or to lust. 432 Pipe. Cf. Holyday: "Pipe." 433 Gig. " T o move to a n d f r o " (OED, citing this line). 434-435 A n o t h e r partial bowdlerization, b u t see the additional lines attributed to Dryden in textual footnote to 1. 435. 436 T h e spelling of the proper n a m e varies. Prateus prints Laufella; Schrevellius prints Saufcia b u t footnotes Laufella. Schrevellius a n d Holyday say that positd . . . corona means "proposes a garland as the prize" for the winner of the venereal contest to which Laufella is challenging the prostitutes. Dryden, translating with "lays her Garland by," again softens the vulgarity, b u t see the additional lines attributed to him in textual footnote to 1. 437. 438 cheap Sinner. T h a t is, a prostitute who charges little; cf. Schrevellius: publicas meretrices (public prostitutes).

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440 Venereal Strife. Cf. Schrevellius: certamen libidinis (contest of lust). 441 to the Life. Cf. Schrevellius, w h o paraphrases Ad verum (v. 325: to the truth) with ad vivum (to the life). 450 Dryden, softening the vulgarity once again, omits the reference to sodomy, but see the additional lines attributed to him in textual footnote. 452 Pollutions. Cf. Schrevellius: publico etiam sacra . . . polluuntur (even public rites are polluted). 456 two-handed Instrument. T r a n s l a t i n g penem / Majorem, qud.m sint duo Caesaris Anticalones (vv. 337-338: a penis larger than are the two Anticatos of Caesar). Schrevellius explains that the reference is to the two books of Caesar's attack o n C a t o and that Juvenal stresses " t w o " because h e implies Caesar's testicles. Schrevellius also explains that Clodius was twice as large as Caesar and thus twice as welcome to Pompeia; cf. Dryden's "grateful Present" in 1. 457. 460 that Age. T h e word tunc (v. 342: then) means, as Schrevellius notes, prisco . . . seculo (in the ancient age). 463 cautious Counsel. Cf. Schrevellius, a m p l i f y i n g moneatis (v. 346: you may warn): admonitioni vel consilio (with admonition or counsel). 465 Cf. Holyday: " B u t w h o Shall keep the Keepers." 466 Cf. Schrevellius: pecunia . . . expugtiat (she overcomes with money). 469 poor Ogulnia. Schrevellius explains that Ogulnia (v. 352) is the name of a poor woman. 471-472 W i t h Dryden's " t h e last remaining piece," cf. Schrevellius: Omnium ultima, ut nihil restet (the last of all, so that nothing is left). 477-478 Cf. Stapylton: Provides for cold and hunger, fears to want, T a u g h t by th' example of the frugal A n t . Prateus and Schrevellius cite Horace, Satires, I, i, 33, formica laboris (the ant [an exemplum] of labor). 482 Between vv. 365 and 366 the L o c b inserts thirty-four verses first discovered in 1899. 489 See Persius II, 1. 7on. 494 Priapus. T h e proper name of the custodem . . . horti (v. 375: guardian of the garden) to w h o m Juvenal refers. T h e point, slightly obscured b y Dryden, is that the eunuch rivals in size even Priapus, who, as Schrevellius notes, cum membro enormis magnitudinis pingitur (is pictured with a member of enormous size). 495 - 498 A s Schrevellius says, a eunuch of Priapean dimensions would be large enough for Posthumus's w i f e b u t too large for Posthumus's catamite. Bromius (v. 378), strictly speaking, is a surname for Bacchus but is paraphrased by Schrevellius with puerum (boy). 495 Kerv'd. I.e., carved, "castrated" ( O E D , carve v 8 ). 499-500 Unless " Q u a i l - P i p e " again is a p u n (see 1. io7n), Dryden has missed the point; J u v e n a l clearly refers to adultery, as he did in v- 73502 with Gems adorn. Verses 381-382, densi radiant testudine totd sardonyches (thick sardonyxes shine over the whole lyre), are taken by

630

Commentary

the L o c b to mean that the woman's ringed fingers play over the lute, but Schrevcllius suggests that the woman adorns the instrument with gems. 506 Vow'd. Cf. Schrevellius's reference to vota (prayers, vows). 507 the Prize. Schrevcllius, commenting on Capitolinam . . . querctim (v. 387: Capitoline oak): quam merebant Poetae, qui . . . viceranl (which those poets gained w h o won). 508 According to Schrevellius, Pollio is the woman's partner in adultery. 509-510 Cf. Holyday: Sick had her Husband been, could more be done? More, had Physitians L e f t her D y i n g Son? 513 solemnly. Cf. Schrevellius's reference to verbis solennibus (solemn words). 516 Cf. Holyday: " Y e e Gods (for ought I see) just N o t h i n g doe" (rhyming with "true"). 520 Cf. Prateus, w h o says that the haruspex becomes varicosus (varicose) because h e stands a long while. 524 to Cuckold thee. Schrevellius suggests that the men to w h o m this woman talks may be her partners in adultery. 527-528 Holyday's rhyme words are " S o n " and " b e g u n . " Cf. Stapylton: knowes what's ¡11 T h r a c e and Scythia done; T h e secret oth' step-mother and the son. Dryden's "France" translates Seres (v. 403: modern Chinese), taken by Prateus, Schrevellius, Holyday, and Stapylton to be Scythians; the Scholiast, however, suggests that Galliarum gentes (the peoples of Gaul) may be meant. 529-530 T h e reading of v. 404 varies between deripiatur and decipiatur. If the first reading is correct, then the verse means, as Schrevellius says, quis ä pluribus mulieribus ametur adulter (what adulterer may be loved by many women; Loeb: " w h a t gallant is the rage"). If the second reading is correct, the verse means " w h a t adulterer is deceived," to which Schrevellius adds, ab ilia quam amat (by the one he loves). Dryden appears to translate the first reading in 1. 529, the second in 1. 530. 533-534 Prateus elaborates on the ominous nature of comets, ;mil Schrevellius mentions the exitium (destruction) they cause. 537-538 Cf. Stapylton: In all our streets She prattles this, to every one she meets. 542 Cf. Prateus, w h o says that the woman does not allow herself to be implored or swayed by those praying to avert unmerited punishment. 544 Gurr. Stapylton: "cur." 546-547 Cf. Prateus's comment that huge vases and bathing equipment are borne with as much noise as that with which camps and armies customarily are moved. 548 Dryden omits vv. 422-423. 553 spews. Cf. Stapylton: "spues." 564 pities. Schrevellius paraphrases ignoscit (v. 435) with miseretur (pities).

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570 Dryden's interpolated reference to Vulcan is without parallel in the commentaries. 576 Philosophick Herd. Schrevellius says that Cnire . . . medio tunicas succingere (v. 446: to tuck up the tunic as far as the middle leg) is to dress in the manner of philosophers. 589 in her trim of Pride. Cf. Schrevellius: mulier superba (a proud woman). 598 brightness. Cf. Schrevellius, who paraphrases lotA (v. 464: clean) with nitida (bright). 600 precious. Cf. Schrevellius: pretiosissima (most precious). 604 Crust. Translating tectoria (v. 467: literally, "plasters"); cf. Schrevellius: incrustationes. 608-609 c f - Stapylton: But what's thus poultic'd, and thus plaister'd o're, Is it a face? or may't be call'd a sore? Holyday: " A Face is 't, or a soare?" (rhyming with "daubs-o're"). 6 1 0 - 6 1 1 Cf. Stapylton: 'Tis worth your knowledge, what they do by Day If in the night her husband turn'd away. Holyday: " 'Tis worth the knowing how they spend the D a y " (rhyming with "lay"). 6 1 5 Chamber-Maid. Cf. Holyday: "Chamber-maid." 616 Page. Translates Liburnus (v. 4.77: chair-bearer), stript. Cf. Holyday: "stript." 622 the days Account. Holyday's note: "the accounts of the day, transacta diei." In v. 483, the common reading is transversa, not transacta. 623-634 Cf. Stapylton: "Be gone, she thunders in a horrid tone" (rhyming with "groan"). 631-632 Cf. Holyday: Her self with hair All torn, with shoulders too and breasts all-bare. 634 Mortal Sin. Dryden's hyperbole is matched by Schrevellius: quasi . . . maximum . . . crimen (as if the greatest crime). 635 in the Glass. Schrevellius refers to dominae verba sese in speculo contemplantis (the words of the mistress contemplating herself in the mirror). 640 Old Woman. T h e Loeb reading is materna (belonging to the mother) rather than matrona (v. 497: a married woman); Prateus refers to matrona senior (old woman). 642 Wisdom. Translating arte (v. 499: art); cf. Schrevellius: juxta ordinem . . . artis ac prudentiae (according to the order of art and prudence). 643-644 Cf. Stapylton: As if that fame and life were both at stake, So great's the care they of their beauty take. 647-648 For the rhymes, cf. Holyday ("behind" and "loin'd") and Stapylton ("behind" and "find"). Gyantess. Translates Andromachen, who was, as Schrevellius says, very tall.

Commentary 650 Cf. Stapylton: "She sure must stand a-tip-toe for a kiss" (rhyming with "miss"). 653-654 Cf. H o l y d a y : her L i f e Makes her more like a Neighbour, then a wife. 659-660 T h e relative size of the virile member once again is the issue. 664 Prateus mentions but rejects the theory that the hoarse sound of the crowd (rauca cohors, v. 515) is owing to voce acutiori, qualem habent eunucki (the more treble voice, such as eunuchs have). 670 Pest. Cf. Schrevellius: pestem. 671-672 Stapylton rhymes " b e a r " and "year." 673-674 Dryden's interpolation, perhaps intended as a general preface to the hardships, described in the following verses, imposed by the priest on women. 676 A n o t h e r interpolation, but cf. Prateus, w h o glosses v. 531: per somnium . . . snam indicant [Dii\ voluntatem (in a dream the gods indicate their will). 680 Io's Priest. Cf. Prateus and Schrevellius, both of w h o m say that Io reveals her commands not directly but per Sacerdotem (through her priest). 684-686 Juvenal apparently indicates that the woman herself experiences visions, but Schrevellius explains that it is the priest who experiences them. 689 Cf. Prateus, a m p l i f y i n g derisor Anubis (v. 534: the scoffer Anubis): credulas populi mentes illudens (mocking the credulous minds of the people). 694-697 Dryden evidently construes v. 539 with vv. 537-538, despite the period that Prateus and Schrevellius print at the end of v. 538. T h e verses, so construed, make sense, but there remains n o independent verb for vv. 540-541. Dryden apparently adopts the first of two theories advanced by Prateus and Schrevellius; both say that the moving head can indicate either anger or forgiveness. 694 Sweating. A n interpolation. Virgil, Georgics, I, 480, says that the sweating of the statues of gods portends evil. Cf. Milton, On the Morning of Christ's Nativity, 1. 195. 695 Prayers. Cf. Prateus, who notes that medilata tnurmura (see v. 539: "carefully-studied muttcrings" [Loeb]) are pieces (prayers). 698-699 Cf. Stapylton: H e gone, Her hay and basquet left, with fear T h e poor she-Jew begs in my Lady's ear. Holyday: " A q u a k i n g Shee-Jew . . . begs close in their eare" (rhyming with "elsewhere"). 698 full of Fear. According to Holyday, the fear is to be explained by the fact that Domitian had banished the Jews. Cf. Juvenal III, 1. 23: "Banish'd Jews." 699 Gypsie . . . whispers. Schrevellius at this point refers to AEgyptios if Bohemos and introduces the verb insusurrat (whispers).

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63S

703 Prateus explains that the Jews carried baskets and hay as signs of their poverty. Holyday quotes Britannicus: foenum, ubi cubitarent (hay, where they could sleep). Cf. Juvenal, I I I , v. 14. 708-710 J u v e n a l attributes divination not to the Jewess but to the Armenian (v. 550); Why Dryden should attribute it to both is not clear since there are no parallels in the commentaries or in earlier translations. 7 1 4 Accuse. Translating deferat (v. 552), which could mean "he accuses" but more usually would mean "he reports." Cf. Schrevellius: accuse t. 7 1 9 ignorant of future Fate. As Schrevellius explains, caligo futuri (v. 556: a dark future) implies ignorance of future things. 7 3 1 - 7 3 2 As Prateus and Schrevcllius note, Tanaquil tua (v. 566: thy Tanaquil) obviously means uxor tua (thy wife). Dryden's reference to "black Jaundies," however, is at variance with the commentaries: ictericae (v. 565) means "jaundiced," as they explain, because the ictericus was a yellow bird which cured jaundiced people who looked at it. 735-736 Cf. Stapylton: A n d if her servant shall her selfe out-live? For can the Gods a greater blessing give? Holyday: "Indeed, what greater bliss can the Gods give her" (rhyming with "Outlive her"). 739 Friendly Rays. Cf. Schrevellius's reference to quos planetas habeat amicos (what planets [Venus] has as friends). 743-744 Cf. Prateus, commenting on ceu pinguina succina (v. 573: like greasy amber): Tam saepb contrectatas ab ipsa, quhm sua ex electro monilia; vel, tam ab ea tritas, quhm succinum, quod ex assidua manuum contrectatione ir sudore unctum & pingue omnind est (handled by her as often as her necklace of amber; or, from so many rubbings, like an amber that is, from continual handling and the sweat of hands, all oily and greasy). 743 Almanack. Translating ephemeridas (v. 574: daybook, diary). 746 Twelve Houses, and their Lords. " T h e twelve astrological divisions of the heavens, and the planets exercising influence in each" (Kinsley). 747-748 Cf. Stapylton: T h a t asks not hers, but can thy fortune show, T h a t if into the field her husband go. 7 5 1 - 7 5 2 if her Eye etc. Schrevellius says that ex alicujus enim membri pruritu, antiqui conjicere solebant (from the itching of any member the ancients were accustomed to prophesy). 75a Decumbiture. A horoscope calculated at the moment of sickness. 757 Who clap the pretty Palm. According to Lewis and Short (citing v. 584), Poppysma means "a smacking or clucking with the tongue, as a sign of approbation." Prateus and Schrevellius correctly explain the term, but Schrevellius also quotes the erroneous explanation of Britannicus: "to handle with the hand." Holyday, also referring to Britannicus, defines poppysma as " a hollow clap with the hand" and translates accordingly: "a Fortune-teller . . . does crave / Often to clap her palme."

634

Commentary

760-761 A s P r a t e u s notes, the p h r a s e astrorum mundique peritus (v. 586: o n e skilled in stars a n d w o r l d ) i m p l i e s a g e o g r a p h e r as w e l l as a n astronomer. 764-765 Cf. Holyday: E n q u i r e , if i n n e w m a r r i a g e shee shall t a k e A C l o a k - f e l l e r , a n d t h ' I n n e - k e e p e r forsake. Stapylton: if she m a y forsake M i n e h o s t h e r h u s b a n d , a n d a b r o k e r take. 764 Dairy-Maid. aurum (v. 589: she b a r e neck). P r a t e u s r e a d i n g is nullis . .

T r a n s l a t i n g Quae nudis longum ostendit cervicibus w h o shows the l o n g g o l d [ n e c k l a c e o r c h a i n ] o n h e r t h i n k s the r e f e r e n c e is to a p r o s t i t u t e or, if the true . cervicibus (011 n o neck), to some p o o r w o m a n .

766 these, tho Poor. T r a n s l a t i n g Hae (v. 592: these); cf. S c h r e v e l l i u s : Pauperculae (poor). 7 7 5 Savin. " S a v i n . . . possesses e m m e n a g o g i c p r o p e r t i e s , a n d h e n c e w a s a c o m m o n m e a n s of p r o c u r i n g a b o r t i o n " ( O E D , c i t i n g this line). 7 7 6 C f . S c h r e v e l l i u s , c o m m e n t i n g o n nam si . . . vellet . . . vexare uterum (vv. 5 9 8 - 5 9 9 : f o r if she w e r e w i l l i n g t o v e x h e r w o m b ) : Id est . . . vexare . . . usque ad legitimum tempus partus (that is, to v e x e v e n u n t i l the r e g u l a r time o f g i v i n g birth). 7 8 2 - 7 8 3 Foundling . . . whom Matrons make their own. C f . Prateus, w h o n o t e s t h a t w i v e s a d o p t e d i l l e g i t i m a t e c h i l d r e n a n d p r o d u c e d t h e m as if b r o u g h t f o r t h b y themselves. S c h r e v e l l i u s n o t e s that i l l e g i t i m a t e children were exposed. 784 into Noble Families. C f . Prateus: in familias nobiles (into n o b l e families). T h e S c a u r i (see v. 604), as P r a t e u s a n d S c h r e v e l l i u s e x p l a i n , w e r e a noble family. 785 blind. S c h r e v e l l i u s notes that f o r t u n e is n o t o n l y shameless ( i m p r o b a , v. 605) b u t also b l i n d (caeca). 791 C f . S t a p y l t o n : " S h e . . . l a u g h s in secret at t h e parts they p l a y . " 804-805 C f . H o l y d a y : Like Nero's U n c l e ; into whose drench'd b o w l e C a e s o n i a squeez'd the w h o l e b r o w of a f o a l e . 805 His Mother's Love. P r a t e u s says that if the h i p p o m a n e s [ L e w i s and S h o r t : " a s m a l l b l a c k m e m b r a n e o n the f o r e h e a d of a n e w - b o r n foal, used in m a k i n g l o v e - p o t i o n s " ] w a s r e m o v e d b e f o r e t h e m o t h e r c o u l d eat it, she r e f u s e d to n u r s e the f o a l . C f . D r y d e n ' s Aeneis, I V , 7 4 6 - 7 4 7 : A n d cuts the F o r e h e a d of a n e w - b o r n F o l e , R o b b i n g the M o t h e r ' s love. 815 his Godhead. A s S c h r e v e l l i u s notes, descendere . . . in coelum (to descend to h e a v e n ) is an i r o n i c a l l u s i o n to the s u p p o s e d a p o t h e o s i s of the R o m a n emperors. 854-837 T h e c o m m e n t a r i e s also assign the v a r i o u s speeches in this w a y . 843 Revenge. S c h r e v e l l i u s also m e n t i o n s vindictam (revenge). 846-847 D r y d e n ' s t r a n s l a t i o n o f v v . 649-650 simplifies J u v e n a l ' s diffic u l t L a t i n . J u v e n a l , h a v i n g d e n i e d t h a t h i s satire a p p r o a c h e s t h e epic, at this p o i n t i n c l u d e s a b r i e f epic s i m i l e so e x t r a o r d i n a r i l y c o n t o r t e d

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35

that Holyday, e.g., finds it necessary to add a very lengthy note to explain both Juvenal's Latin and his own translation. 848-849 Cf. Prateus's expansion of quae computat (v. 651: who computes or sums up): quae otiosi deliberat, in animo rem pairandam revolvit, examinat, providet, statuit (who deliberates without haste, who revolves in her mind the things to be done, examines, considers, settles it). 851 Cf. Schrevellius: mariti Admeti vitam sua morte redimentem (redeeming the life of her husband Admetus by her own death). 854-855 Cf. Holyday: Wee Belkies and Eriphylae meet Betimes, and Clytemnestras in each street. Stapylton: You, Belides, and Eriphiles meet, And Clitemnestra, daily, in each street. 858 perfection. Cf. Schrevellius: perficitur (is perfected). 859 The Scholiast, commenting on pulmone rubetae (v. 659: by the lung of a toad), explains that the viscera of the toad are poisonous. 860 Antidote. As Schrevellius explains, Juvenal's reference (vv. 660661) is to Mithridates, whence "mithridate" or "antidote." EXPLANATORY

NOTES

1 Cf. Schrevellius, glossing Satumo Rege (v. 1: Saturn being king): Id est, regnante Satumo, aureo seculo (that is, when Saturn reigned, the golden age). 2 Cf. Prateus, who notes from Pliny that bread was once made from the flour meal of acorns. 5 This explanation of paucae adeb Cereris vittas contingere dignae (v. 60: few indeed are worthy to touch the fillets of Ceres) is not paralleled by Prateus or Schrevellius, who say only that the rites of Ceres were to be celebrated by chaste women. Britannicus, however, refers to the castimonia ("purity," but frequently with reference to abstinence from sexual intercourse) customary at ritualistic times. 6 Cf. Prateus: Quorum tot stupra narranlur in silvarum ac montium recessu perpetrata (of whom so many rapes are told, committed in the remote places of woods and mountains). 7 The point, as Schrevellius explains, is that even wicked Egypt would be astonished by Hippia. 8 Schrevellius and Prateus have similar notes. 9 Cf. Schrevellius, who says that rich women buy with their dowries the right to do whatever they please. 10 T h e commentaries propose various identifications for Berenice, including this one. 18 See Ovid, Metamorphoses, VI, 146-312. 13 See Aeneid, III, 390-393. 15 Schrevellius has a similar note. 20 T h e information is standard, but for the phrasing, cf. Stapylton: "where 110 man ought to be present." 28 Prateus and Schrevellius have similar notes.

636

Commentary

25 Prateus also identifies Pollio in this way. 26 Schrevellius states that the actors, like Pollio, are adulterers. 29 More accurately, as Prateus and Schrevellius explain, it was thought that the noise would drown out the incantations of the witches who were causing the eclipse. 31 "To break Priscian's head, to violate the rules of grammar" (OED). As Noyes points out, Priscian was "a Roman grammarian of the fifth century; the mention of him here is of course an anachronism on Dryden's part." 33 Schrevellius has a similar note. Noyes cites further references to "Sicilian tyrants" in Dryden's fifth and sixth notes to the Persius third satire. 36 Dryden appears to be alone in thinking that the sacrificial garments were thrown into the river. Prateus and Holyday assume that they were appropriated by the avaricious priest. 38 T h e r e are similar notes in Prateus, Schrevellius, and Holyday. 39 Prateus has a similar note on Saturn and Venus, though not, of course, on Mars and Jupiter since Juvenal does not refer to them, 40 Prateus and Schrevellius identify Petosiris (v. 581) as an Egyptian astrologer. Dryden's substitution of the name Ptolemy may have been suggested by the fact that Tacitus (History, I, «2) and Plutarch (Galba, 23) identify Otho's astrologer (referred to in vv. 557-559) as Ptolomaeus. 41 Cf. Prateus's reference to Brachmanes if Gymnosophista (Brahmans and gymnosophists), cited by Kinsley in a note to 1. 759. 43 For the phrasing, cf. Stapylton: " T h e Romans held it ominous to see a Blackamoor . . . in a morning." 44 See Suetonius, Caligula, L (L.oeb, I, 481). 45 Cf. Holyday note: "like the outragious love of Jupiter to Juno, effected by the coestus, or girdle of Venus, as it is in Homer." See Iliad, XIV, 214. 46 Schrevellius has a similar note. 47 Pontia (v. 638) was variously identified. Schrevellius apparently supplies Dryden with the name Drymon: Loquitur . . . de Titi Pontii filia, Drymionis uxore (he speaks of the daughter of T i t u s Pontus, the wife of Drymon). 48 Schrevellius also supplies a brief summary of the tale. 49 For the phrasing, cf. Stapylton: " T h e fifty daughters of Danaus, who were married to as many of their cousin-gennans . . . which they slew in 011c night, all but Lynceus, whom his wife Hypermestea saved." 50 Schrevellius has a similar note.

Juvenal,

Satire

X

ARGUMENT

P. 205: 11. 1-9 Cf. Stapylton, "Argument": For wealth, power, Rhetorick, martial sway,

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Long life, and Beauty, Mortals pray; Which if the bounteous Gods bestow, Our ruin to our prayers we owe. What then befits us to receive, We to the Powers divine must leave, And shunning riot wisely live; This blessing we our selves may give. POEM 1 Habitable World. As the Scholiast notes, Cadiz, Aurora, and the Ganges are synecdochic. Cf. Prateus: id est, in toto terrarum orbe (that is, in the whole world of lands). 3-4 Stapylton uses the same rhyme words. 3 Hopes. T h e commentaries paraphrase cupimus (v. 5: we wish or desire) with optamus (we hope). 5-6 Higden's rhymes are "begun" and "long-run"; Holyday's, "begun" and "done." Cf. Barkstead: What in conceit hath ere so well begun, Which hath not in the end been wisht undone. 5 Translating dextro pede (v. 5: with right, i.e., favorable, foot). Shadwell also has "luckily begun." 7 - 1 0 Cf. Wetenhall: The easie Gods, granting what men require, Tir'd with their whining breath, Oft hug their Suppliants to death; Ruine whole families at their own desire. 9 In Wars, and Peace etc. As Prateus notes, toga (v. 8) is a metonymy for peace. Cf. Schrevellius: Id est, pace fr hello petimus, quae nobis noceant (that is, in peace and war we seek things that are injurious to us). Barkstead: "In peace, in warre, most hurtfull things are sought." 1 1 - 1 3 WetenhaH's rhymes are "bound" and "drown'd." Dryden's imagery is developed from torrens of v. 9 (Loeb: "rushing flood"). 1 4 - 1 5 Cf. Shadwell: "Milo confiding in the wondrous strength / Of Brawny arms . . ." 16-17 Beaumont rhymes "chest" and "rest"; like Dryden, lie exaggerates pecunia (v. 12: money): "heapes of money." Cf. Barkstead: "heapes of coine." For Dryden's "opprest," cf. Schrevellius's paraphrase of strangulat (v. 13): opprimit (oppressed). 18-19 Unwieldy Sums of Wealth etc. Translating cuncta exuperans patrimonia census (v. 13: wealth surpassing all patrimonies). Schrevellius: Qui sit valde extra communem divitiarum mensuram (which may be very much beyond the common measure of riches). 20-88 Stapylton's rhymes are "faile" and "Whale." Dryden's introduction of Croesus is without parallel in the commentaries or other translations. 23-24 Translating temporibus diris . . . jussuque Neronis (v. 15: in fearful times by the order of Nero). Cf. Wetenhall:

638

Commentary It was for this in cruel Nero's time, (Under whom to be wealthy was a crime).

Higden: In Neroe's Plotting dismal times Riches were judg'd sufficient Crimes. 25 A Troop of Cut-Throat Guards. Translating tola cohors (v. 18: a whole cohort). Higden has "Guards," and Shadwell reads "Troops of arm'd bands." 26 Dryden omits the specific examples mentioned in vv. 1 6 - 1 7 . T h e commentaries, as usual, supply identifications of the proper names and summaries of the historical details. 29-30 Barkstead, Stapylton, and Higden all use the same rhyme words. 32 Since " R u s h " (1. 3 1 ) evidently translates arundinis (v. 21: reed), this line is without parallel in Juvenal. Cf. Higden: "Each Bush does an arm'd Thief appear." 37 Poor Man's Draught. Suggested by fictilibus (v. 26: earthen vessels, or—Dryden, 1. 38—"homely Bowl"); cf. Vaughan's "poore mans dish." 39-40 Vaughan rhymes " W i n e " and "Divine." 4 1 - 4 2 Cf. Wetenhall: And now perhaps you'l deign to praise T h e Sages of contrary ways. Barkstead's rhymes are "praise" and "alwaies." Vaughan, like Wetenhall and Dryden, translates Sapientibus (v. 28: wise men) with "Sages." As subsequent verses make clear, the reference is to Democritus and Heraclitus. 45-48 Cf. Higden: What source could constant Tears supply, T o feed the sluces of each Eyel Or t' others merry humour make, His spleen continually to shake? 47-48 Holyday rhymes "make" and "shake." Beaumont and Holyday, like Higden and Dryden, introduce "spleen" at this point, the spleen being, as the Scholiast points out, the seat of laughter. 49 Lictors. Schrevellius explains that the fasces (v. 35) were carried by lictors. 5 1 - 5 2 Dryden's interpolation, perhaps to explain the implications of 1. 50. 53-72 Dryden magnifies the absurdity of the ceremony by means of various interpolations, such as "Mock Majesty," " A heavy Gugaw," "mighty Madman's Pride." T h e commentaries are less hyperbolic, but Higden, transforming the scene into a Lord Mayor's procession, exaggerates even more than Dryden docs. 53-54 Barkstead's rhymes are "hye" and " b y " ; Holyday's, "high" and "eye." For the construction "had he beheld," cf. both Barkstead and Holyday: "had he seen." 58 Jove's Embroyder'd Coat. Cf. Shadwell: "Joves embroyder'd Coat." 59 A Sute of Hangings. Suggested by aulaea (v. 39), here "the folds of his

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embroidered toga" (see Lewis and Short, citing and translating this verse), but literally "tapestry, arras . . . hangings." Cf. Beaumont: "hangings from his shoulders trailing downe." 60 Vest. Prateus paraphrases tunica (v. 38) with veste. 65-66 Dryden's rhyme words were used also by Beaumont, Holyday, and Wetenhall. 68 Holyday notes that the "Eagle . . . was of Gold," and Prateus, that it was a mark of the Roman imperium. 71 flatt'ring Tribes. Prateus refers to asseclae (sycophants) at this point. 73-74 Cf. Shadwell: Who could in all Assemblies of Mankind (Then wiser much) just cause of Laughter find. 75-76 a Land . . . Fogs. Translating Veivecum in patria (v. 50: in a country of muttonheads; see Lewis and Short, s.v. vervex, citing this verse). The reference, according to the commentaries, is to Abdera, birthplace of Democritus, where, as Prateus puts it, the heavy air makes men dull, rude, and stupid, like wethers. Cf. Stapylton: "Democritus was born in Abdera in Thrace where the inhabitants are barbarous and gross-witted Clowns, their brains being like their country, ever in a fog." Cf. Shadwell: "A boggy Soil, a dark and foggy Air." 79-80 "Tears," evidently an obvious rhyme word, also appears in Beaumont, Holyday, Stapylton, Vaughan, Wetenhall, and Shadwell. "Fears" completes the rhyme in Beaumont, Holyday, Stapylton, and Vaughan, with "cares" (translating ctiras, v. 51) the rhyme for Wetenhall and Shadwell. Vaughan, like Dryden, translates gaudia (Beaumont, Holyday, Stapylton: "joys") with "Triumphs." Wetenhall and Shadwell, like Dryden, translate vulgi (v. 51: of the people, the multitude) with "Vulgar." 83 'Tis plain from hence etc. Schrevellius notes that Juvenal concludes the argument concerning riches in vv. 54-55. Schrevellius, commenting on genua incerare (v. 55: to wax the knees), also states that vows or prayers were inscribed on wax on the knees of the statues; cf. Dryden's "Vows." 87-88 Beaumont's rhymes are "downe" and "drowne"; Stapylton's, "crown" and "down"; Vaughan's, "crowns" and "Gowns." 87 Dryden translates pagina (v. 58: page) with "Titles." Cf. Higden: "Titles." Holyday writes: " T h e Scholiast teaches us . . . that before the Statues of eminent persons there was placed a Plate or Table of Brass, containing all the Honours of him, whose Statue it was." 88 in the next River Drown'd. Perhaps developed from mergit (v. 57: ducks, drowns), but Schrevellius states that it was customary to cast down the statues of the condemned and to draw them, torn to pieces, to the Gemonies (Lewis and Short: "steps on the Aventine Hill leading to the Tiber, to which the bodies of executed criminals were dragged by hooks to be thrown into the Tiber"). Holyday, also referring to the Gemonies, says that "the offenders . . . were cast headlong into the River." The uncus (unco of v. 66) was "a hook that was fastened to the neck of condemned criminals, and by which they were dragged to the Tiber" (Lewis and Short).

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94 Cf. Shadwell: " A n d great Sejanus crackled in the flame." 95-97 Stapylton also uses "laid" a n d "made" as rhymes, b u t there are n o other similarities. Brass. Cf. Prateus's reference to aeneas imagines (brass statues). Pispots. Apparently translates patellae (v. 64: small pans), b u t the true reading may be matellae (chamber pots). Higden also has "Pispots." 98-99 Stapylton rhymes "milk-white bull" with "pull." Dryden, as well as Stapylton, translates cretata (v. 66: chalked so as to be white) with "Milk white." Stapylton explains that white was the "colour J u p i t e r most affected in the Bulls sacrificed to him, as being the same wherein he disguised himself when he was a Bull for Europa's sake." 100 drag'd. T r a n s l a t i n g ducitur (v. 66: is led), a ¡teluait (meiosis, diminution), according to Schrevellius, who paraphrases with trahitur (is drawn). 103 hanging. Kinsley: " 'Downcast,' with the q u i b b l i n g suggestion of 'hangable, born to be h a n g e d ' " (citing Measure for Measure, IV, ii, 35); Kinsley also cites Shadwell's translation: "a hanging look." 107 Dryden's interpolation, perhaps for the sake of rhyme. 108-109 Cf. H i g d e n : L o n g letters were f r o m Capra sent By Caesar to the Parliament. Shadwell rhymes "sent" a n d "Eloquent." 110 / ask no more. Cf. Beaumont: "I seeke n o m o r e " (rhyming with "store"). 113 Dryden's interpolation is without parallel in the commentaries or other translations. 1 1 8 - 1 1 9 Cf. Holyday: For, the same People, had but N u r t i a blest H e r Tuscan, a n d the Prince's Age oppress'd. Shadwell's rhymes also are "blest" and "opprest," b u t there are n o other similarities. 11S by Fortune's favour Blest. T r a n s l a t i n g si Nurscia Thusco / Favisset (vv. 74-75: if Nurscia had favored the Etruscan). Prateus lists many variant forms for Nurscia, but the reference in any event is to the Etruscan god of f o r t u n e (Lewis a n d Short, s. v. Nortia, the L o e b spelling). Sejanus, of course, was from Etruria. 1 2 0 - 1 3 1 An expansion a n d partial rearrangement of vv. 77-81. Schrevellius explains that prior to Caesar's time the people were wont to elect by their votes; afterward they h a d no power to elect, for all was done by the will of the emperor. 1 2 2 - 1 2 3 Cf. Stapylton: E're since we left the selling of our voice, W e take n o care; the rout, that once made choice Of Consuls, Praetors, Tribunes, what it pleas'd, Is long ago of all that trouble eas'd. 130 beg an Alms. T r a n s l a t i n g panem (v. 81: bread). Holyday notes that " t h e poorer sort did monthly receive an allowance of corn." Higden has "beg for Bread." 133 Warrants are . . . Issued out. T r a n s l a t i n g magna est fornacula (v.

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82: "there is a big furnace ready" [Loeb]) with reference to the scene described in vv. 61-64. Cf. H i g d e n : " ' T i s said Warrants are out." 134 Schrevellius also explains that Brutidius is pallidulus (a little pale) prae timore (because of fear). 136-137 T r a n s l a t i n g vv. 84-85 (I fear lest conquered A j a x , defended so badly, exact punishments). Shadwell's note reads: " L u b i n [one of the commentators regularly cited by Schrevellius] applies Victus ne poenas exigat Ajax, to the Emperor: viz, that his Cause being ill defended by the Senate, he would run mad, and kill Man and Beast like A j a x ; but he says many apply it to Brutidius [v. 83]." Cf. Barkstead: 0 how I feare lest Caesar should pretend T h a t wc the people do him ill defend. Beaumont rhymes "pretence" and "defence." 138-139 Schrcvellius explains that v. 86 refers to Sejanus . . . insepullus (unburied Sejanus). Holyday's note reads: "trample o n the carcass of Sejanus, while he yet lies on the banke of the T i b e r . " Cf. Beaumont: L e t us run headlong, trampling Cesar's foe, W h i l e on the banke he lies, our fury show. For " s p u r n " as a translation of calcemus (v. 86: tread under foot), cf. Shadwell: "that we may spurn at Caesars Enemy." 141 for Gain betray. Dryden's interpolation, probably for the sake of rhyme. 144-155 Cf. Higden's expansion and modernization of vv. 90-94: W o u l d you on these Conditions, Sir, Be Favourite and Prime-Minister, A s was Sejanus? Stand possest O f Honours, Power and Interest; Dispose supream C o m m a n d s at will, Promote, disgrace, preserve, or kill: Be guardian to a careless K i n g W h o in all pleasures takes his swing: Cloyst'red in Bawdy Grots and Cellers, W i t h Pimps, Buffoones, and Fortune-Tellers. H a v e Foot and Horse-Guards, the C o m m a n d O f Armys both by Sea and Land. 152 secret Lusts. Cf. Schrevellius: arcanae libidinis (of secret lust). 154 narrow Isle. As Prateus notes, the reading of v. 93 varies between Augusta . . . rupe (Augustan rock or, as in Holyday, "Court-rock") and angusta . . . rupe (narrow rock). Capri, as Prateus says, was in any event small. 158-159 Holyday and Higden rhyme "still" and "kill." Cf. Beaumont: T h i s thou defend'st, for those that have no will, T o make men die, would have the power to kill. Shadwell: 1 grant that those may wish the power to kill, W h o are too merciful to have the will. 162-165 Cf. H i g d e n : W o u l d not you rather ask in Prayer,

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T o be some Petty Country Mayor: There domineer, and when your Pleasur's, Condemn light weights, 8c break false measures. 162 a small Renoiun. Cf. Schrevcllius: in minori clignitale (in a smaller office or rank). 163 Paltry Town. The commentaries explain as the Loeb does: "Fidenae, Gabii, Ulubrae, small and deserted towns in Latium." 164-165 Cf. Persius, I, «69 and n. Holyday also rhymes "speak" and "break." 170-171 Vaughan also rhymes "height" and "weight," but there are no other similarities. Higden's rhymes are "weight," "precipitate," and "Fate." 175 Cf. Higden: "who first bow'd Romes Stiff neck." 176 immoderate Lust of Pow'r. Cf. Prateus's gloss on v. 110: immodica regnandi libido (immoderate lust of having royal power). 178-179 Cf. Holyday: few Kings descend Unslain; few Tyrants with a Dry death End. Higden rhymes "end" and "descend" but there is no other similarity. Wetenhall rhymes "end" and "tend." 178 Usurpers. Holyday notes that the reference is to those "who attain to Kingdomes by fraud" (Schrevellius: per fraudem). Stapylton translates with "none that usurp a Crown." 180-181 Cf. Prateus: Qui vix prima scientiarum ac eloquentiae rudimenta puer delibavit (a boy who scarcely has tasted the first rudiments of knowledge and eloquence). Cf. Holyday: "whose young three-farthings wit can yet scarce prate." 180 paid his Entrance doivn. Perhaps suggested by the uno . . . asse (v. 116: "a modest penny fee" [Loeb]) with which the boy worships Minerva, but cf. Holyday: "It may be next observ'd, that on the first day of Quinquatria [the festival of Minerva, 19-23 March] was Minerva's Birthday; and that on That day Schoolmasters receiv'd their Minerval or Pay." 182-183 Kinsley notes that Dryden heightens the comedy by transferring the diminutiveness in vernula and angustae capsae to the boy himself. 184-185 Wetenhall's rhymes are "please" and "Demosthenes"; Shadwell's, "possess" and "Demosthenes." 187 Dryden's imagery is developed from exudans . . . fons (v. 119: "overflowing torrent" [Loeb]). 188 According to Schrevellius, the head and hand of Cicero were cut off and fastened to the rostrum before which Cicero had spoken against Anthony. 190-191 T h e translators imitated the jingle of Fortunatam natam . . . Romam (v. 122) in variously witty ways. Cf. Shadwell (quoted in part by Kinsley): Oh Rome innate most fortunate in me When I thy Consul did consult for thee. 192-193 Vaughan rhymes "sword" and "word." 200-201 Barkstead's rhymes are "fate" and "unfortunate"; Beaumont's, "hate" and "Fate." 200 shook the Theaters, and sivay'd the State. Holyday, in agreement

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with the commentaries, explains that the theater was "the place among the Greeks where usually the People met and heard their Oratours concerning the weighty affairs of the Commonwealth." 203 T h e commentaries, following the Scholiast, state that Demosthenes was the son of a blacksmith. 204-205 " T o o l s " and "Schools" are the rhyme words for Barkstead, Beaumont, Holyday, Wetenhall, Higden, and Shaclwell. 204 Minerva's Schools. Minerva is borrowed from v. 1 1 6 above. 206-207 Dryden's interpolation here is without parallel in the commentaries or other translations. Vaughan, however, in translating v. 96, introduces " A n equall itch of honour." 208 Feretrian Jove. Feretrius was "a surname of Jupiter, the subduer of enemies, and to whom the spolia opima were consequently offered" (Lewis and Short). 2 1 0 - 2 1 1 Barkstead's rhymes are "torne" and "forlorne." 2 1 6 - 2 1 7 Barkstead rhymes "enilame" and " f a m e . " 222-223 Cf. Beaumont: for what man regards Bare vertue, if we take away rewards. 223 Wed. Translating amplectitur (v. 141: embraces). Wetenhall and Higden also employ the image of a wedding. Cf. Wetenhall, e.g.: None will receive her naked to his bed, But ev'ry body wou'd her dowry wed. 227 Translating tituli cupido (v. 143: desire of inscription 01" title); the gloss of the Scholiast and of Prateus reads: Inscribendi sepulchris (to be inscribed on the tombs). 228-231 Cf. Persius I, 57-58. 233 In times Abyss. As Prateus explains, ipsa sepulcra peritura sunt, sen vetustate . . . seu vi (the tombs themselves are to perish, either from great age or by force). 234-235 T h e commentaries and the translations of Barkstead and Holyday also make explicit the fact that Hannibal's ashes, not the living man, are to be weighed. Barkstead, e.g., reads: Weigh Hanniball and see how many pound Within this Captaines ashes may be found. 236-237 Cf. Stapylton: whose mind Not Africa to the Atlantick Main, Nor where warm Nilus bounds it, could contain. 237 Atlantick main. Translating Mauro . . . Oceano (vv. 148-149); Prateus's gloss reads Mart Atlantico. 239 Sun-beat. Translating tepenti (v. 149: warm). Schrevellius explains that the warmth is caused by the heat of the equatorial sun. 240-241 Kinsley quotes from Prateus, who says that AEthiopia (v. 150) is pars Africae amplissima cis ¿- ultra AEqualorem (a very large part of Africa above and below the equator) and that Juvenal's other reference in v. 150 is to other Africae Proxnncias, in quibus reperiuntur elcphanti (provinces of Africa in which elephants arc to be found). 246-247 Perhaps suggested by praeceps (headlong) in v. 160 below, or

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by the account in the commentaries of how the passage through the Alps was made. Many trees were burned to heat the rocks on which acid was then thrown, the result, in Prateus's words, being a torrida incendio (a torrid conflagration). 248-249 Cf. Beaumont: He Italy attaines, yet strives to runne On further: Nothing yet saith he, is done. Line 249 has close parallels in the translations of Holyday, Stapylton, Higden, and Shadwell; Higden, e.g., reads: "He crys, Comrades, there's nothing done" (rhyming with "won"). Cf. Stapylton: "There is, saith this proud souldier, nothing done" (rhyming with "on"). 248 three Victorious Battels. Dryden's interpolation. Prateus says that having overcome the Alps, Hannibal descended into Italy and conquered the Romans first near the river Ticinus, again near the river Trebia, and then brought Cannae to defeat. 251 Roman Tow'rs. Translating Suburrd (v. 156), a district of Rome. Cf. Higden: Unless our Conqu'ring Punick Powers Brake down Romes Gates, level her Towers. 253-254 Translating O qualis fades, & quali digna tabella (v. 157: oh what a sight, how worthy of a painting), but the translation perhaps misses the point. Prateus notes that painters were wont, and at times even glad, to paint very deformed faces and laughable sights. 255 Elephant. Translating Gaetula . . . bellua (v. 158: Gaetulian beast); Prateus has Elephas. 256 O Charming Glory. The Gloria in v. 159 is obviously ironic. 258 Dryden probably refers, as the commentaries do, to the battle at Zama, 202 B.C., the Roman general being Scipio Africanus. Juvenal and, consequently, Dryden employ considerable poetic license in this account. 271-272 Cf. Holyday: Go Mad-man; Pass the dire Alpes; to please foolsl T o be a Declamation for the Schools! Stapylton: Go climb the horrid Alpes vain-glorious fool, T o please the boyes, and be their theme at school. Shadwell: Run o're the rugged Alps, thou hot-braind Fooll T o be declaim'd on, and please Boys at School. 273-274 Cf. Beaumont: One world contents not Alexander's mind. He thinkes himselfe in narrow bounds confin'd. 273 T h e Pellan youth (Pellaeo juveni, v. 168) is Alexander, born at Pella. 274 Coop't up. Cf. Stapylton: "Vext at one world, coop't up i'th narrow earth." 277-278 The commentaries also note the implicit paradox; cf. Higden: At Babylon for all his huffing, Finds ample room in narrow Coffin.

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277 As the commentaries point out, the walls of Babylon were built of brick. 281-282 Prateus says that Athos, the Macedonian mountain that projected out into the Aegean Sea, was cut off from the mainland and thus was circumnavigated by the army of Xerxes. See also Dryden's note and commentary. For the rhymes, cf. Holyday: Men once beleiv'd, Athos was sail'd about, And all that lying Greece dares story-out. 283-284 Cf. Shadwell: That all the Hellespont from shore to shore Was pav'd with Ships and Charriot-Wheles run o're. 286 Armies Dinner. T h e commentaries explain that Medo / Prandente (vv. 177-178: the breakfasting Persian) means the entire army as well as Xerxes himself. 287-288 long Legend . . . the Dowsy Poet sings. According to the commentaries, Sostratus (v. 178) celebrated the expedition of Xerxes in verse; Schrevellius says that the poet was intoxicated as he did so. 289 this haughty Brave. Translating Ille (v. 179: that one); Prateus's gloss reads: Superbus ille Xerxes (that proud Xerxes). 291-293 Cf. Holyday: Such in th' /Eolian Dungeon they ne're found; Earth-shaking Neptune too his Shackels bound. 291 Neptune. Ennosigacus (v. 182: earthsliaker) was a surname for Neptune. 297 Skiff. Translating nave (v. 185: ship). Prateus and Schrevellius have scaphd (skiff). 301 Cf. Vaughan: "Give store of dayes, good Jove, give length of yeares." 303 Translating recto vultu . . . pallidus (v. 189: with right face . . . pale). Schrevellius suggests that health and sickness (sanus if aegrotus) are meant and says that the prayer for long life is made omni vitae tempore (at every time of life). 309-312 Cf. Wetenhall: "Where in the cheek-pits the Grandam Ape does lose her paws." 309-310 Higden rhymes "claw" and "jaw." 313 Cf. Shadwell: "In youth there many great distinctions are." 315-317 Stapylton rhymes "young" and "strong." 319 Dryden transposes the order of Juvenal's verses, perhaps because he considers "Eternal Drivel" (1. 320) to be more climactic than "Gums unarm'd" (v. 200: inermi, unarmed, i.e., toothless). Kinsley defines "Mumble" as "chew toothlessly" and notes that Shadwell uses the same word. Cf. Shadwell: " H e mumbles bread between his toothless Gumms." 322 loath. Cf. Stapylton's "loathsome" and Higden's "loath'd." 324 Flatt'rers. Translating captatori . . . Cosso (v. 202: Cossus the fortune hunter). Cf. Wetenhall: "flatt'rers." 326-327 Holyday rhymes "Meat" and "heat"; Higden, "Meat" and "eat." 326 taste. Translating palato (v. 203: palate). Cf. Schrevellius: gustandi (from gusto, taste).

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327-333 Prateus, with customary modesty, provides no interpretatio and no notes for vv. 204-209. For Dryden's images of battle, cf. H i g d e n : Obsequious h a n d cannot excite T h e bailed Craven to the fight. 332-333 Holyday rhymes "suspect" and "affect"; Stapylton, "effect" and "expect." 336 Seleucas (v. 211) ivas, according to the commentaries, a famous lutanist. 340-341 H i g d e n rhymes " n e a r " and "ear"; B e a u m o n t and Stapylton rhyme " e a r " and "hear." 342 bawl. Cf. Holyday: " L o u d they bawl." 344-345 Cf. Shadwell: In his Cold Corps, what little Blood Remains, W i t h o u t a Feaver, ne're is warm in's Veins. 349 Salt Hippia. For H i p p i a , see Juvenal, VI, v. 82, and Dryden's translation, 1. 116. Salt. " O f bitches: In heat" ( O E D ) . 350-351 T h e m i s o n (v. 221) is obviously the n a m e of a doctor. Prateus suggests that Juvenal refers to autumno because diseases are more prevalent during that season. 352-353 Cf. Barkstead: H o w many y o u n g men Basilus hath spoild, H o w many pupils Hirrus hath beguild. Basilus (v. 222) is said by the Scholiast to be a disreputable lawyer, but Holyday, in agreement with one of the opinions recorded in the commentaries, speculates as to "how many wealthy Provincials Basilus an unjust governour has u n d o n e in his province, by turning them out of their estates to enrich himself." Schrevellius identifies Hirrus (v. 222) as a tutor (guardian). Holyday's note reads: ". . . or how many innocent Wards . . . a known Guardian has cosen'd." 354 that Bitch. For Maura (v. 224), cf. Juvenal, V I , v. 307. 355 ride. Dryden's translation of inclinet (v. 224) is clearly vulgar. See Lewis and Short, citing this verse: " I n mal. part., to lie down, stretch o u t . " 356-357 Cf. Juvenal, I, v. 25, Dryden's translation, 1. 33, and Dryden's note. 358-359 Cf. Barkstead: O n e of his shoulders, this of his loines complaines Anothers hips are weake and full of paines. 358 Back. Translates humero (v. 227: shoulder). Prateus has scapula (shoulder blades or back). Cf. V a u g h a n : "the back." 360-363 Cf. Shadwell: this has lost both his Eyes. A n d envies h i m to w h o m one Eye is left, T o this M a n of the use of hands bereft, T h r o u g h his pale Lips, his Meat must others give. 362-363 Beaumont rhymes "hands" and "stands." 371-372 Cf. Barkstead: T h e y which did sup with h i m b u t yesternight, Before next m o r n i n g are forgotten quite.

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Higden: Forget their Ancient Servants quite, And friends with whom they supp'd last night. Beaumont: He cannot his owne servants names recite, Nor know his friend with whom he supt last night. 373 Begot and Bred. Cf. Stapylton: "those H e got and bred"; Shadwell: "Those . . . he begot and Bred"; and Vaughan: "begot, and bred." 375-378 As the commentaries note, Phiale (see v. 238) is obviously a prostitute: Schrevellius explains that she practiced her trade for many years, and he also suggests that she is a fellatrix (Lewis and Short, s.v. fellalor: " a sucker, in mal. part."), perhaps occasioning Dryden's "secret Services." For the rhymes, cf. Barkstead: And Phiale, that Witch, that common Whore, Guiles him, and turnes his children out of doore. Shadwell: Who was so stale a prostituted Whore, T h a t many Years she stood in the Stews Door. 379 Well, yet. Translating ut (v. 240: "and though" [Loeb]). Schrevellius explains that Juvenal here counters an implied unspoken objection that many are vigorous in body and mind even in extreme old age. 381-382 Stapylton rhymes " u r n " and "burn." 388-389 Holyday, in agreement with the commentaries, states that "Nestor King of Pylos . . . lived, as some say, almost 300. years, and consequently for age was the nearest to the long-liv'd crow, which some report to live goo. years." Schrevellius cites Pliny, V I I , 48, for the age of the crow. 392-393 Shadwell rhymes " W i n e " and "repine." Beaumont's rhyme words are "signe" and "wine." 394 Clue. " A ball of yarn or thread" (OED). 395 Merciless in length etc. Translating nimio . . . stamine (v. 252: too much thread). Prateus refers to Lacliesis and Schrevellius to Atropos at this point; cf. Dryden's note. 396-397 Translating cum videt acris / Antilochi barbam ardenlem (vv. 252-253: when he saw the burning beard of spirited Antilochus). Prateus: Cxim videt cremari corpus Antilochi filii sui jam barbati (when he saw the body of Antilochus, his own bearded son, burn). Schrevellius adds rogo (on the funeral pyre). 398-399 Cf. Beaumont: Why should I last thus long, what hainous crime Hath made me worthy of such spatious time? Shadwell: T o all his Friends long life he did bemoan, And ask'd them all for what vile horrid crime He had deserv'd to live till that unhappy time? 400-401 Cf. Stapylton: So Peleus raves for his Achilles slain, He for Ulysses wandring on the main.

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As the Scholiast points out, alius (v. 257) is Laertes, m o u r n f u l because of the shipwrecked Ulysses. 402-403 Stapylton rhymes "made" and "shade." 402 Cf. Prateus: sank felix ac beatus excessisset (fortunate a n d blessed indeed, h a d he perished). 403 T r a n s l a t i n g venisset ad umbras / Assaraci (vv. 258-259: h a d come to the shades of Assaracus), Assaracus being Priam's great-uncle a n d the son of Tros, whence the n a m e Troy. 406-407 Dryden generalizes Cassandra and Polyxena (v. 262) into "Trojan Dames" and "Loyal Daughters." 409 As the commentaries note, in connection with v. 264, Paris built the ships for his expedition to seize Helen, thus precipitating the T r o j a n War. 410 he liv'd to see. Cf. Vauglian: "he . . . lived to see." 412 feeble. T r a n s l a t i n g tremulus (v. 267: trembling); Vaughan also has "feeble." 4 1 4 - 4 1 5 Stapylton's rhyme words are "despis'd" and "sacrific'd." 4 1 6 - 4 1 7 "Plough" also was a rhyme word for Beaumont, Holyday, Higden, a n d Shadwell, b u t the other rhyme word in n o case is the same as Dryden's. For "Falls like an Oxe," cf. Stapylton: "Fell like an oxe." 418-419 Cf. Barkstead: A n d H e c u b a his wife, which did survive, T i l l she was turned into a dogge, did live. Prateus notes that Hecuba was fabled to have been turned into a dog. See Dryden's n o t e a n d Ovid, Metamorphoses, X I I I , 565-575. 420-423 Cf. Vaughan: I haste to Rome, and Pontus King let passe, W i t h Lydian Croesus, whom in vaine (Alasl) Just Solons grave advice bad to attend, T h a t h a p p i n e s came not before the end. W i t h Dryden's 11. 422-423, cf. Beaumont: A n d Croesus whom just Solon bids t'attend. A n d not to judge m e n happy till the end. Holyday: By Sweet-tongu'd Solon, who said, still attend I n long Life not the Glory, b u t the End. 424-425 Cf. Beaumont: he lies I n close Minturnae's fennes to hide his head, A n d neere to conquer'd Carthage begs his bread. Stapylton: T h e n lodg'd him in a dungeon, whence he fled, A n d near to Conquer'd Carthage begg'd his bread. Shadwell: T h a t Banish'd Marius to Minturnae, fled. H i d in those Fenns, torn thence, to Prison led, At length in conquer'd Carthage beg'd his Bread. 424 As Dryden indicates, Juvenal's reference is to Gaius Marius (157-86

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649

B.C.), but Dryden, following Juvenal, is not altogether faithful to history. Marius, e.g., twice fled Rome and twice victoriously returned. 426 a Life too long. Translating hinc (v. 278: thence). T h e cause, implicit in Juvenal, also is made explicit by Schrevellius: Ex longa vita (from long life). 427 Young. An interpolation for the sake of additional irony. Marius was, in fact, fifty-seven at the time of this triumph. 429 Cimbrian. As the commentaries explain, Teutonico . . . curru (v. 282: Teutonic chariot) refers to Marius's victory, in 101 B.C., over the Cimbrians. Shadwell's rhyme words are "surround" and "Crown'd." 433 his Triumphant Soul. Schrevellius: Animam . . . triumphantem. Cf. Holyday: "his triumphant Soul." 434-435 Translating Provida Pompeio dederat Campania febres / Optandas (vv. 283-284: foreseeing, or provident, Campania gave to Pompey fevers to be hoped for). Cf. Prateus: Quasi praevidens imminentes ei miserias if calamitates, quibus per febrim eximeretur (as if foreseeing the misfortunes and adversities imminent to him, from which he would have been delivered by fever). 437 an unkind Reprieve. Cf. Prateus: Vota maligni exaudita (prayers spitefully heard). Higden rhymes "Repriev'd" and "griev'd." 488-439 c i Higden: Fate then that honour'd head did save, Which she t' insulting Caesar gave. 440 Lentulus and Cethegus (v. 287), the former omitted by Dryden, were coconspirators with Catiline. 442 Sergius. Translating Catilina (v. 288: Catiline), the name of whose gens was Sergius. 443 utidiminish'd. Cf. Prateus, glossing hoc cruciatu (v. 286: this torture): capitis diminutione (diminution of the head). According to Dio Cassius, X X V I I , 40, however, Catiline's corpse was beheaded. 444-445 Cf. Higden: 'Tis the fond Mothers constant prayer Her Children may be passing Fair. 450-451 Dryden's interpolation here is without parallel in the commentaries or in other translations. 452-453 Stapylton's rhyme words are "show" and "bestow." For Lucretia, see Livy, I, 57. 454 Rutila. According to the commentaries, the name is borrowed from Pliny, VII, 48. 461 Rigid. Translating Sanctos (v. 298: pure, holy); cf. Prateus: aspera if severa (harsh and austere). 462 For the connotations of Sabine, cf. Juvenal VI, 236. 464-465 Cf. Shadwell: Suppose kind Nature of her bounteous Grace Chast inclinations in the mind does place, And modest blood oft rises in the face. 466-467 Beaumont's rhyme words are "care" and "are." 473 Cf. Juvenal VI, 107 and n.

650

Commentary

476 Schrevellius and Shadwell also introduce Sporus at this point. Cf. Juvenal I, 95, and Dryden's note. 479 Springal. "A young m a n " (OED). 485-486 Higden rhymes "beset" and "net." Barksteacl's and Shachvell's rhyme words are "yet" and "net." Cf. Holyday's "scape the Net." 490 Makes Colon suffer etc. Higden's note refers to "the Roman Revenge, that used to force a Mullet up the Fundament of the Offender, with the Head foremost, which having Bristles on the Back, and Finns like a Pearch, was no way to be pulled out." Cf. Holyday: "clyster'd with a Mullet." 491 your smooth, Smock-fac'il Boy. Introduced to indicate the sexual connotations associated with Endymion. 493 T h e commentaries explain that Seivilia (v. 319) represents ail old woman, deformed but rich. 496-497 Translating exuet omnem / Corporis ornatum (vv. 320-321: she deprives herself of every adornment of the body). Cf. Prateus: Uniones ir gemmas sibi delrahet ut donet moecho (she takes away her pearls and jewels to give them to the adulterer). 498 A bowdlerization. 499~5°° Translating Deterior totos habet illic foemina mores (v. 323: "It is on her passion that a bad woman's whole nature centres" [Loeb]). Cf. Prateus: Erga dilectum moechum bona est if liberalis, quae in caeleros omnes avara & nequam (toward the chosen adulterer she is good and generous who in all other things is avaricious and vile). 503-507 Dryden expands upon his text and tells the tales in his verse as well as in his notes. Barkstead expands in a similar way. 5 1 2 - 5 1 3 Higden rhymes "advise" and "nice." 514 Comet-Eyes. For the ominous nature of comets, cf. Juvenal VI, 533534517 Notaries. Translating signatoribus (v. 336: witnesses). Prateus and Schrevellius have Notariis. Cf. Stayplton: " T h e Publick Notaries." 541-542 Cf. Higden: By love and blind desires still led, Wee're hurryed to the Marriage bed. 543-545 Cf. Stapylton: But to th' Omniscient Deity, alone, What wives, what children we shall have, is known. Sclnevellius also makes explicit the possibility that the wife and the offspring (conjugium . . . partumque, v. 352) may be undesirable. Cf. Higden: "Bratts unnatural, and dam'd wife." 548-549 T h e rhyme words for Stapylton and Shadwell are "mind" and "inclin'd." 552 sustain. Translating ferre (v. 359: bear); cf. Prateus: sustinere. 556-557 Cf. Barkstead: T h e toils and travels of great Hercules, H e doth preferre before dull stupid ease. Shadwell: And e're his love, feasts, luxury and ease, Will the hard labours chuse, and griefs of Hercules.

Notes

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651

557 Ignoble ease. T r a n s l a t i n g the implication of plumis Sardanapali (v. 362: the down or "downy cushions" [Loeb] of Sardanapalus). Cf. Prateus: segnem if ignavam in olio . . . vilam agere (to live a sluggish a n d slothful life in ease). 560-561 See Shadwell's note: " I here follow the Lovre Print, a n d another Edition, in little, which I have seen. Nullum numen habes, si sit Prudentia nos le Nos facimtts fortuna deam caeloq; locamus. which seems to express the Author's meaning better than the common reading: Nullum numen abest si sit Prudentia sed le Nos facimus fortuna deam caeloq; locamus N o Deity is wanting to the Wise; W e Fools make Fortune so, a n d place her in the Skies. I have follow'd the former, because I think he does not mean that the Gods are always on the Wise-mens side, . . . but that they had n o need of the assistance of F o r t u n e for a quiet life, and F o r t u n e is n o Deity to the wise, b u t to Fools." Shadwell's text thus reads: Fortune thou art n o Goddess to the Wise, Fools make thee so, and seat thee in the Skies. EXPLANATORY NOTES 1 T h e commentaries, Holyday, Stapylton, Higden, a n d Shadwell supply similar notes. Higden's note, e.g., refers to "Milo . . . who unfortunately presuming on his Gygantick strength, in an A t t e m p t to rive an Oak, h a d his Arm wedged in the T r u n k ; whence not having power to disengage himself, he was held in the T r a p p in the solitary Woods, where he became a Prey to Wild Beasts." Prateus refers to Aulus Gellius, XV, 16, for the tale. 2 T h e commentaries supply comparable information, b u t there are n o verbal similarities. 3 Prateus has a similar note but in connection with v. 72. 4 T h e commentaries also make these identifications. 5 "ihere are parallels to this note in Prateus, who refers to Plutarch's lives of Cicero a n d Demosthenes. 6 T h e commentaries also attribute v. 122 to Cicero but say n o t h i n g concerning his vanity. 7 Cf. Prateus, who says that Cicero entitled his orations against Anthony n o t "Anthonians" as he ought b u t "Philippics," as if they were like those bitter a n d sharp orations that Demosthenes spoke against Philip. 10 See Herodotus, VII, 22. Holyday also summarizes the tale. 11 T h i s note is without parallel in the commentaries. 12 Prateus refers to disagreements over Nestor's age but states that it was probably three h u n d r e d years. See Iliad, I, 247. 13 Holyday explains and illustrates this system of counting in an extremely long note. T h e commentaries and Shadwell explain briefly. 15 Schrevellius supplies a similar note, referring to AeneiA, II, a n d quoting vv. 509-511. 16 Cf. Shadwell: "Hecuba W i f e to Priam, who for her perpetual re-

Commentary

652

proaching the Greeks, and lamenting the fate of her Husband, Children, and the Trojans, was feign'd to be turn'd into a Bitch." Higden and the commentaries supply similar information. 17 T h e commentaries also mention Mithridates' forty-year war and his final defeat at the hands of Pompey. 18 Cf. Prateus, who says that Solon admonished Croesus, when he believed himself fortunate because of great wealth, that no man should be judged happy before death, a truth he learned well indeed after he was captured by Cyrus. 19 Prateus scatters this information over several notes. Prateus quotes from Cicero, Tusculan Disputations, I, 86, apparently Juvenal's source; Cicero, like Dryden, specifies Naples, a part of Campania, as the place of Pompey's illness. 22 Prateus, referring to Livy, III, 44, has a similar note. Shadwell also mentions the fact that the incident "was the occasion of the abolishing the Government of the Decemviri." 23-24 T h e r e are comparable notes in Prateus. 25 Prateus also notes the fact that the marriage took place while Caesar delayed at Hostia for the sake of sacrifice. See Tacitus, XI, 26.

Juvenal,

Satire

XVI

ARGUMENT

P. 245: 11. 13-14 Cf. Holyday, who says that "the occasion of this Satyre is thought to have been our Poet's employment into AEgypt." Sclirevellius adds that Juvenal held a praefecturam there. 245: 15-16 Concerning Dryden's reference to "a standing Army," Noyes notes: "Dryden loses no opportunity of expressing his dislike of a standing army, the establishment of which was an important part of King William's policy." See Palamon and Arcile, III, 672, in Fables, for a similar reference. POEM

I vast Prerogatives. Cf. Schrevellius's reference to commoda . . . infinita (infinite advantages). 3 Cf. Holyday: "if into a Prosp'rous Camp I light" (rhyming with "recite"). Stapylton's rhyme words are "write" and "fight." 8-9 Cf. Schrevellius, commenting on Venus: Quae Marti carissima, if cui libenter gratificatur (who is most dear to Mars, and for whom he freely does favors). II Citizen. Translating togatus (v. 8), which, strictly speaking, means "civilian," the toga being distinguished from the paludamentum, the garment of war. See Persius V, 20 and n. Cf. Stapylton: "gown-man." 13 Cf. Prateus's statement that if the man complained he would invite a new injury. 18-19 Cf. Holyday: Camillus's course we take; by th' old Camp-Laws Beyond the Trench no Souldier pleads his Cause.

Notes

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Stapylton: Observes Camillus his old Martiall Laws, And lets 110 Souldier to defend his cause. 18 Booted Judge. Translating Judex . . . Calceus (vv. 13-14). Bardiacus (v. 13) or Bardaicus (only the latter is listed by Lewis and Short) was variously explained; Dryden omits. 19 Not by the Statute. Cf. Schrevellius, who explains that a civilian is not given the power to call a soldier before a city judge. ai Trench. Translating vallum (v. 16: literally, "palisade"); Holyday: "Trench." 27 Regiment. Cf. Holyday and Stapylton: "Regiment." 30-31 Dryden's translation is too paraphrastic to indicate which readings of v. 21 he followed. 38-39 Verse 25, Qtiis tain procul absit ab urbe (who would be so far away from the city), can be taken literally, though ironically (the camp being very close to the city), but Prateus understands the verse metaphorically, paraphrasing with quis tarn imperitus rerum urbananim, tamquc moris ac insolentiae militum ignarus (who so unskilled in city affairs and so ignorant of the customary insolence of soldiers). Cf. Stapylton: "who so ill breeding hath." 40 Besides. Dryden, like Prateus and Schrevellius, construes praeterca with v. 26; the Loeb construes it with v. 25. 40-41 Stapylton's rhyme words are "lend" and "friend." Pylades (v. 26) was the constant companion of Orestes and thus, as Prateus and Schrevellius note, the model of a friend. 42-43 Cf. Holyday: Tears no more abuse, Nor trouble Friends; who will themselves excuse. 49 Spade Beards. "A beard cut or trimmed to the shape of a (pointed or broad) spade-blade" (OED, citing this line). 50 Our honest Ancestors. Cf. Stapylton: "our great Ancestors." 51 Clown. Translating paganum (v. 33: rustic); cf. Holyday: "Clown." 58 Inheritance. Cf. Prateus, who refers to haereditario jure (the law of inheritance). 59-60 Cf. Holyday: Some field or vally of my ancient ground, Or does dig-up my sacred stone, my Bound. 64 Hands. Translating chirographa (v. 41: autographs). The meaning is "signatures." 65-67 Verses 42-43, expectandus erit, qui lites inchoet, annus totius populi, are difficult; the probable meaning is "the year [i.e., that time of year] that begins the litigations of the whole people must be awaited." Prateus's interpretatio begins, opperiri cogar (I am forced to wait); cf. Dryden's "I must . . . attend." Prateus's note is Expectandus cuique suus ordo, Anglick, his turn, or lot: Nam if tunc ob litium multitklinem, causae per sortem audiebantur (everyone must wait his ordo, 111 English "his turn" or "lot," for because of the large number of suits, then also cases were heard by lot). See also Dryden's explanatory note 6, especially the clause, "Causes . . . were call'd by Lot."

Commentary

654

69-70 Holyday's rhymes are " l e a d " and "spread." Holyday asserts that "the Judges . . . were all to meet . . . for the dispatch of Causes." 7« Both Prateus and Schrevellius state that Fuscus was infamously drunken. 73 Rubs. Obstacles, impediments. 77-78 Dryden's interpolation, unparalleled in the commentaries. 79-81 Cf. Holyday: Besides, N o n e but your Souldier makes a W i l l His Father Living. For, what H e gets still By War . . . 88-89 Dryden interpolates these lines to make explicit the obvious motive; Prateus and Schrevellius make the motive explicit in their notes. 92 prudent part. A s Prateus and Schrevellius explain, the rewarded soldier is an encouragement to others to be as brave. 94-95 A vulgarization for which there is no parallel in the commentaries. E X P L A N A T O R Y NOTES 1 Schrevellius and Holyday, in similar notes, make explicit the irony that Dryden puts into 11. 6-9, namely, that Mars, though he is the god of war, is less effective than luck. 2 T h e latter half of this note is paralleled by the notes of Prateus, Schrevellius, and Holyday. Schrevellius states that Camillus made the rule about quarreling during the siege of the Visigoths. 3 Cf. Stapylton: " A foolish Orator of M u t i n a (now Meodena) in Italy, who would undertake to patronize any cause, without examination of persons or right." Dryden's reference to "Modenese" reveals that h e followed Prateus's reading of v. 23, Mutinensis (from Mutina, i.e., Modena), rather than the more common reading mulino (mulish). 4 Holyday refers to "so many rude Souldiers that wear nails in their boots." 5 Prateus and Schrevellius have similar notes. 6 Hundred, Judges. T h a t is, the Centumviri; the actual number of judges varied between 105 and 180.

Persius,

Satire

I

TITLE PAGE Epigraph. See Martial, IV, x x i x , 7-8 (Persius is o f t e n more memorable in one book than trivial Marsus is in the whole of his Amazonida). ARGUMENT OF PROLOGUE P. 255: 11. 1 - 6 Cf. Holyday, who says that Persius's presentation of himself as, in Dryden's words, a "Beggarly Poet" is "Satyrical Irony," for "Persius was a Knight of R o m e of sufficient wealth." Persius is adopting the conventional satiric persona of an unpretentious plain speaker; cf.

Notes

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55

Juvenal I, 1-25. T h e commentaries repeatedly state that N e r o was a particularly important subject of Persius's satire; see, notably, this satire, 11. 17-18, 240, and notes, and the A r g u m e n t of Satire IV. Cf. the Discourse of Satire, 51: 19-20. 255:6-7 After this etc. Dryden, like Casaubon, notes that the prologue is in two parts.

PROLOGUE 2 Dryden omits the humor of Persius's diction in v. 1. As the commentaries note, prolui (proluo, wash) is more exaggerated than bibo (drink), and fonte . . . Caballino (the horsey fount) is a grotesque way of referring to Pegasus and Hippocrene; cf. Juvenal's Gorgoneus caballus (Gorgonian nag) in III, v. 118. 3 - 4 T r a n s l a t i n g ut repente sic poeta prodirem (v. 3: so that suddenly I might publish as a poet). Cf. Schrevellius's reference, in connection with v. 10, to Musarum Poeticus furor (the poetic inspiration—literally, the madness—of the Muses) and Prateus's statement that Persius derides the vanity of those poets w h o boast that they are inspired by A p o l l o and the Muses. 8 To nobler Poets etc. Cf. Schrevellius, a m p l i f y i n g litis remitto (v. 5: I resign to those): Poetis priscis, Hesiodo, Ennio, et caeteris . . . ob egregia f u a carmina . . . coronatas (to the ancient poets, Hesiod, Ennius, and others, crowned because of their excellent poems). 9 - 1 i Holyday's rhymes are " C r o w n " and "half a C l o w n . " 10 Clown. Translates, as in Holyday, semipaganus (v. 6: half-rustic). 11 Shrine. Translates sacra vatum (v. 7: the sacred places of the poets); Holyday also has "shrine." rugged Numbers. Cf. Schrevellius's reference to versus . . . rusticos (rustic verses) and Casaubon's statement that a poet is so called ob numeros (because of numbers, i.e., meter). T h e line's Alexandrine length probably is not comic since Dryden employs Alexandrines with some frequency throughout these translations, but see 11. 182-185 (and n), where Dryden does manipulate metrics for comic and satiric effect. 12 taught. Translates expedivit (v. 8: disclosed, explained); Holyday also has "taught." Docuit (v. 9: taught), however, appears in the next verse. Human Notes. Translates x«'P« (v. 8: a form of greeting; hail); cf. Schrevellius's reference to humanas voces (human sounds). As Casaubon notes, a distinction must be observed between h u m a n sounds and human speech, try. Translates conari (v. 9: to know); Casaubon, referring to Quintilian, glosses with tentavit (tried, attempted). 14 Cf. Casaubon, glossing Venter (v. 11: stomach): fames b egestas (hunger and want). 15 According to Schrevellius, either hunger forced m e n to teach the birds so as to sell them for profit, or because of hunger the birds themselves were forced to learn. Dryden favors the first explanation. 16 gilded Bait. Schrevellius states that refulserit (v. 12: gleamed) refers ad metalli if numorum splendorem (to the sheen of metal and money).

656

Commentary

xg squeak. Casaubon refers to the especially harsh sound of crows and adds that they croak velut strangulati (as if choked or strangled). Cf. Satire V, vv. 11-12, and Dryden's translation, 11. 15-16. ARGUMENT OF POEM

T h e commentaries establish points similar to Dryden's, but he docs not appear to be dependent on them for any verbal details. POEM

In Dialogue betwixt etc. As Prateus notes, some editions prefix the various verses with "P" (Persius) or "M" (Monitor), but there is disagreement as to which verses are to be assigned to which speaker. Dryden normally follows Casaubon's attribution of speeches, but at times (11. 52-53, e.g.) he employs indirect discourse to indicate a change of speaker. 1 vain. Translating inane (v. j: empty, void); cf. Holyday: "empty Vanity"; cf. also the commentaries: vanitas. Dryden, like Casaubon, evidently distinguishes between two kinds of Curas (v. 1) or "Cares": the concerns or actions or responsibilities of men and the material things—gold, e.g.— with which they vainly concern themselves. 2 Thy Spleen contain. Borrowed from v. 12. 3 thy Satyrs. Translating haec (v. 2: these); cf. Holyday: "these . . . Satyres." Schrevellius has tuam Satyram (thy satire). 4 two or three. Translating duo, vel nemo (v. 3: two or none); cf. Casaubon: duo aut tres. 5 'Tis hard. Holyday: "Tis hard." 7-15 Verses 4-5, Ne mihi Polydamas, 6" Troiades Labeonem / Praetulerint (lest Polydamas and the Trojan women prefer Labeo to me), are obscure. T h e commentaries identify Polydamas as the character who advises Hector and the Trojans to avoid battle with Achilles (Iliad, XVIII, 249-283). Although Homer states that this counsel was wise (XVIII, 313), the commentaries state that Polydamas was effeminate and thus was to be associated with Trojan women instead of Trojan warriors. T h e Scholiast identifies Labeo as an inept translator of Homer (cf. Dryden's explanatory note). T h e commentaries thus suggest that literary judgment is the primary issue but that Persius incidentally satirizes the effeminacy of Koine and, specifically, of Nero. As Prateus points out, clevare (elevct, v. 0) can mean either augere (to increase) or minuere (to decrease); cf. Dryden's antithesis (1. 8).

9-14 Cf. Holyday: scorn to descend T o their Vain censure: neither strive to mend T h e tongue of thy false ballance in their scale Which is as wrong: but if thou'dst never faile Know this . . . 17-18 But where's that Roman etc. T h e commentaries complete the question in various ways: What Roman does not seek himself outside himself, or does not praise or even write bad poetry, or does not have the ears of an ass (cf. Dryden's 1. 240)? In all instances Nero is assumed to be

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the principal target, and Casaubon suggests that fear of reprisal by Nero temporarily restrains Persius's indignation. 19-22 when I look . . . To elder Cares etc. T h e commentaries explain vv. 9-10—Persius's justification for the writing of satire—in two ways. Either Persius reflects upon his own maturity and strict mode of life (taking caniciem [literally, gray hail] as a metaphor for wisdom and nostrum istud vivere triste [that severe life of ours] favorably); or he notices the folly even of elderly men who should be but are not mature (thus taking caniciem literally and vivere triste unfavorably). Dryden clearly follows the second interpretation. 21 first Pastimes of our Infant Age. Translates Nucibus . . . relictis (v. 10: literally, the nuts having been left behind) which means "to give up childish sports." 23 stern as Tutors, and as Uncles hard. For the equation of uncles with stern tutors, cf. Horace, Satires, II, iii, 88, ne sis patruus mihi ("don't play the uncle with me" [Loeb]) and Persius's imitation, III, v. 96, ne sis mihi tutor ("Don't try that tutor act on me" [Merwin]). It is clear from Dryden's "defraud the Ward" (1. 24) that "tutor" here retains its etymological sense of "guardian" or "one who has custody of a ward" (OED). 27 Once more forbear. Translates Nolo (v. 1 1 : I am unwilling). According to Prateus the word is spoken by the Monitor and it means ab his abstineas jubeo (I order you to hold back from these things). 29-30 to begin at Home etc. Persius begins with poets, as Casaubon says, because he is a poet himself. Cf. Schrevellius, who glosses inclusi (v. 13: shut in, confined) as remoti d strepitu populari (distant from public noise). Cf. also Holyclay: Being immur'd from each mans sight In some obscure retired place, we write. 32-34 The commentaries are similarly hyperbolic; Schrevellius, e.g., glossing Grande aliquid (v. 14: something lofty), refers to aliquid tumidum, turgidum, inflatum (something swollen, turgid, puffed up). 36 Gown, or White, or Scour'd to whiteness. The commentaries explain that albus (v. 16: white) refers either to the speaker's new and specially whitened robe or to the speaker's own nervous pallor. Dryden clearly follows the first interpretation. 37 Jewel bobbing at their Ear. T h e commentaries uniformly suppose that the sardonyx of v. 16 is a synecdoche for ring (Prateus, e.g.: ornatus annulo, adorned with a ring). Dryden may be feminizing the situation in anticipation of the homosexual imagery shortly to appear. 38 gargle well their Throats. Lewis and Short, citing v. 17, define plasma as an affected modulation of the voice. Schrevellius takes a similar view, but Casaubon suggests that the word means some sort of liquid necessary for gargling (necessariam in gargarismis). Cf. Holyday: "With moist'ning syrrope having clear'd his throat." 39-40 They mount . . . to be seen etc. Cf. Schrevellius, glossing Sede leges celsa (v. 17: you read from a lofty seat): ut ita omnium ora oculosque in se convertat (so that thus he may direct the looks and eyes of all to himself)* Prateus refers to a pulpitum (scaffold). 42 nauseous Nobles. The Titienses (see v, 20), as one of the original

G58

Commentary

centuries of equites, were, as the commentaries note, representative of R o m a n nobility. 44-48 Dryden's imagery correctly indicates that Persius describes the recitation in terms of homosexual intercourse. T h e commentaries make explicit the import of the imagery, but Dryden does not appear to depend on them for any verbal details. 44 lusty line. Cf. H o l y d a y : "a leud line." 45 Chine. " T h e spine, backbone, or vertebral column; more loosely, 'the part of the back in which the spine is f o u n d ' " ( O E D ) . 46-47 Cf. Holyday: to rejoyce Obscenely, with a broken, skreaking voice. 48 Base Prostitute. T r a n s l a t i n g vetule (v. 22: old one); Prateus at this point refers to mollitiem (effeminacy) and says that vetule indicates contempt. 51 T h e line translates the ohe of Auriculis, quibus & dicas . . . ohe (v. 23: ears into which you say "ohe"). Prateus offers three explanations including one in which " o h e " is a request for praise. 53 Noble Vigour. T r a n s l a t i n g fermentum (v. 24: yeast). Persius continues the f o o d imagery begun in v. 22, b u t Dryden anticipates the growth imagery next to appear. 54-55 Verses 24-25 and this translation of them are probably ambiguous and in o n e of their senses vulgar. Cf. Martial's reference (IV, lii, 2) to a caprificus (wild fig tree) with puns on caper (he-goat) and ficus (literally fig but also piles or hemorrhoids). A c c o r d i n g to Schrevellius, the caprificus is sterile and never produces mature fruits (nunquam maturos fructus proclucit); cf. the ironic " F i n e Fruits" of 1. 56. Schrevellius also states that the caprificus bursts forth from the liver (rupto jecore, v. 25) because the liver is the seat either of the senses and affections or of knowledge. Dryden translates in terms of the information mentioned in his note and in the commentaries, i.e., that the caprificus, taking root in cracks, grows and breaks the rocks. Cf. Juvenal, X , vv. 143-146, and Dryden's translation, 11. 228-231. 60-61 Cf. Holyday: O but 'tis brave to hear men cry, See, see? A n d pointing with their fingers, say, That's he. " B r a v e " translates pulchnim (v. 28) in both translations. 62-63 Poem . . . A Lecture for the Noble Youth. Dryden is closer to the commentaries than h e is to Persius. Cf. Schrevellius, w h o paraphrases cirratorum centum dictata (v. 29: the lessons of a h u n d r e d curly-headed boys) with lectiones (readings aloud), and Prateus, who glosses with nobilium juvenum (of noble youths). T h e commentaries add that N e r o caused his poems to be read in the schools. Cf. H o l y d a y : "for lectures read to great mens sons." 66-67 Holyday, translating v. 15, rhymes "rehearses" and "verses." Dryden expands inter pocula (v. 30: among the cups) for his couplet; Schrevellius's expansion is similar. 68 Purple. T h e color of the hyacinth (sec v. 32), as the commentaries note, is purple.

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659

70-71 Holyday, translating v. 17, rhymes "throat" and "note." Dryden's "111 a broken N o t e " translates balba (v. 33: stammering); cf. Casaubon's note: vocem frangere (to break the voice), croaking. Cf. Schrevellius's statement that the man speaks quasi strangulate, (as if choked). 72 mellow Audience. Translates viri (v. 36: men); cf. Schrevellius: molles auditores (favorable hearers). 74 such Praise to have. T h e idea, implicit in Persius, is made explicit by Prateus, who refers to tantas assentationes (so m u c h adulation). 75 Cf. Martial, V , xxxiv, or Jonson, Epigram XXII. 76 Roses. Schrevellius, commenting 011 violae (v. 40), also refers to rosae (roses or, more probably, wreaths of roses). 80-81 Cf. Holyday: For doth there breath a man that can reject A gen'ral praise? and his own lines neglect? 86 T h e parenthesis translates quando haec vara avis est (v. 46: Merwin: "it would be a rare bird, or course"); cf. Holyday: " F o r 'tis by chance." 87-88 Cf. Holyday: My heart is not so hard So horny, as to fear the due reward. Holyday's " d u e " parallels Dryden's "deserv'd"; both are interpolations. Prateus explains that fibra (v. 47: viscera) is a synecdoche for heart and amplifies cornea (v. 47: horny) with durum (hard); Schrevellius adds stupidus. 90 ultimate. Prateus paraphrases extremum (v. 48: utmost) with ultimam. 91 T h e line, in one sense, is totally unlike Persius's nam belle hoc excute totum (v. 49: shake out, i.e., examine, this whole " b e a u t i f u l " ; Loeb: "just sift out all those ' B e a u t i f u l s ' " ) . Dryden renders the implication that such approbation is not worth having. 92 Vanity within it lies. Schrevellius also suggests that this praise is vain. 98 Couches of citron wood (vv. 52-53: lectis . . . citreis) were so expensive, according to the commentaries, that only nobles possessed them. Schrevellius says that citron was worth its weight in gold. Cf. Dryden's interpolation, "and Golden Canopies," and see his explanatory note. 100 with a fine dessert. T r a n s l a t i n g sumen (v. 53: sow's udder), a great delicacy according to Prateus. 101 cast. "Cast-off" ( O E D ) . Cf. Holyday, translating donare (v. 54: to give): "thou dost cast." 102 Brib'd. T h e idea, implicit in Persius, is made explicit in the commentaries. Similarly, the commentaries offer parallels for the explicitness of 1. 105. 107 Cf. Prateus: operam perdis in cudendis versibus, quos nunquam bonos fades (you lose the labor in your beaten-out verses, verses you never shall make good). Kinsley cites Chaucer, The Canterbury Tales, V I I , 93093 1 109 Pissest. Suggested by aqualiculus (v. 57: literally, a small vessel for water), a sordida metaphora according to Schrevellius. 1 1 0 - 1 1 1 Cf. Holyday: Y o u O Patrician blood whose heads are blind I' th' hinder part, prevent a scorn behind.

66o

Commentary

Dryden interpolates "a Face behind" in order to explain his reference to Janus, who, as Dryden says in his note, "was Pictur'd with two Faces, one before, and one behind." 112-115 T h e commentaries, following the Scholiast, state that there were three principal gestures for mockery, each of which Persius mentions: to make a pecking motion with the index finger extended as if it were the bill of a stork, to imitate the motion of the ears of an ass with one's thumbs, and to stick out the tongue. T h e generic term for all three is sanna (a mocking or distorted face, as in v. 6a below and in Juvenal, VI> v. 305). Dryden thus begins with "splay-Mouths" (wide- or wry-mouthed), generalizes the imitations of stork and ass in "Fingers," and then translates more closely for the gesture of the tongue. 115 Apulian Bitch. Dryden perhaps should have explained, as the commentaries do, that Persius specifies an Apulian dog because the unusual heat of that region causes great thirst and thus makes tongues long and panting. 120-123 Cf. Holyday: What do men say? That now your verses flow, I11 a soft number'd pace both sweet and slow, Whose well-smooth'd parts are so exactly joyn'd T h a t the severest nail can never find T h e least unev'ness. Dryden's "polish'd" (1. 123), implicit in the metaphor from sculpting, is made explicit by Schrevellius: perpolitum (thoroughly polished). 125 Translating Non sectis, ac si oculo rubricam dirigat uno (v. 66: not otherwise than as if he drew the red chalk with one eye). T h e chalk was used, as the commentaries note, for marking. Cf. Holyday: "as he that his true level takes." 126-127 T h e commentaries disagree as to the meaning of v. 67, in mores, in luxum, in prandia regum (customs or morals, excess or luxury, late breakfasts or lunchcs of kings). Prateus favors the view that three genres are implied: comedy (morals), satire (luxury), and tragedy (the luncheon being that of Thyestes). Casaubon groups morals and luxury together as the subject for satire. Dryden follows Casaubon at least in part, translating mores with "Vice," luxum with "Riots" ("wanton, loose, or wasteful living; debauchery, dissipation, extravagance" [OED]), and taking both as the subject of "Satyr." Dryden's "the Rage of Kings" is suggestive of the Thyestean banquet, but the syntax—perhaps inconsistent with the implications of the antithesis (1. 127)—indicates that this rage also is a subject of satire. Holyday's rhyme words are "Kings" and "things." 130-133 T h e commentaries also disagree as to the meaning of vv. 6970, ecce viodo heroas sensus affere videmus / Nugari solitos Graech (behold, even now we see people publishing heroics who used to trifle in Greek). Casaubon, explaining that Roman youths began their studies with Greek, suggests that Nugari solitos Graeci refers to young boys who have scarcely learned their first letters (puerculos vix adhuc primas literas doctos). Dryden, of course, refers to grammar school and to "some Raw Pinfeather'd thing" ("having immature feathers, half-fledged" [OED]). Holy-

Notes

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267-269

day also says that the training of these new authors began but "th* other day." 1 3 4 - 1 3 5 As Prateus notes, the description of woods and of other easy subjects was a standard school exercise. Dryden's "trivial" thus may mean "pertaining to the trivium" as well as "insignificant." 1 3 9 - 1 4 0 Cf. Holyday: where (Quintius) thou wast born, And where thy Plow-share was in furrows worn. Terens (v. 7 3 ) can mean either "polishing" or "wearing" (i.e., dulling); Dryden suggests the first meaning with "shining," the second with "worn." 1 4 1 As Dryden points out in explanatory note 7 , Persius actually refers to the calling of Cincinnatus from the field, not to his triumphant return. 1 4 a Rustically Joy'd. T h e commentaries explain trepida (v. 7 4 : trembling) as the result of joy or of fear or of both. Cf. Holyday: "trembling with joy and fear." 1 4 3 Sweat. A detail mentioned also by Schrevellius: sudans . . . arabat (sweating, he plowed). 1 4 6 Verse 7 6 is obscure. Casaubon prints Brisaei but, arguing that Drisei is correct, states that Briseis is the title of a tragedy no longer extant; if so, the crucial part of the verse can be translated, "the veinous book of the Briseis of Accius." Prateus and Schrevellius, however, explain that "Brisaeus" is an epithet of Bacchus; if so, the meaning is "the veinous book of Brisaean or Bacchanalian Accius." Schrevellius further suggests that Brisaean can be paraphrased with furens (raging, raving) and that vehosus (though said by Lewis and Short, citing this verse, to be a metaphor for "dry") means turgens (bombastic). Cf. Dryden's "Fustian." 1 4 7 - 1 4 9 As Schrevellius points out, Accius and Pacuvius, vv. 7 6 - 7 7 , represent the very oldest poets, the object of Persius's attack being those who affect obsolete and old-fashioned words. T h e commentaries suggest that aerumnis cor luctificabile fulta (v. 7 8 : roughly, a heart inflicted with sorrow and propped up by woes) is a parody of Pacuvius's extremely difficult metaphors. Cf., especially, Dryden's "Rummage for Sense." 1 5 0 - 1 5 1 Cf. Holyday: When thou shall see the blear-eyed father teach His son these things . . . Both Dryden and Holyday evidently miss an irony in Persius's infundere (v. 7 9 ) perceived by Schrevellius, according to whom the father does not "teach" but "pours in," as if with maternal milk. 1 5 2 - 1 5 7 As Prateus explains, sartago loquendi (v. 80: literally, frying pan of speaking, but well translated by Merwin as "a goulash of language") is caused by vocibus novis simul obsoletis (by new words as well as obsolete ones). Schrevellius explains the metaphor by noting that various things are combined in a frying pan, but he records farrago (mixed fodder and, hence, a medley) as an alternative reading; cf. Dryden's "motley Stile." That Dryden should refer to this poetry as "wanton" and "Female" perhaps follows from a mistake on the part of Prateus. Trossulus (v. 82), taken literally, is a name given Roman knights, from Trossulum, a

66a

Commentary

town conquered by the cavalry, but here, as in Seneca, Epistles, 87, 9, the epithet probably is synonymous with fop. Prateus gives the proper explanation but adds as an alternative that the word may mean torosulus, a diminutive of torosus (fleshy, hence lusty), so that effeminate (or wanton) men are meant. T h e commentaries offer no explanation for Dryden's substitution of " O l d Dotards" for beardless knights or fops. 162-165 Cf. Holyday: but love the luke-warm cry Of all thy hearers crying, Decently? Pedius says one, unto thy charge I lay T h e guilt of theft. W h a t now doth Pedius say? For Dryden's amplification in 1. 166 of DECENTER (v. 84: decently—i.e., well done), cf. Schrevellius: Euge, belle, recte, (lecenter (bravo, beautiful, quite well, well done). T h e "Accuser" in 1. 164, implicit in Persius, is explicit in Prateus, who includes the accusator in the interpretatio. 167 Points. "Periods" ( O E D ) . 168-169 A n interpolation to illustrate the preceding line. Schrevellius supplies two illustrations. 172-173 Effeminate Roman . . . wag thy Tail. Romulus (v. 87), as the commentaries note, represents any Roman. Cf. Holyday: In judging thou dost fail. Base fawning Romane, dost thou wagge thy tail? 175 Woud'st thou be mov'd to pity. Cf. Prateus's paraphrase: Mene ad misericordiam provocet (Is he to stir me to pity)? 176-177 Prateus also makes explicit the paradox inherent in the situation of a beggar singing, presumably gaily (Prateus: hilariter), about his shipwreck; and Prateus compares the situation, as does Dryden, with that of Pedius, who is praised only to be condemned to death. Holyday's rhyme words are "Misery" and "me." 180-81 Prateus paraphrases numeris . . . crudis (v. 92: uncooked numbers; Dryden: "raw Numbers") with non . . . perfectis (not finished; Dryden: "unfinish'd Verse"). Schrevellius glosses decor (v. 92: elegance, beauty) with dulcedo (sweetness). Terse. "Polite, polished, refined, cultured: esp. in reference to language" (OED). 182-185 As the commentaries note, vv. 93-95 are examples of terrible verse. Dryden accordingly employs strained feminine rhyme, internal rhyme, absence of rhyme, and a septameter line. 186-191 Verses 96-97 are unclear. T h e Loeb, taking them as Persius's indignant reaction to the bad verse just quoted, translates, " O shade of Virgil! W h a t is this but frothy inflated stuff, like an old bough smothered under its bloated bark!" Prateus notes this interpretation but rejects it in favor of the view that v. 96 is spoken by the Monitor, v. 97 by Persius. As Schrevellius explains, the Monitor quotes the Aeneid and asks whether it too is not spumosum et cortice pingui (literally, frothy and with thick or greasy bark). Persius replies affirmatively but transforms the thick bark into a favorable term: Virgil's poetry is thick ut ramale vetus praegrandi [Loeb: vegrandi] sub ere coctum (as old brushwood cooked—i.e., dried out — l i k e a great cork, i.e., with very thick bark [cf. Lewis and Short, s.v. •siibe»]). Virgil's lines, then, are cooked, not uncooked or raw (cf. 1. 180,

Noies

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"raw Numbers"); instead of being frothy or greasy, they are dried out; instead of being thick and inflated, they are grand or heavy or massive (Prateus: durum, solidum). Cf. Holyday: M. Amies, and the man I sing, perchance you'l dare T o term this frothy, fat-bark'd. P. O no; spare Your too-quick ccnsure, and dissolve your brow. This Poem as an aged well-grown bough Scason'd with time, is with the warm Suns heat Well boil'd in its own bark; grown strong and great. 192-193 Cf. Holyday: What then do you tenn soft, and to be read With a loose-bending neck, and bow'd-down head? T h e question implied, as the commentaries explain, is this: What poetry do you believe to be so worthy in itself that it makes its proper impression even when read softly, with bent neck, with little breath? T h e assignment of speeches here is important since the Monitor presumably asks this question seriously, but Persius replies ironically, as the commentaries note, with heavily bombastic verse. 194-195 As the commentaries point out, Torva (v. gg: staring, piercing, fierce) is an inept adjective for cornua (horns); according to Lewis and Short, the adjective normally refers to the eyes or to facial expression. T h e commentaries say that lore« is used for torta (winding, twisting); cf. Dryden's "crooked," a translation that omits Persius's irony. Similarly, the commentaries explain that implerunt (v. 99: filled) should be inftarunt (blew, inflated); cf. Dryden's "inspir'd." 194 Mimallonian. Noyes cites Ovid's Art of Love, 1. 608. 196 The scornful Calf. Cf. Holyday: "The scornful Calf." According to the commentaries, the calf is Pentheus, who, having treated the Bacchic rites with contempt, was transformed into a calf and dismembered by a Bassarid or Bacchic priest. Dryden's decision not to include an explanatory note at this point is inconsistent with his normal practice of footnoting specific references. 198-200 Cf. Holyday: And Moenas as the spotted Lynx she lead With Ivy-bridles, oft did Evion sound: T h e reparable Eccho did rebound. Evion is the Bacchic cry, Evius or Euliius being a surname for Bacchus. 212 Translating sonat heic . . . canina / Littera (vv. 1 0 9 - 1 1 0 : the doggy letter sounds here). Persius apparently indicates that the "dog letter" (an "R" or "growl") will be made to the poet, not by him. 2 1 3 - 2 1 4 In v. 109, Limina frigescant (the doorways grow cold) is taken by Schrevellius to be a reference to the daily dole. Cf. Juvenal I, 146-154. 2 1 5 - 2 1 6 Cf. Holyday: Nay, Sir, rather then so, all's white and free: All, all is admirable well for me. Dryden's "uncensur'd" translates alba (v. n o : white). Cf. Schrevellius: sive bona, sive mala, omnia laudabo (whether good or evil I shall praise all). 218 Common-shores. See Juvenal III, 57, and 11. 5 6 - 5 8 ^ 224-226 Schrevellius, expanding Secuit (v. 1 1 4 : cut up or cut through),

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Commentary

supplies similar verbs: arripuit, culpavit, laceravit, momordit (ridiculed, condemned, mangled, bit). 231 secret Vice. Prateus glosses praecordia (v. 117: diaphragm) with occulliora . . . facinora (the more hidden crimes). 234 made the desperate Passes, when he smil'd. Pass: " T h e act of passing the sword or rapier"; hence "a witty thrust or stroke" ( O E D ) . 237-238 Dryden has weakened Persius's point. A s the commentaries point out, Persius tells his secret to his book; since 110 one will read it (cf. v. 2), he has no need of any other secret place. 240 King Midas has . . . Asses Ears. T h e commentaries report that the original reading of v. 121 was Auriculis asini Mida rex habet ( K i n g Midas has the ears of an ass). Cornutus, they add, recommended a change to Auriculas asini quis non habet (who does not have the ears of an ass) lest the attack on N e r o be too obvious. O n l y Casaubon, however, prints the so-called original reading, and Dryden, as Kinsley notes, follows Casaubon. 241-242 Cf. Holyday: T h o u shalt not buy T h i s my obscure concealed mystery. 244 Casaubon and Prateus also suggest that the reference to the Iliad (see v. 123) is to Labeo's translation. Prateus reports that Nero was fond of L a b e o and of his version; in "flatt'ring," Dryden may be suggesting the reason for Nero's fondness. 245 Persius, according to Casaubon and Prateus, here looks back to the initial question of who will read his book. Since the answer may be "110 one," Dryden supplies, "if there be a thou." 247-250 Cf. Holyday: T h o u whoso'ere thou art, that art inspir'd W i t h bold Cratinus; or with zeal art fir'd L i k e angry Eupolis; and art grown pale W i t h that old man, whose stile with a full sail Bears strong against foul vice. 252 homely. T r a n s l a t i n g decoctius (v. 125: boiled down, hence riper or more carefully elaborated); " h o m e l y " is "sometimes approbative, as connoting the absence of artificial embellishment" (OED). 253-256 Dryden expands v. 126, inde vaporata lector mihi feiveat aure (v. 126: with ear thence—i.e., from the writers just named—steamed or warmed may my reader glow or be inflamed). For Dryden's "read those Lines again," cf. Schrevellius: jrequens & studiosus . . . legat (may he read often and studiously). 257-260 T h o s e w h o make sport of Grecian sandals (v. 127) are, as the commentaries and Dryden's own note point out, those who scorn the students and the study of philosophy. C f . Juvenal III, 248-257. 261 Nature's failings. Both Prateus and Schrevellius refer to naturalia vitia (natural defects) in connection with Persius's one-eyed man. 263 thus insolent in State. T r a n s l a t i n g supinus (v. 129: with head thrown back; hence, haughty [Lewis and Short, citing this verse]). 266 O n e of the duties of the aedile (see v. 130) was to enforce true measures from sellers. Cf. Juvenal X , 163-165:

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T o be the May'r of some poor Paltry T o w n , Bigly to Look, and Barb'rously to speak; T o p o u n d false Weights, and scanty Measures break? 269 As Casaubon and Pratcus point out, metas (v. 1 3 1 : cones, pyramids) here represent all geometric figures. Cf. Holyday who also has "Geometry." 273 Pleadings. T r a n s l a t i n g edictum (v. 134). Lewis a n d Short say the word means "play-bill," b u t the commentaries say it refers to the forum. 275 Drabs. Whores. T h e Loeb takes Calliroen (v. 134) to be the n a m e of "some mawkish sentimental poem." Holyday, in agreement with the commentaries (e.g., Casaubon, quoted at this point by Kinsley), takes it to be "the n a m e of some famous harlot." By synecdoche, according to Casaubon, all pursuits of all voluptuaries are meant. EXPLANATORY NOTES ON

PROLOGUE

1 Prateus also notes the association between Parnassus a n d the Muses. 2 Prateus has a similar note. 3 For phrasing, cf. Casaubon's reference to statuas doclorum . . . hedera coronandi (statues of learned men to be crowned with ivy). 4 T h e commentaries also refer to aede Apollinis Palatini (the temple of the Palatine Apollo) and explain, as do Lewis a n d Short (s.v. aedes), that poems were recited there in public. EXPLANATORY NOTES ON

POEM

1 T a k e n , as Dryden indicates, f r o m Casaubon, who in turn followed the Scholiast. Similar information is given by Prateus a n d Schrevellius, b u t they change the form of the n a m e to Actius I.abeo. 3 A commonplace recorded, e.g., by Schrevellius and by Lewis a n d Short. 4 T h i s information is given also by the commentaries. 5 See 1. g8n. 6 Much of tin's information does not a p p e a r in the commentaries. See, however, 11. 1 1 0 - 1 1 in. T h e identification of J a n u s with N o a h was commonplace; see, e.g., Alciati, Emblemata cum commentariis (Padua, 1661), p. 109. 7 T h e first part of this note is in disagreement with the commentaries, which state that descriptive exercises were regularly set for schoolboys (see 11. i34-i35n). Casaubon f u r t h e r suggests that Persius satirizes some poem, now lost, which joined together the country, Romulus, and Cincinnati«. 8 Casaubon refers to various kinds of "Rhetorical n o u r i s h e s , " as d o Prateus and Schrevellius. 9 T h e commentaries, following the Scholiast, also state that the verses are by Nero. T h e references to Nero in the eleventh a n d fifteenth notes also are supported by the commentaries. 12 Conflated f r o m notes in the commentaries on Berecynthian Attin (v. 93) a n d Maenas, ir Attin (v. 105).

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13 T h e commentaries make this point but do not mention that the snakes should be "twin'd." 15 T h e commentaries refer to the myth but do not summarize it. 16-18 These notes are paralleled in the commentaries, but there are no verbal similarities.

Persius,

Satire II

ARGUMENT Paraphrased and in part translated from Casaubon, who cites Juvenal's tenth satire and Plato's second Alcibiades, outlines the tripartite structure, and supplies Dryden with his first and last sentences. Haec satira gravissimum continet argumentum, de precibus ac votis (this satire contains a most grave argument concerning prayers and vows); and Persius verb non soliim falsam opinionem hominum castigat: set etiam . . . doctrinam de votis Deo gratis veram if vel Christiano praeceptore dignissimam, est complexus (Persius, in fact, not only corrects the false opinion of men but even has explained a doctrine concerning prayers pleasing to Got! which is true and completely worthy of a Christian teacher). POEM 1 auspicious Morning. Cf. Schrevellius's reference to dies . . . auspicatus. 5-6 T h e hyperbole is paralleled in the commentaries; Schrevellius, e.g., states that Funde (v. 3: pour) is emphatic. "Genius" is to be understood, of course, in the Roman sense. 7-8 Cf. Holyday: Nor crav'st thou, what thou sham'st to name for fear. Except Jove's drawn aside that none may hear. 13-14 Cf. Schrevellius: A Diis enim petunt quae homines nescire volunl (for they seek from the gods things they wish men not to know). 15 Just. Schrevellius, commenting on fides (v. 8: honesty, good faith), calls it justitiae fundamentum (the foundation of justice). 17—18 When wilt thou etc. For the future tense, see in the commentaries the explanation of Ebullit (v. 10) as a contraction of ebullient; the L o e b prints a present subjunctive, ebulliat. ao bounteous Deity. Translating dextro Hercule (vv. 11—12: Hercules being propitious); Casaubon explains that Hercules was regarded as BOHI$SVVTOS (aid-giving). 23 T h e vividness is paralleled in the commentaries; Casaubon, e.g., states that Impello (v. 13: strike) is emphatic. 26 one small Dose. Prateus also introduces the idea of poison, suggesting that, since the tvard already is so ill, that method of murder will go unnoticed. 27-30 Translates Nerio jam tertia dxicitur uxor (v. 14: already a third wife is wedded by Nerius). Some texts read conditur (is buried), but the

Notes

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import is the same. Cf. Prateus: Sensns est: ecce, inquit avanis, mea uxor etiamnum vivit, cum Nerius ¿ tribus uxoribus mortuis tres dotes nactus dives evaserit (The sense is this: behold, says the miser, my wife lives even till now, when Nerius has got away with three rich dowries obtained from three dead wives). Prateus and Schrevellius both suggest that Nerius has murdered his wives. 36 With what ill thoughts etc. Translates De Jove quid sentis (v. 18: what do you think of Jove)? Cf. Prateus: Jovem . . . perjorem existimas if conuptiorem homine quolibet improbissitno (you suppose Jove to be worse and more corrupt than any man, however iniquitous). 38 The Loeb takes Staius (see v. 19) to be "representative of an average respectable citizen," but the commentaries identify him as an evil man; Prateus, e.g., says the name is used pro homine corruptissimo (for a man most bad). 43 O Good Jupiter! will ay. Cf. Holyday: "O good Jove! and shall not Jove then cry" (rhyming with "eye"). 45-46 Cf. Schrevellius: Si ergo ilia vota etiam sceleratis ingrata sunt, quo magis Jovi (If, therefore, those prayers are unpleasing even to wicked men, how much more so to Jove)? Dryden's phrase, "with patience," perhaps is owing to Prateus's and Schrevellius's suggestion that a punishing thunderbolt may be imminent. 47-48 Dryden's interpolation, perhaps suggested by Schrevellius, who amplifies Ignovisse putas (v. 24: Do you think [Jove] makes allowances?) by referring to an implicit, though unspoken, objection to the argument, namely that God is not provoked by prayers of this kind, for if he were he would strike with lightning. Despite the fact that Casaubon places a question mark at the end of v. 25, lie states that this section is narrative, not interrogative; Dryden, like Prateus and Schrevellius, however, treats it as a question. 49-50 Cf. Holyday: and sooner strikes a Tree, With horrid Sulphure, then Thy house and Thee. 53-54 Holyday's rhymes are "sacrifice" and "purifies." 55-56 Cf. Holyday: with what reward dost keep The bribed ears of the corrupted Gods That they should only give indulgent nods. 56 pow'rful Present. Dryden' s translation does not capture the satiric irony; Persius's character offers a lung and greasy entrails. 57-58 Holyday's rhymes are "beard" and "fear'd." 60 Obscene. Probably supplied from the grandmother's use of the digitus infamus (see v. 33); Prateus suggests that expiating women used the middle finger quia quaelibet obscoena contra fascinum valere credebant (because they thought something obscene woidd prevail against the charm). 63-64 Cf. Beaumont: In lustral spittle her long linger dips, And expiates his forehead and his lips. 63 Spaivl. "Spittle" (OED).

668

Commentary

67 dandles. Translates quatit (v. 35: shakes, moves); Beaumont also has "dandles." 68 rich Miser's Heir. Prateus points out that Licinus and Crassus are here used for any rich men. Schrevellius suggests that Persius employs hendiadys and that one rich man, Licinus Crassus, is meant. 70 T h e r e is no source for Dryden's line either in Persius or in the commentaries. Kinsley cites J. G. Frazier's Golden Bough (1922), I, i, 182-201, for the superstition that the navel string is bound u p with prosperity. Cf. Juvenal VI, 489. 74-75 Dryden's expansion of Persius is paralleled in the commentaries, but there is no warrant for the assignment of this prayer to the nurse rather than to the adversarius (see v. 41: Poscis, you beg). 79-80 Cf. Holyday: thy wish Is Granted by the Gods; yet thy large disli . . . 84 bribe the God of Gain. T h e commentaries identify Mercury as the g o d of gain. See also Holyday: "Mercury the G o d of G a i n . " For Dryden's "bribe," cf. Prateus, glossing vincere (v. 48: to conquer); Deos muneribus expugnare (to win over the gods with bribes). 92 vainly thus dreams on. Both Prateus and Schrevellius use the phrase spe vana (with vain hope). 96-97 heart . . . left side. Both Casaubon and Schrevellius suggest that the left breast is the sinister or evil breast, but Prateus, like Dryden, associates it with the location of the heart. Casaubon and Schrevellius gloss gultas (v. 54: drops) with "tears" but Prateus, like Dryden, says "sweat" (sudoris stillas). Cf. Beaumont: T h e left side of thy brest will dropping, sweate, A n d full of joy thy trembling heart will beate. 98 Cf. Schrevellius: vitiis tuis illos [rfeos] aestimans (appraising the gods by your own vices). 102-103 Cf. Holyday: For those brass-brother-gods that send a dream Most true, and purg'd from thick, corrupted fleam. 104-105 Cf. Beaumont: T h e highest place in men's affections hold, A n d for their care receive a beard of gold. 111 groveling. T r a n s l a t i n g curuae (v. 61: crooked, stooping); cf. Holyday: "Base stooping Souls, that grovel on the Earth." 1 1 2 - 1 1 3 Cf. Prateus: Et credere Diis ea probari if bona videri, quae nobis ir nostrae libidini jucunda sunt (and believe that those things that are pleasing to us and our desire also seem good to the gods and are esteemed by them). 1 1 4 - 1 1 5 Of Oyl and Casia etc. T h e commentaries and Holyday explain that cassia and oil were mixed to make what Casaubon, e.g., calls unguentum . . . pretiosissimum (most costly ointment). 1 1 6 - 1 1 7 c f - Holyday: T h i s doth make us stain T h e soft Calabrian Fleecc in Purple grain.

Notes

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669

119-120 T h e commentaries explain the process of mining gold in terms similar to Dryden's, but they supply no warrant for Dryden's reference to "Rivers." 124-125 Prateus also introduces the theme of bribery at this point. 129 T h e commentaries explain that Messala (see v. 72) signifies any very rich man, 130 In v. 73, jus refers to human law; fas, to divine. J 32—133 Holyday's rhymes are "mind" and "confin'd." 133 Pure. Cf. Schrevellius: pura. EXPLANATORY

NOTES

1 Cf. Prateus: quo [a white stone] res laetae notabantur; sicut atro res moeslae ir infelices . . . cretd an carbone notandi (joyful things were noted by a white stone, just as unlucky or sorrowful things were with a black; . . . things were to be noted either with Cretan chalk or with coal). 2 There are parallels in the commentaries; Schrevellius, e.g., refers to Hercules as opertorum thesaurorum praeside vel itXoutoMti; (guardian of hidden treasures or giver of riches). 3 Cf. Prateus: Antiqui node ipsa sicul ir noct urn is insomniis pollui se credebant . . . ttnde post ilia se expiabant frequenti ablutione; quod etiamnum retinenl ir observant Turcae (the ancients believed they were polluted by night itself as well as by nocturnal dreams; . . . hence they afterward made expiation with frequent ablution, a practice the Turks retain and observe even now). 4 Cf. Holyday: "This Signifies . . . the Expiatory Sacrifice, for one that was struck with Lightning; which was two sheep." Ergenna (v. 26) was regularly identified as a soothsayer. 5 Cf. Prateus: jam superstitiosas mulierum pieces reprehendit, quas solebant illae pro infantibus concipere die lustrico ir nominali, nempe octavo ab orlu, pro puellis, nono pro pueris (he now reproves the superstitious prayers that women used to compose for their children on the lustration or naming day, on the eighth day from birth for girls, of course, and on the ninth for boys). 6 Cf. Casaubon: In somnis curationes indicate varios deos aul heroas, credidit vetuslas: etsi praecipud Apollinis, atque AEsculapii illae partes credebantur esse a Graecis ir Romanis: posted verb gliscente superstitione AEgyptiaca, Isis ir Osiris ac Sarapis eandem vim habere existimati sunt (In antiquity it was believed that various gods or demigods revealed cures in dreams; these offices were believed by the Greeks and Romans to be chiefly those of Apollo and AEsculapius; afterward, with the spread of Egyptian superstition, Isis and Osiris and Sarapis were supposed to have the same power). For Dryden's reference to Browne, see lieligio Medici, I, 31 (noted by S-S): "I doe think that many mysteries ascribed to our owne inventions, have beene the courteous revelations of Spirits," For the reference to Alexander, Noyes cites To Her Grace the Dutchess of Ormond, 11. »33-134, in Fables. 7 Cf. Casaubon: aera in quibus veteris pop. Ro. opes etiam publicae

Commentary erant positae. allutlit ad aerarium quod in aede Salnrni: nam & re dictum fuit aerarium. alioquin omnia antiqua dicuntur icpivia b Saturnia (old bronzes in which the public riches of the Roman people were placed; he alludes to the treasury in the temple of Saturn, for from the name of the metal came the name of the treasury; in any event, all old things are called "kronia" and "Saturnia"). 8 The commentaries state that Numa introduced religious rites to Rome but do not contain Dryden's information concerning Memmius and Paulus Aemilius. 9 Cf. Schrevellius, glossing Calabria (see v. 65): ubi lana optima (where the best wool is). Holyday also speculates on the color of Tyrian purple. 10 There are parallels to Dryden's note in the commentaries, but they are without close verbal similarity. 1 1 There are parallels in the commentaries. Dryden probably relied on Casaubon since Casaubon also quotes the line from Laberius, whereas Prateus and Schrevellius do not. one of my Sons. See headnote to The Satires, p. 5 1 3 and 11. 3.

Persius,

Satire

III

ARGUMENT

Paraphrased and in part translated from Casaubon; cf. Duas satiras de studiis fecit Persius, primam if iertiam . . . ilia in viros reXeiots (aetalis integrae) invehebatur . . . haec juventutem alloquitur, quae studia literarum atque imprimis philosophiae negligenter tractabat, aut etiam contemtui habebat (Persius wrote two satires about studies, the first and the third. The former attacked full-grown men of mature age. T h e latter satirized youths who carelessly handled the study of letters and the beginnings of philosophy or even held such things in contempt). Casaubon and Schrevellius mention the subtitles to which Dryden refers. P. 293 1. 26 Busby. See the Argument of the fifth satire, 323:8, and n. POEM

1 Cf. Schrevellius, glossing assidue (v. 1: continually): Itane vero semper ad mediam usque diem slertes (Truly, do you always thus snore even to the middle of the day)? 2 Chink. Holyday translates rimas (v. 2: cracks) with "narrow chinks." 3 Noon-tide. As the commentaries note, the cattle seek shade at noon. Cf. Schrevellius, e.g.: Meridiem describit. Tempus quo pecudes umbras & frigora captant (He describes noon, the time when cattle desire shade and cool places). 4-5 Cf. Holyday: We snort till the Fift shadow touch the line. Enough ev'n to digest strong Falerne wine. See also F. A,: We snore, till the fifth shadow clouds the Line, Enough t' evaporate the strongest Wine.

Notes

to Pages

235 c f - Holy day: Temperately desire Silver: learn what 'tis lawful to require. 136-137 Cf. F. A.: How much on thy lov'd Country to expend, What on thy self, thy Kinsfolk and thy Friend. 138-1,13 Cf. Holyday: Learn: neither envy thou at the full store Of the greas'd Lawyer, though he have much more Provision, then his family can spend Whil'st it is sweet: which the fat Umbrians send. K A.: Thou wilt not Then envy the too great store Of Presents new sent in, more after more. 144 Gammons. Cf. Holyday: "gammons of Bacon." 147 Mother. "Dregs, scum" ( 0 £ D ) . 150 to serve my turn. Cf. Holyday: "I have wit enough / T o serve mine own turn," and F. A.: "I've Wit enough, I trow, to serve my turn." 158-160 Cf. Holyday: Out of nothing, nothing can be brought: And that which is, can ne're be turn'd to nought. 165-166 Proceed, my Friend, . . . But hear . . . A story etc. An interpolation for the sake of transition. Holyday has a similar couplet, and F. A. interpolates an eight-line transition. T h e point of the exemplum to follow is that anyone who spurns wisdom is as the sick man who spurns his physician. 173-174 Cf. F. A.: T h e Doctor try'd the utmost of his Skill On this his Patient,—charg'd him to be still. 177-181 Cf. F. A.: Nothing would serve him, but he needs must send His man, Post-haste, to such a wealthy Friend, T o send him of his mild Surrentine Wine, A full Quart Flagon, that was Brisk and Fine. 181 healing Wine. According to Prateus, Sorrento wine (see v. 93) was convalescentibus optima (best for those convalescing). 186-187 Cf. Juvenal I, 216-217. Schrevellius, glossing v. 93, says: nihil . . . aegrotis periculosius, quam balneum (nothing is more dangerous than the bath for those who are ill). 188-189 Cf. F. A.: Yet pray, look to't, that Nothing do not tend T o Something you'll repent of in the End. 190 Here, as in 1. 122 (v. 63), the symptoms are said by the commentaries to be those of dropsy. 192-194 Cf. Holyday: be 1101 a Tutor unto Me, One I have had, and bury'd: now for Thee. F. A.'s rhymes are "degree," "me," and "be."

676

Commentary

196 take your Course. Cf. F. A.: " T a k e your Course." 199-200 Cf. Holyday: His throat half stopt with gross corrupted fleam, Leasurely breathing a sulphureous steam. 199 Fleam. I.e., phlegm. 201-202 Cf. Holyday: B u t mid'st his wines a suddain trembling seaz'd U p o n each joint of him, that his diseas'd W e a k hand . . . 205 vomits. Prateus, glossing cadunt (v. 102: fall): per vomilum. Schrevellius's note reads: Describitur vomitus. 208-210 Cf. Holyday: stretcheth tow'rd the City-gate His cold dead heels; and those whose best estate . . . F. A . : E x t e n d i n g tow'rds the Gate, His R i g i d Cold-stifF H e e l s ; — a n d (growing late) . . . a n hoyst him on the Bier. Cf. F. A.: "Hoise u p his Corps." 213-214 Cf. Holyday: W h a t ? then belike y' apply this same to mc? B u t (wretched fool!) th'art out. For know, I'm free. F. A . W h a t ! then (belike) this Story's lay'd to me? B u t (silly man) y'are out: for I am free From all Distemper. Prateus invents a similar transition. 215-217 Cf. Holyday: T o u c h but my veins: feel how my heart doth beat: T h e r e ' s but a wonted moderated heat. For Dryden's "Pulse," cf. Prateus, glossing Tange . . . venas (v. 107: touch the veins): explora pulsum (examine the pulse). In the commentaries there is disagreement over whether these words arc spoken by the adversarius or by Persius; Dryden, like Prateus, gives them to the adversarius. 218-219 Cf. F. A.: N o Flushing Heats, no T r e m b l i n g of the Heart, B u t sound, both W i n d and Limb, in every part. 220 I grant this true. For Dryden's interpolated transition here, cf. Holyday: " ' T i s true," and F. A.: " A l l this may be, I grant." Prateus and Schrevellius supply similar transitions. 224-225 Cf. Holyday: smiling with a wanton glance: . . . doth then thy heart orderly daunce? F. A.'s rhymes are "chance" and "glance." 226-228 Cf. Holyday: T h e r e ' s set before thee on thy board, to eat, In a cold dish hard hearbs, somewhat rough meat.

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677

1*'. A, rhymes "eat" with "Beet." 2 3 1 - 2 3 2 Cf. Holyday: In thy soft mouth there's hid a putrid soar, Which touch'd with Common hearbs, would make thee roar. 238 boyling Caldrons. Cf. F. A.: "Thy blood . . . boyls over like a Pot." EXPLANATORY NOTES 1 Taken from Casaubon: Membrana utebantur pueri in ladis non ceris if stylo: qttae tamen expeditior scribendi ratio erat, tit observat Quintilianus in X. cap. 111. erat autem membrana in qua scribebant bicolor: alba ab interiore parte: ab altera in qua fuerant pili crocea (Boys used parchment in the schools, not wax tablets and a stylus which, as Quintilian observes, X, iii [Loeb, IV, 109], were a means of writing more easily. T h e parchment on which they wrote, however, was of two colors, white on the inside, yellow on the outside 011 which were hairs). 2 This ceremony is described in the commentaries. 3 T h e commentaries mention the nobility of the Tuscans but do not refer to Horace; Dryden perhaps has in mind Odes, III, xxix, 1 - 3 : Tyrrhena regurn progenies . . . Maecenas (I.oeb: "Maecenas, scion of Tuscan kings"). 4 T h e commentaries also describe this ceremony but without reference to Plutarch; see Plutarch's Pompey, X X I I , 4 - 5 (Loeb, Plutarch's Lives, V, 169-171). 5 For Sicilian tyrants, cf. Juvenal VI, 626, and Dryden's explanatory note 33 to that satire; for the bull of Phalaris, cf. Juvenal, VIII, vv. 81-82. 7 T h e commentaries explain that the Stoics are so named from the stoa or portico where Zeno first taught. 8 T h e name of Polygnotus is found also in Holyday and Schrevellius, but not in Casaubon or Prateus. Prateus does refer to Miltiades and Themistocles, though Casaubon and Schrevellius do not. 9 T h e commentaries supply similar accounts. 1 1 T h e commentaries make this statement only of the Umbrians. Casaubon and Schrevellius offer no information about the Marsi. Prateus, however, states that Persius mentions bacon because pigs were plentiful among the Marsi. 12 Holyday also makes this point, but the commentaries attack it. Prateus, e.g., writes: Quia portam Persius dicit argmint aliqui extra urbem efjerri mortuos, it incassum multa hie congerunt: sed intelligendus locus de janua dom&s ad quam mortuus ille collocatus. Ita Casaubonus (Because Persius says "gate" some argue that the dead were carried outside the city, and in vain they heap up many arguments here, but the place is to be understood as meaning the door of a house where the dead person is placed; so Casaubon). 13 Dryden supplies considerably more detail than the commentaries.

Commentary

G78

Persius,

Satire IV

ARGUMENT Dryden's assertion that Nero was the butt of l'ersius's satire (denied by modern scholars) derives, as he says, from Casaubon, but Prateus and Schrevellius make similar statements as to Persius's covert meaning. Dryden's identification of Socrates as Seneca, however, apparently is original. C o n c e r n i n g the reference to L u c a n (311:7-8), Noyes comments: " I n Pharsalia, i.33-38, L u c a n explains that, if civil war were needed to secure the happy reign of Nero, he makes no complaint: 'If such be the reward, even crimes and sin are pleasing.' T h e compliment has sometimes been regarded as sarcastic." POEM 1 - 4 Comparable expansions and explanations of vv. 1-2 are offered in the commentaries. 5 - 1 6 Cf. Holyday: W h a t arc thy grounds? speak Alcibiades, Pupil unto the famous Pericles. Oh, wit and grave discretion, I have heard Indeed, do many times prevent a Beardl A n d so T h o u knowest 110 doubt, though th'art but young, Both when to speak, and when to hold thy tongue. W h e n therefore the vext multitude grow hot W i t h choller, and their duty have forgot: T h o u dost but lift u p thy Majestick hand, A n d straight a general silence doth command. 7-8 T r a n s l a t i n g Quo fretus? (v. 3: relying on what?); cf. Schrevellius: qua virtute, prudentia, ir auctoritate, tantam imperii molem in ie suscipis (with what virtue, wisdom, and authority do you take upon yourself so great a burden of power)? 14 T h e commentaries also suggest that the people are in rebellion; Schrevellius, e.g., refers to seditione. 17 Athenians. Dryden apparently misses the point of the reference to Quirites (v. 8), a R o m a n term; Schrevellius argues that the use of a Roman term at this point is further evidence that Alcibiades is a surrogate for Nero. 23-24 Cf. Holyday: For thou can'st weigh truth in the double scale O f the most d o u b t f u l ballance. If it fail, Straightways thou know'st it. 24 pinch. " T o reduce to straits (in argument, etc.)" ( O E D ) . 2,5 T r a n s l a t i n g cum fallit pede regula varo (v. 12: [you detect the straight line] even when the ruler would deceive you with a crooked foot). Cf. Prateus: Scis etiam legis exceptiones; sis [si's, for id's] quid & quando valeat eirteiVtia (You know even the exceptions to the law and what and when its spirit instead of its letter should prevail).

Notes

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Pages

679

30-31 Cf. Holyday: 'till age and cares H a v e made thee Fit to manage such affairs. 34 Drink Hellebore. Anticyra (v. 16) was noted for its hellebore. 35-36 Cf. Prateus's expansion of v. 17: quern tibi fingis ultimum finem (what final goal do you conceive for yourself)? 40-41 T r a n s l a t i n g the general sense of Dinomaches ego sum (v. 20: I am the son of Dinomaches). Cf. Prateus, w h o refers to nobility of birth, and Holyday, who speaks of a "vain pedegree." 44-45 Verses 21-22 are variously explained in the commentaries. Dryden appears to agree with Holyday, w h o notes that the "Poet implies, that even a poor woman, which but cries strewing-herbs, thus perforins her daily business in so low a life, better than the Great Ones of the W o r l d in their high condition, whiles they neglect their life, or worse, abuse it." 48-49 Translates Serf praecedenti spectalur mantica tergo (v. 24: B u t the wallet on the back of one w a l k i n g before is watched). T h e commentaries explain the line as Merwin does (p. 114): " M e n are imagined to carry two wallets, one with their virtues on their chests, another with their vices on their backs. U n d e r these circumstances, it is most usual for a stranger, walking behind, to see the wallet containing the vices." 50-63 A s Dryden says (explanatory note 5), this section is translated "Paraphrastically, and loosely." His comment is especially true of lines 54-61, for which there is no equivalent either in Persius or in the commentaries. 51 Sabines. T r a n s l a t i n g Curibus (v. 26), Cures being the name of a Sabine town. 62-63 Casaubon explains diis irutis, genioque sinislro (v. 27: angry gods and unfavorable genius) in two ways: either the man was accursed at birth, or by his avarice he has alienated the gods and defrauded his own genius. Dryden apparently translates both explanations. 65-66 Fan . . . Pales . . . Ceres. Dryden introduces the rural gods, evidently accepting the theory that Casaubon mentions and rejects, that v. 28 ( j u g u m . . . figit) refers to a yoke put u p in honor of the gods of the fields. 68 Wimble. A "gimlet" or " a u g u r " or "brace" ( O E D ) . 6g Cf. Prateus: raro hauriebatur [seriola] if modicum quidem (seldom is the small jar broached and only for a trifling amount). 70 a tedious Grace. Prateus, glossing Hoc bene sit (v. 30: may this be well): Verba solemnia . . . usurpari . . . in conviviis (a prayer used at meals). 73 Verjuice. " T h e acid juice of green or unripe grapes, crab-apples, or other sour fruit" (OED). 78 Suppling. Cf. Holyday: "supple oile." 80 Cf. Schrevellius: Antiqui . . . ungebant se, if postea in sole . . . stabant, ut oleum corpus imbiberet ( T h e ancients anointed themselves and afterward stood in the sun so that the body might absorb [literally, "drink"] the ointment). 81-83 Ctf* Prateus: Aderit quidam quetn non noris, sed qui le probi

68o

Commentary

ndrit, tuamque adeo vitam occultasque libidines expromel (There shall be someone whom you may not know but who may know you well and who may go so far as to disclose your life and secret lusts). 84-98 As Schrevellius notes, this passage est descriptio hominis Cinaedi (is a description of a man of unnatural sex habits); a number of Dryden's details, however, differ both from those of Persius and from those of the commentaries. Schrevellius, e.g., interprets cinaedus ( = WvatJos) in its strictest sense, "catamite"; reversing the situation described by Dryden, he explains that depilation is done lit amatoribus tuis glaber, laevis if imberbis pusio videaris (so that you may seem to your lovers a smooth, hairless, beardless little boy). 84-86 Cf. Holyday: thy lewder a n , T h e depilation of thy modest part. 101—102 Cf. Prateus: o Nero, quae occultas if ignota putas, perspecta habemus: jam te inliis if in cute novimus (Nero, we have seen through those things you think are hidden and unknown; by this time we know you inside and out). 105 Cf. Prateus: sanum if ad omnia valentem (sound and hale in every way). 115-121 Dryden's expansion here, not paralleled in the commentaries, may have been suggested by the ending of Persius's third satire; cf. Persius, III, vv. 109-111, and Dryden's translation, 11. 223-225. 122-123 Verse 49, si Puteal multa cautus vibice fiagellas, is obscure. T h e Loeb translates as follows: "if by some crafty trick [cautus] you soundly [multa . . . vibice] flog [fiagellas] the Well-head [Puteal]." T h e Scholiast identifies Puteal as a place of business for moneylenders; the Loeb note thus suggests that the line refers to "some fishy or fraudulent operation on the Stock Exchange," and Merwin translates, "try any sharp trick to milk / T h e market." Casaubon reports this interpretation but argues that the line also is another covert attack on Nero and paraphrases as follows: id est, si tanta est tua petulantia if lascivia, ut nocturnus praemiator grasseris, cum obviis rixam contrahens, if pudori matronarum illudens, nullum denique insolentiae genus praetermittens (that is, if your wantonness and licentiousness are so great that you go rioting about as a nocturnal robber, occasioning a brawl with those you encounter, jeering at the modesty of ladies, and omitting no kind of arrogance). See also Dryden's tenth note and commentary on it. 126 Prateus paraphrases respue (v. 51: "spit back," returning to the metaphor of v. 35) with rejice (Dryden: "Reject"); Schrevellius refers to falsas . . . laudes (false praises), but Dryden, having changed Persius's metaphor from drinking to feeding in the preceding line, prefers "nauseous Praises." 127 Translating tollat sua munera ccrdo (v. 51: "let the mob take back what they have given you" [Loeb]). cobbled Rhymes. See Prateus's gloss for cerdo (a low-class workman), which is Sutor (cobbler), and cf. Holyday: "neither believe / T h e ignorant applause base Coblers give."

Notes to Pages 31J-323 EXPLANATORY NOTES I Much of Dryclen's note is without specific parallel in the commentaries. Prateus, however, refers to the oracle's praise of Socrates, a n d Schrevellius mentions Alcibiades' extraordinary attractiveness. 8 Perhaps a paraphrase of Prateus, who mentions Clinias, explains the relationship between Pericles and Alcibiades, a n d praises Pericles in terms similar to Dryden's. 3 T h i s explanation also appears in the commentaries. 4 T h e commentaries also explain hellebore in this way; the clause, "is litter to be goveru'd himself, than to govern others," apparently translates part of Casaubon's note: aplior regi, quarn digitus regere (more fit to b e ruled than worthy to rule). 5 T h e first p a r t of this note appears to paraphrase Prateus, who refers to a specific identification of the man b u t states that quisquis ille tandem, h Persio notatur velut avarus juxta ac dives (whoever he was, he is branded by Persius as one equally avaricious a n d rich). 6 Since these gods are not m e n t i o n e d by Persius, this note is without parallel in the commentaries. 8 T a k e n , as Dryden indicates, f r o m Holyday; Holyday, however, does n o t mention Cornwall or R e d Lion Fields. 9 Dryden reverses the explanation given in the commentaries; Casaubon, e.g., explains that the man pretends to be well in order to serve Venus a n d Bacchus. 10 T a k e n f r o m Casaubon (see 11. 122-125^). Casaubon suggests that the secret w o u n d of v. 44 (the "Ulcer" of 1. 103) may have been received o n some such occasion. II T h e commentaries also establish these points, but Dryden is not dep e n d e n t on them for verbal details.

Persius,

Satire V

ARGUMENT P. 323 ll.i ff. Cf. Casaubon: Aristophanes grammalicus, quid de Archilochi iambis sentiret interrogatus: Mihi, inquit, longissimus quisque optimus videtur. possumus è- nos de hoc Persii satira idem pronuntiare. . . . Sunt igitur satirae hujus distinctae partes dune: priore amoris sui vel potius pietatis vehementiam erga praeccptorem bene meritum Cornutum prolixè aperit. . . . postremò juventutem hortatur ut tanto viro in disciplinata se dedat. Ita sit transitus ad secundum partem: cujus initio desidiam juvenum molliter increpat: deinde ad libertatem illos hortatur. heic Stoicum paradoxum traclare instituit Persius: OMNES PRAETER SAPIENT EM SERVOS ESSE, NEMINEM LIBERUM: in cujus sciti explicatione ac demonstration tota deinceps satira occupatur (Aristophanes the grammarian, when asked what he thought of the iambics of Archilochus, said to me that the longest one seems best. And we can say the same of this satire of Persius. . . . T h e r e are, then, two distinct parts to the satire; in

Commentary the first part h e copiously shows the ardor of his love or rather his pietas toward his teacher C o r n u t u s , w h o well deserved it. . . . T o w a r d the end [of the first part] he urges y o u t h to g i v e itself to the instruction of such a m a n . T h u s the transition is m a d e to the second part, i n the b e g i n n i n g of w h i c h h e g e n t l y rebukes the sloth of p u p i l s ; then he urges them to liberty. A t this p o i n t he begins to treat the Stoic p a r a d o x that w i t h o u t w i s d o m all are slaves a n d n o o n e is free; the rest of the satire is taken continuously with the exposition a n d e x p l a n a t i o n of this dogma). 323:8 Learned Master Doctor Busby. R i c h a r d B u s b y (1606-1695) was the headmaster of W e s t m i n s t e r School f r o m 1640 u n t i l his death. D r y d e n was a student u n d e r h i m for some years, but the precise l e n g t h of time c a n n o t b e fixed. T h e sons D r y d e n refers to were C h a r l e s a n d J o h n , Jr. T w o of D r y d e n ' s e x t a n t letters are addressed to B u s b y a n d h a v e to do with the boys w h e n they w e r e at Westminster ( W a r d , Letters, p p . 17-20). A t the end of the a r g u m e n t of the third satire of Persius, D r y d e n h a d already stated that he first translated that p o e m u n d e r the tutelage of D r . B u s b y . A n i n d i c a t i o n of the headmaster's interest in J u v e n a l and Persius is the bowdlerized L a t i n text of their satires lie p u b l i s h e d in 1656 for use in his school. POEM The Speakers. T h e commentaries, like D r y d e n , suggest that the two speakers in this satire are Persius a n d C o r n u t u s , but, u n l i k e D r y d e n , they assign speeches in the notes rather than in the text. S o m e of the speeches are said to contain internal dialogues b e t w e e n Persius o r C o r n u t u s a n d an adversarius. D r y d e n a p p e a r s to m a k e significant use of internal d i a l o g u e o n l y in the latter part of the satire (11. 179-281); as a result, some of the statements attributed by D r y d e n to " P e r s i u s " are i n a p p r o p r i a t e to Persius's character or persona; the n o t a b l e e x a m p l e s occur at lines 92 a n d 179. l - a Cf. Holyday: O u r Poets use to wish they h a d large lungs: A n d a w h o l e h u n d r e d voices, m o u t h s a n d tongues. Persius's r e f e r e n c e is to Iliad, II, 489, and Aeneid, V I , 625. 5 - 6 Javelin. T r a n s l a t e s ferrum (iron); Prateus a n d C a s a u b o n take the w o r d as a synecdoche f o r " a r r o w , " b u t Schrevellius paraphrases w i t h letifera tela (deadly javelins), thighs. T r a n s l a t e s inguine (v. 4: groin, or, i n v i e w of Persius's fondness for sexual imagery, penis). 7 - 8 T h e c o m m e n t a r i e s gloss robusti carminis offas (bits [literally, little balls of flour] of h a r d song) w i t h ampullas (bombast). D r y d e n ' s amplification cleverly preserves Persius's imagery. 9 Fustian Poets. C f . Schrevellius, glossing Grande (v. 7: s o m e t h i n g large): Quicunque grande, tumidum, ir inflatum (something large, swollen, inflated). 12 the mouthing Actor. T h e Scholiast identifies G l y c o (see v. 9) as a tragedian of the time of N e r o ; Prateus points out that the n a m e represents a Fatuo Tragoedo (foolish tragedian). 15 nor can'st thou strain thy Throat. C f . Prateus: Nec tu, more cornicum, voces emittis e guttare, compressas . . . strangulatas ( N o r d o you, in the

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fashion of crows, utter from your throat compressed and choked sounds). 19 thy Stile. Cf. Holyday: " T h y stile." Cf. Casaubon's paraphrase of Ore teres modico (v. 15: rounded with moderate mouth; Loeb: "rounded but not full-mouthed"): neque humili, neque inflata (neither low nor inflated). 20 the sweet Accents of the peaceful Gown. Translating Verba togae (v. 14: the language of the toga), which probably means the ordinary language of everyday life (cf. Schrevellius: communi, populari, ir quotidiano). T h e Scholiast, however, distinguishes between the toga, the garment of peace, and the paludamentum, the garment of war. Cf. Holyday, " T h y words are words of peace." 23-25 Persius says mensas relinque Mycenis (v. 17: leave the tables to Mycenae) because Mycenae was the site of the Thyestean banquet referred to in v. 8. Cf. Prateus: Graecis Tragicis grandia sua permitte argumenta, qualis coena Thystae if Terei (Leave to Greek tragic poets their lofty themes, such as the banquet of Thyestes and Tereus). go the Secrets of my heart. Cf. Holyday: "my secret heart," and Casaubon: pectorum arcana (the secrets of hearts). 31 in familiar Speech. Cf. Casaubon: familiari scriplione (with intimate or familiar writing). 3« How much I love thee. Cf. Schrevellius's reference, in connection with v. 29, to magnitudinem amoris (greatness of love). 33 Knock on my Heart. Holyday translates pulsa (v. 24: strike, beat) with "knock on my breast." 38-39 Cf. Holyday: how much I have Fixt thee within my many-seated brest, In a pure fluent stile might be express'd. 45-46 For the connotations of Suburra (v. 32), see the commentary on Juvenal III, 9. 51-52 Cf. Persius, IV, vv. 11-12, Drydcn's translation, 11. 23-24, and note. 60 Horoscope. Prateus, glossing ab uno sidere (v. 46: from one star), refers to horoscopo. 67 T h e commentaries assign the speech that begins with this line to Persius, not to Cornutus. 68 Cf. Holyday: "Each hath his several will." 69-70 Cf. Holyday: and with care doth r u n Out to the East under the rising Sun. 69 greedy Merchants. Casaubon refers to mercatores (merchants) and notes that vv. 54-55 describe the life of those for whom riches are the ultimate goal. 70 Indies. Both Prateus and Schrevellius refer to the Indies; Prateus, e.g., commenting on Rugosum piper (v. 55: shriveled pepper): Quod ab Indis petitur (which is sought from the Indies). 71-72 Drugs . . . Spices. Both words translate grana cutnini (v. 55: grains of cumin). Prateus explains that cumin here represents various

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spices; the OED explains that cumin has carminative ( " O f medicines, etc.: H a v i n g the quality of expelling flatulence") qualities. 72 Italian Ware. Cf. Holyday: " R o m a n wares." 73-74 Holyday rhymes "sleep" and " k e e p . " For Dryden's " I n d u l g e his Sloth," cf. Prateus: olio . . . indulget (lie yields to or indulges in idleness). 75 One bribes for high Preferments etc. T r a n s l a t i n g Hie campo indulget (v. 57: this one indulges in the field), which probably refers to field games or sports; Holyday, e.g., takes campo as the Campus Martius: " A third does Mars-field wrastlings duly keep." Cf. Prateus, however, who takes a different view: Hie se dat ambitioni, if quaerendis honoribus qui obtinentur if dantur per suffragia populi in Campo Marcio congregati (This one gives himself to soliciting votes and seeking honors [or preferments] which are obtained and given by the votes of the populace gathered in the C a m p u s Martius). 77 dissolving. Cf. Prateus, paraphrasing putris (rotten) [see textual footnote on v. 58]: solutus (dissolved). 79 Chalk. Cf. Schrevellius, glossing lapidosa (v. 58: stony): materia . . . gypsacea (gypsumlike or chalky matter). 80 Doddard Oke. Translates fagi (v. 59: beech tree). Holyday, having used " b r o k e " as a rhyme word in the preceding line, uses "decay'd o k e " to complete the couplet. Doddard. "A tree that has lost its head of branches by decay" (OED, citing this line). 8a in a Mist. Translates lucimque palustrem (v. 60: marshy light). Casaubon and Prateus suggest that the reference is to the steam and vapors of the bath, but the reference probably is to the ignis fatuus. 83 Studies. Cf. Schrevellius's reference to studiis. 85-86 Cf. Holyday: sow y o u n g purged ears with fruitful truths, W i t h good Cleanthes fruit. Draw hence ye youths. 87 From thee. Cf. Prateus, who glosses hinc (v. 64: hence, from this source): e Cornuti (from Cornuliis). 92-93 Cf. Holyday: and thus to borrow O f time, though yet to come, still one To-morrow. 100 Freedom! first Delight of Humane Kind. Cf. Schrevellius, w h o notes that Persius's exposition of true freedom begins at this point, adding, ad libertatem homo, si verus homo es, adspires oportet (it is necessary that you aspire to liberty if you are truly human). 101-103 As the commentaries note, V e l i n a (see v. 73) represents any R o m a n tribe; Publius (v. 74), any slave. 106 Prateus also introduces internal dialogue at this point. 107 Here's Dama, . . . Groom of low degree. Cf. Holyday: "Here's Dama." T h e name is servile, according to Casaubon and Prateus, and the latter, paraphrasing agaso (v. 76: driver), says that a mulio (muleteer) is meant. 108 Sot. Translates Vappa, if lippus (v. 77: blear-eyed with vapid wine); cf. Holyday: "Sot." 112 Good Gods. Translates papae (v. 79: marvelous); Holyday: " T h e Godsl"

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118-125 If the interpretation of vv. 83-87 given in the commentaries is correct, then Dryden partly obscures Persius's point. According to the commentaries, vv. 83-85 contain a syllogism. M a j o r premise: An quisquam est alius liberj nisi ducere vitam cui licet, ul voluit (But who is free other than he who can live as he wishes)? Minor premise: licet, ut volo, vivere (I can live as I wish). Conclusion: non sim liberior Bruto (Am I not more free than Brutus)? T h e Stoic replies by accepting the m a j o r but denying the minor: LICET ILLUD, i f , UT VOLO, tolle (v. 87: take away that "licet" and "ut volo") and reliquum accipio (I accept the rest). See also the note o n 1. 122 below. 118 true Liberty. Translates mera libertas (pure or unadulterated liberty); cf. Holyday: "Brave Liberty and true." 122 your Assumption's wrong. T h e OED, citing this line, defines the w o r d "assumption" as "that which is assumed or taken for granted," but in view of the context, Dryden's m e a n i n g must be the one that the OED n e x t lists, "the minor premiss of a syllogism." Cf. Prateus: Admitto libertatis definiiionem in propositione contentam . . . Assumptionem . . . falsam amove (I grant the definition of freedom included in the m a j o r premise [but] . . . take away the false minor premise). 137 Translates sambticam citius caloni aptaveris alto (v. 95: you could more quickly adapt a harp to a tall drudge [Loeb: " a h u l k i n g clodhopper"]). Kinsley notes: Prateus and Schrevellius say the expression is proverbial and cite, as a more familiar version, asinus ad lyram (an ass to a lyre). According to Kinsley, "Dryden's version is proverbial. 'Asinus ad liram, A n asse at an harpe. A prouerbe applied vnto theym, whyche haue n o judgement in wysedome and learnying' (Cooper, 1548; T i l l e y , A366)." Kinsley further cites Chaucer, Trotlus and Criseyde, I, 731-735. 139 whisp'ring. Translates garrit (v. 96: chatters); cf. Schrevellius: imtnurmurat ir insusurrat (murmurs and whispers). 147 High-shoo'd. Translates, as Kinsley notes, peronatus (v. 102: wearing l o n g laced boots made of rawhide); cf. H o l y d a y : "high-shooed." Since a "high-shoe" is " o n e w h o wears high schoes, as rustics did in the 17th c.," the adjective "high-shod" means "rustic" or "boorish" {OED, citing this line). 150 The Gods. Translates Melicerta (v. 103), a god of the sea, accordi n g to the commentaries. 153 to distinguish Good from III. Translates & veri speciem dinoscere calles (v. 105: are you skillful in discerning the appearance of truth, i.e., in distinguishing between the appearance and the reality)? Cf. Schrevellius: Id est, . . . verum ¿1 falso, bonum d malo discernis (that is, you can discern the true from the false, good from evil). 156 what to flye. Translates evitanda (v. 107: things to be shunned); Prateus: fugienda (from fugio, fly or flee). 157 Cf. Prateus, glossing the purpose of the chalk and the carbon to which Persius refers in v. 108: Quod malum damnasti, quod bonum approbasti (What evil have you condemned, what good approved)? 159 never Craving etc. A p p a r e n t l y a translation of modicus voti (v. 109: moderate in desire) and presso lare (v. 109: the household god repressed, i.e., "modest in your establishment" [Loeb]). Cf. Prateus: non . . . avari . . . contentus (not avaricious . . . content).

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1 6 0 - 1 6 1 As the commentaries, following the Scholiast, explain, salivam Mercurialem (v. 1 1 2 : literally, the spittle of Mercury) signifies wealth or treasure because Mercury was the god of gain. 165-166 Cf. Prateus, glossing pelliculam veterem retines (v. 1 1 6 : if you keep your old skin): Mores, ut olivi, improbos necchim exuisli (You have not yet put off habits that, as before, are wicked). 169 still a Slave. Casaubon also makes the point explicit: ergo servus (therefore a slave). 172 Prateus also assigns v. 120 to the adversarius. 173 Sacrifice. Cf. Prateus, glossing millo thure (v. 120: by no incense): sacrificits (sacrifices). 1 7 5 - 1 7 6 Virtue and Vice are never in one Soul etc. Translates Haec miscere nefas (v. 122: T o mix these [i.e., wisdom and folly] is contrary to divine law). Cf. Holyday: " T o mix these two, is against Natures rule" (with "rule" a rhyme for "fool"). T h e commentaries are similar to Dryden's explanatory note; Casaubon, e.g., refers to the Stoic doctrine that one who is not completely wise cannot be wise at all, and that there can be no mean between vice and virtue since he who possesses one virtue necessarily possesses them all. 178 dance. As Prateus explains, "to move" (sec v. 123, moveare) is put for "to dance." For Bathyllus (see v. 123), cf. Juvenal, VI, v. 63, and Dryden's translation, 1. 91: "a Dancing-Master." 184 Prateus and Schrevellius state that Cessas nugator? (v. 127: do you delay, worthless one? [i.e., "get a move on, shiftless" (Merwin)]) is spoken with a domineering or imperious voice. 187 Passions lord it in thy Breast. Translates sed si intus, ir in jecore aegro / Nascantur domitii (vv. 129-130: but if masters grow within, in your sick liver). Prateus glosses domini with imperiosae libídines (domineering passions), explaining that the liver is the seat of the concupiscent appetite. Schrevellius paraphrases with pectore (breast). 189 Harlot's Lap. T h e r e is no warrant in Persius or the commentaries for this phrase at this point. 196-203 Dryden's passage resembles Holyday more than Persius. Verses 1 3 4 - 1 3 7 may be translated as follows: "Bring fish from Pontus, beaver oil, tow or flax, ebony, incense, slippery Coan things; be first to bear fresh pepper from the thirsty camel. Ply something; swear. But Jupiter will hear." Cf. Holyday: Why go to th' Sea, bring thence Fish, Beaver-oile, Flax, Eben, Frankincense, And loosning Wines of Co; and be the first T o fetch from th' Camel, whilest he yet doth thirst, Fresh pepper: exchange somewhat, and forswear For Gain. O but (alas!) then J o v e will hear. 197 Euxine. Translates Ponto (v. 134), i.e., the Pontus Euxinus or Black Sea. 198 Coan Wines. T h e Loeb translates the obscure phrase luboica C.oa (v. 135) as "glossy Coan fabrics" (cf. Merwin: "shimmering Coan cloth"), but the commentaries uniformly indicate that the phrase refers to wine from the island of Co (Prateus: vina . . . ex Insula Co).

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199 Sabean Incense. Cf. Prateus, glossing thus (v. 135): Plin. Lib. 12. cap. 14. ait in sola nec universa quidem Arabia reperiri, sed in ea tantúm regione, cut nomen Saba (Pliny, B. X I I , cli. 14 [in modern editions, ch, 30], says that it is not to be found in the whole of Arabia, but in that region whose name is Saba). 206 thy Baggage pack. As Prateus and Schrevellius point out, pelletn (v. 140: skin) here means sarcinas (baggage or packs). 2 1 4 - 2 1 7 Verses 146-148 may be translated as follows: Are you, propped up 011 a coiled rope, to take dinner on a crossbcam? Is the broad-bottomed j;n 10 exhale fumes of reddish Veianiim wine which lias been ruined by slinking pitch? Drydeti, as Kinsley notes, brings Persius thoroughly up to date. U14 Cubb'd. "Confined or cooped u p " (OKI), citing Dryden's line). 215 Brown George. " A coarse kind of brown bread" (OED). Kinsley adds that it was used as a naval ration. Swobbers. Deck swabbers. 2 1 6 Boracchio. " A large leather bottle or bag used in Spain for wine or other liquors" (OED). 2 1 7 Jack. "A vessel for liquor . . . orig. and usually of waxed leather coated outside with tar or pitch" (OED). 219 Six i' th' Hundred, to Six Hundred more. Translates vv. 149-150 (that the money you were here nourishing at a modest five ounces may go on to sweat out a greedy eleven ounces). T h e commentaries explain as the Loeb does: " A quincunx was five ounces, of which there were twelve to the as, or pound. In calculating interest, five-twelfths of an as on too asses paid monthly was equivalent to five per cent, per annum; similarly eleven ounces a month would be equivalent to eleven per cent." If an ellipsis of "i' th' " is understood in the phrase "to Six Hundred more," then Dryden says, in effect, " f r o m 6 percent to 12 percent." 220 Cf. Persius, II, v. 3, and Dryden's translation, I. 5. 281 Cf. Prateus, who paraphrases nostrum est, / Quod vivis (vv. 1 5 1 - 1 5 2 : " O u r life is our own today" [Loeb]) with nostrum est munus, quod vitam dticis (it is my [i.e., the genius's] gift that you live—hence indulge the genius) and comments that to live without delights and pleasures is not to live. 226 Cf. Prateus, glossing Hunccine, an hunc sequeris (v. 155: Are you to follow this one or that?): An avaritiam, an luxuriam . . . lucrum, an voluptates (avarice or luxury, profit or pleasures). 231 Marks of Servitude. Schrevellius, commenting 011 Rupi jam vincula (v. 158: I have now broken the chain), refers to servitii jugum (the yoke of servitude). 234 Says Phaclria to his Man. Cf. Holyday: "Chaerestratus . . . Saies to his man." 235 uneasie Love. Cf. Prateus, glossing dolores (v. 161: pains, sufferings): amoribus, qui mihi sunt tot dolorum causae (loves, which are the causes of so many sufferings for me). 239 deaf Doors. Translates udas . . . fores (vv. 165-166: wet doors); a bowdlerization, if the commentaries are correct (Prateus, e.g.: unguento . . . amantium, the ointment or unguent of lovers). 245 She'll . . . break your Head. Cf. Prateus, who, commenting on

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objurgabere (v. 169: you will be chided), quotes T e r e n c e , Eunuckus, v. 1028: commitigabitur [sic; T e r e n c e has commiligari] . . . caput (your head will be made soft). Cf. Holyday: "she shall break T h y pate." 247 draw you . . . with a single Hair. Suggested by Nc . . . rodere casses (v. 170: not to gnaw the snare), a proverbial expression according to Schrevellius. Dryden's line also is proverbial, as Kinsley notes, citing Howell, Epistolae Ho-Elianae (1655), ii, 4: " T i s a p o w e r f u l sex . . . they must needs be strong, when one hair of a woman can draw more than a hundred pair of O x e n . " 252 Cf. Prateus, a m p l i f y i n g hie, hie, quern quaerimus, hie est (v. 174: here, here, here is the [free] man we seek): Qui oblatam spernit occasionem aut libidinis explendae, aut faciendi lucri (who scorns the offered occasion of satisfying lust or of making money). 253 Prator. Persius refers to a lictor (v. 175) because each praetor was accompanied by six lictors; Prateus paraphrases with praetor. 256 the Tribes. Cf. Prateus, a m p l i f y i n g ducit (v. 176: leads): per tribus circumducit (leads around through the tribes). 261 Thy Superstition too etc. Prateus invents a similar transition: Jam if superstitio suas partes agit (now superstition also exhibits its parts). 262-263 Dryden's couplet does not reflect Persius's unpleasant imagery; e.g., vomuire (v. 181), " t o vomit." 266 mutter'st Prayers obscene. Cf. Schrevellius, glossing Labra moves tacitus (v. 184: silently you move your lips): Id est, tacito murmure preces tuas superstitiosas concipis (that is, with a quiet murmur you express your superstitious prayers), obscene. ". . . inauspicious, ill-omened" ( O E D ) . 267 Cf. Casaubon, w h o explains palles (v. 184: you grow pale) by referring to jejunia sabbatis (Sabbath fasts). Dryden's "curtail'd," a clever translation of recutita (see v. 184), means "circumcised," as Kinsley notes. 270 o'regrown Guelding Priests. Cf. Juvenal, VI, vv. 512-514, and Dryden's translation, 11. 657-660. T h e Galli (v. 186), or priests of Cybele, often were eunuchs. Prateus and Schrevellius refer to them as castrati. 271 Squintifego. Translates lusca (v. 186: either one-eyed or with one eye closed). " O n e that Squints very much" (OED). Cf. Holyday: "the oneeyed M a i d . " 278-279 Cf. Holyday: Some vast Volpenius with a full deep throat W o u l d bellow out a laugh, in a base note. 278 dull fat Captain. Schrevellius notes that Vulfenius (v. 190) is the name of some stupid soldier (nomen proprium bardi militis). 280 Zeno's. Translates Graecos (v. 192); Schrevellius: Philosophos Stoicos (Stoic philosophers). EXPLANATORY

NOTES

1 - 2 T h e myths are told also by Prateus and Schrevellius. Thyestes was " u n n a t u r a l " in that he committed incest. 3 Cf. Persius II, 126, and Dryden's explanatory note 10. Holyday supplies similar information. 4 Casaubon and Schrevellius, following the Scholiast, suggest that the

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candidus umbo (v. 33: white boss or shield) is a synecdoche for the white toga of manhood. Prateus, however, states that tyronibus debatur clypeus purus seu vacuus, id est, sine insignibus, ut ibi signanda facere monerentur (to youths assuming the toga there was given a plain, empty shield that was without marks or decorations, so that they might be admonished to perform deeds worth marking there). 5 Cf. the Argument of the fourth satire. 6 T h e commentaries do little more than note that Persius's vocabulary and concepts are taken from astrology, but Holyday supplies even more information than Dryden. 7-8 T h e commentaries state that Libra and Gemini are signs of friendship. g T h e commentaries make similar statements, but Dryden does not appear to be dependent on them for any verbal details. 10 Cf. Prateus, glossing fruge Cleanthea (v. 64: with Cleanthean fruit): Philosophid Morali, quam Cleantes [sic] Zenonis discipulus if successor docuit (with moral philosophy, which Cleanthes, the disciple and successor of Zeno, taught). 1 1 - 1 2 This information appears also in the commentaries. 13 Translated from Prateus: Manumissurus servum dominus coram Praetore eurn sistebat; mox in orbem circurnacttim dimitlebat . . . his verbis "hunc esse liberum volo" (A master intending to enfranchise a slave brought him before the praetor and then released him, after he had been turned around in a circle, with these words, "I will that this man be free"). 14 T h e commentaries supply this information at an earlier point, in connection with the reference to Publius (v. 74). 15 Prateus states that seven witnesses were required to subscribe their names. 16 Cf. Prateus: Servi nudo capite . . . incedebant: at ciim manumiltebantur, . . . insigne libertatis pileum accipiebant (Slaves went with uncovered head, but when they were set free they took a cap as a sign of freedom). Holyday: "the cappe of liberty." 1 7 - 1 8 Similar information is given by the commentaries. 19 See 11. i75-i76n. 20 Prateus also describes this procedure but in connection with v. 88. 21 T h e play was Bellamira, or The Mistress, as noted by Noyes. It was acted in May 1687. Persius in fact alludes not only to Terence but to Menander, Terence's source, since he uses the Greek names Chaerestratus and Davus, as in Menander, not the Latin names Phaedria and Parmenio, as in Terence. as Suggested by cretata (chalked), v. 177. 23 Holyday speculates at considerably greater length as to the identity of this Herod. Like Dryden, he refers to "the Herodians; whom some make to be a Sect of Hereticks amongst the Jews, which, as they say, held Herod the Great to be the Messiah," and, again like Dryden, he thinks the reference more probably is to Herod Agrippa. Casaubon and Prateus engage in similar speculation.

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Commentary

24 T h e first part of the note is based 011 the Scholiast. Pliny, X X V I I I , 4, reports the very different custom of breaking shells immediately after eating in order to safeguard against magic.

Persius,

Satire

VI

ARGUMENT A close translation, slightly abridged, of Casaubon. POEM Dedication. Cf. the Scholiast's comment: Hanc salyram scribit Persius ad Caesium Bassum Poetam Lyricum (Persius writes this satire to Caesius Bassus, a lyric poet). 4 Noble hand. Cf. Schrevellius, commenting on tetrico . . . pectine (v. a: with gloomy plectrum): Gravern ir severum stylum, vcl carmen denotat (It indicates a grave and serious style or song). Prateus, commenting on vv. 5-6, refers to a nobili Carmine. 5 - 1 2 T r a n s l a t i n g vv. 3-6 (O wondrous maker, to have turned into verse the origins of old things and the manly sound of the Latin lyre, then to treat y o u t h f u l jests and with seemly thumb to play songs of distinguished elders). Casaubon takes primordia rerum (v. 3) to be a reference to works like theogonies and cosmogonies; other texts read primordia vocum (Loeb: "beginnings of our ancient tongue"), said by the L o e b to be quoted from Lucretius, IV, 531. Dryden seems to incorporate both senses. T h e L o e b reads egregius . . . senex in v. 6, and translates "wonderful old m a n " (i.e., Caesius Bassus, Dryden's " G r e a t Master of the Muse," 1. 5). Prateus lists nine Greek lyric poets at this point, including Sappho and Pindar. 9 Cf. Holyday: " N o w playing y o u n g mens sports." 13-15 For me, my warmer Constitution wants / More cold etc. Translati n g Mihi nunc Ligus ora / Intepet, hibemalque meum mare (vv. 6-7: for me the Ligurian coast is lukewarm, ami my sea winters; Loeb: " T o me now the Ligurian coast, and my own winter sea, are giving all their warmth"). Casaubon and Schrevellius state that the figure is hypallage, since the meaning is: "I am enjoying moderately warm climate because of the tempering effect of the sea." Dryden perhaps was misled by Holyday: T h e warm Ligurian shoar grows hot to M e : A n d I'm now winter'd at my Native Sea. 16 Dryden borrows this from v. 10. 17 Clifts . . . their points display. Casaubon and Prateus explain that the cliffs curved in the shape of a crescent; hence the name Luna (moon) in v. 9. 20 Cf. Holyday: " ' T i s fairly worth the sight." 21 Learned Bard. Prateus refers to Ennius's eruditio (learning) and says that cor (v. 10: heart) here means the mind and wisdom.

Notes

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24-26 Cf. Holyday: Thus said wise Eunius aft'r h'liad dreamed lie was Homer, the fift form'd by Pythagoras His Peacocks soul, 28 secure of what the vulgar Prate. Cf. Prateus, glossing securus vulgi (v. 12: careless of the crowd): parum curans rumores populares (caring little for common rumors). 29-33 Holyday: And what the unlucky South-wind doth prepare For Cattle; Nor do I take greif or care If that my Neighbours field's more fat then mine. Let all poor-born grow rich, I'le never pine. 34 Adds not a Wrinckle etc. Translating Senio (v, 16), which probably has the figurative meaning of "vexation," rather than the literal meaning of "old age." Holyday, however, translates with "stooping age." 35 envious, Cf. Prateus: invidia. 38 Flaggon. Translating lagena (v. 17: a large earthen vessel with a neck and handles); cf. Holyday: "flaggon." 47-48 as Priest . . . He sprinkles Pepper with a sparing hand. Developed from v. 21 (sprinkling the sacicd pepper); i.e., sprinkling very little, as if it were something sacred. Cf. Holyday: "sprinkling . . . with Pepper as a Holy thing." 52 Cf. Holyday: " B u t as for Mine, I'le Use it." 54-55 Cf. Holyday: nor be curious-mouth'd to know But by the taste, if't be a Thrush or no. 56 Cf. Prateus: Quantum ex agris uno anno colliges, tantundem impende tibi if aliis: niliilque rescwa in sequentem annum (Spend for yourself and others just as much as you gather from the fields in one year; keep nothing back for the following year). 57 freely grind. Holyday: "grind out freely." 58 Harvest. Translating seges (v. 26: corn, crop); cf. Holyday: "Harvest." 64 destitute. Cf. Prateus: egenus (needy, destitute). 66 Images. Prateus glosses Ingentes . . . Dei (v. 30: huge gods) with simulacra (images); Prateus assumes that the man manages to rescue them. 71 Mews. Translating mergis (v. 30: a waterfowl). 76-77 Cf. Persius, I, v. 90, and Dryden's translation, 11. 177-180. 84 the wiser Bestius. Prateus takes Bestius to be the name of a brutish legacy hunter (bruit . . . Haeredipeta). T h e Locb, referring to Horace, F.pistulae, I, xv, 37, says that the name "is used to represent the vulgar irrelevant critic, who connects all the evils of his day with the bringing in of new-fangled Greek learning." Dryden's epithet is, of course, ironic. 87 effeminated. " T h e words maris expers [v. 39] . . . have been usually explained as meaning 'destitute of salt,' and therefore 'tasteless' or foolish. But Housman has shown that Casaubon's rendering, 'destitute of virility,' gives the true meaning" (Loeb). Casaubon: mollis ir effeminata. Cf. Holyday: "emasculate." See also Dryden's "unsinnew'd" in 1. 89. 88-91 Cf. Holyday:

Commentary Pepper, Dates, and other ware hath come From your leud Greece unto our City Rome, O u r very Mowers do with too much oyl T h e i r ancient wholesome meat Sawcily spoil. 90 Hinds. T r a n s l a t i n g joenisecae (v. 40: "haymakers" [Loeb]). 92-93 Cf., e.g., Casaubon, who comments on the folly of those w h o live miserably, driven by fear lest their angry heirs neglect the funeral banquet. 93 Cf. H o l y d a y : " B u t fear'st these things beyond thy grave?" 94-95 Cf. Holyday: Draw near, T h o u whoso'ere shalt be my Heir, and hear. 96-98 T r a n s l a t i n g missa est A Caesare laurus (v. 43: a laurel is sent by Caesar). Cf. Prateus: Nescis Caiutn Caligulam misisse ad S.P.Q.R. literas lauro coronatas (Do you not know that Caius Caligula has sent to the senate letters crowned with laurel)? Prateus explains that it was the custom for laureate letters to be sent to R o m e or for messengers to arrive with staffs crowned with laurels. 96 Cf. H o l y d a y : " M y friend, know'st not the news?" 106-107 Cf. Holyday: Clads all the Captives in a durt-brown freize: Placeth the R h e n i of a huge vast size. frize. Coarse woolen cloth ( O E D ) . 108 Spoils. Prateus and Casaubon also refer to spolia at this point. 1 2 1 - 1 2 5 Verses 5 1 - 5 2 are obscure, one of the principal difficulties being the m e a n i n g of Exossatus (literally, cleared of bones), which can be taken in two contrary senses. T h e L o e b explains (as do the commentaries): "Some interpret 'cleared of stones,' i.e. good land prepared for a crop; others 'land from which the bones, the strength and marrow of the soil, have been taken,' and so 'poor land.' " Dryden obviously adopts the latter interpretation and accepts the idea that the heir, for whatever reason, is unwilling to receive his inheritance on terms other than his own. 121 grumbling. Cf. Prateus, glossing die clarc (v. 51: speak clearly): quid mussas (what are you muttering, or grumbling, about)? 124-125 Cf. Holyday: I may For any cause I see, not greatly care. W h e t h e r or no, you do make M e your Heir. 126-127 Cf. Holyday: For were none of my Fathers Sisters left: N o Cousin-germane: or were I bereft. 131-132 Aricea . . . Manius. T r a n s l a t i n g Clivumque . . . Virbi (v. 56: the hill of Virbius). A s the L o e b explains, in common with the Scholiast and the commentaries, Persius is referring to " t h e clivus Aricinus . . . which was a great resort for beggars. Virbius, another name for Hippolytus, was worshipped at Aricia along with Diana." T h e commentaries say that multi Manii Ariciae (many Maniuses or beggars of Aricia) was a proverbial expression.

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1 3 3 - 1 3 4 Cf. Juvenal, IV, vv. 1 1 6 - 1 1 8 . Prateus, glossing progenies terrae (v. 57: offspring of earth), refers to an illegitimate child whose parents and race are unknown. Schrevellius refers to a man born in an obscure or unknown place. 134 Cf. Holyday: "a son o'th' Earth? Obscure?" 140 Sons of Whores. Probably introduced for the sake of the rhyme. Neither Persius nor the commentaries supply a parallel. 1 4 1 - 1 4 4 Cf. Holyday: Yet why at all should'st T h o u indeed desire T o be my Heir, when thou might'st be my Sire For Age? and why should'st thou demand of Me My torch, when I in course run after Thee? 145 Mercury (v. 6a) was the god of gain. Cf. Persius, V, v. 1 1 1 , and Dryden's translation, 11. 1 6 0 - 1 6 1 . For a similar reference, with Hercules as giver of riches, see Persius, II, v. 1 1 . 146 as Poets feign. Translating ut ille / Pingitur (vv. 62-63: as that [god] is painted), but Dryden's translation in the first part of this line, if the commentaries are correct, misses Persius's point: Casaubon, Pratcus, and Schrevellius all state that Mercury is painted with marsupium (pouch) or crumenam (money purse) rather than with "Wings on Head, and Heels." Cf. Merwin: " I come to you like that god (in the pictures) with a moneybag in my hand." 1 5 0 - 1 5 1 Translating deest illiquid summae (v. 64: some of the whole is lacking). Cf. Holyday: "Why, here's not all you had / L e f t to You by Your Father." 157 Persius refers only to dicta . . . paterna (v. 66: fatherly sayings, or "paternal saws" [Loeb]). Holyday, however, supposes that the advice is given by a dying father: "and ne're / Give me hard words, as fathers drawing nigh / T h e i r end, do give their sons before they die." 159 Put out the Principal. Translating Foenoris accedat merces (v. 67: let the revenue of interest accrue). Cf. Holyday: "put out the Principal." 160 Live of the Use. Translating hinc exime sumtus (v. 67: thence [i.e., from interest] take expenses). Cf. Holyday: "spend but of the Use." Use. Usury. 161 But yet what's left for me? What's left. Cf. Holyday: " B u t yet, what's Left? what's left?" Schrevellius: Quasi dicat: Nihil tibi relinquere (as if he should say, nothing left for thee). 162 Cf. Prateus, commenting on vv. 68-69: consumantur bona mea universa, ut indignis hoeredibus nihil reliquum sit (all my goods shall be consumed so that nothing is left for the unworthy heirs). 164 Pour Oyl. Cf. Holyday: "pow'r oyl." 165-166 Shall I be fed . . . sodden Nettles etc. Cf. Holyday: Shall I Upon a high Festival day, be fed With a sod Nettle, and a lean Swines head. 167-168 Tis Holyday etc. Dryden's expansion of festa luce (v. 69: "holiday" [Loeb]). 1 6 9 - 1 7 0 Dryden's interpolation. Cf. Prateus, glossing v. 69: Non ita sum

Commentary

694

fatiitis ut genium defraudare vclim ad locuplelandos haeredes (I am not so foolish as to wish to defraud my genius in order to enrich my heirs). 172 Giblet Pye. T r a n s l a t i n g anseris extis (v. 7 1 : goose entrails, or "goose's liver" [Loeb]). Cf. Holyday: "dainty Jiblets." 1 7 3 - 1 7 4 Holyday's rhyme words are " v e i n " and " a g a i n . " Merwin, though more vulgar than Dry den, renders Persius more faithfully: " S o that . . . my heir . . . the fretful Vein in his privates setting u p a restive throbbing, M a y piss into a high-born pussy." 175 homespun Cloath. Translating trama (v. 73: the woof, weft, or filling of a web). 176 Paunch. Translating venter (v. 74: stomach). C f . Holyday: " p a n c h . " 178 from Pole to Pole. Translating Omne latus mundi (v. 76: "every corner of the earth" [Loeb]); Schrevellius illustrates by referring to ultimam Thylen (Ultima T h u l e ) . 180 See xuhat a vast Estate he left. T h e motive for the man's actions is only implicit in Persius. Holyday, in agreement with Casaubon, makes it explicit: "to leave thy H e i r Wealthy." 1 8 1 - 1 8 ! } Cf. Holyday: N o man feeds fatter Cappadocian knaves In a rough cage, then are thy lusty slaves. For Dryden's " W e l l f e d , " cf. Prateus's statement that pavisse (from pasco, feed) is a possible reading for plausisse (see v. 77). EXPLANATORY

NOTES

1 Cf. Casaubon: Romani viri docli qui témpora sua inter negotia & stadia dividebant . . . circa Augusti finem lucubrare incipiebant, ut diserté scribit Pliny secundus, epístola V. libri III. . . . Hac fine videntur soliti Roma exire Persius, fc Caesius liassus & in agros secedere: quos habuerunt, hie quidem in Sabinis: Persius vero in ora Hetruriae, agro Lunensi (Learned R o m a n men who divided their time between business and studies began to elucúbrate around the end of August, as Pliny Secundus, Letters, I I I , v, clearly describes; toward this end Persius and Caesius Bassus seem to have been accustomed to leave R o m e and withdraw to country estates they possessed, Caesius Bassus to the Sabines, Persius to the shore of Etruria, the land of Luna). 2 T a k e n f r o m the Scholiast. 3 For the reference to Horace, see Epistulae, I, x i x , 7-8: Ennius ipse pater numquam nisi potus ad arma porsiluit dicenda (Loeb: " E v e n Father Ennius never sprang forth to tell of arms save after much drinking"). Holyday reports various orders of descent of the soul, but none is quite like Dryden's. 4 Dryden's suggestion that Lucan assisted Persius is without parallel in the commentaries, but Prateus also find these verses elegans. 5 Casaubon: vivum cespitem opponit messi, id est, annuo proventui (he opposes the living turf to the harvest, that is, the annual crop). Prateus: Huic non modó debes opitulari de annuo proventu & de superfluo, sed etiam de ipsis fundís (to this man you ought to bring aid not only from

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the annual yield and from what is left over b u t even from the lands themselves). 6 Prateus also explains that the tabella (see v. 33: board) is colons marini (of the color of the sea). 7 For funeral customs, cf. Persius III, 206-212. Dryden's speculations concerning spices are without parallel in the commentaries. Prateus, however, does refer to Pliny's account (XII, esp. x l i - x l i i i ) of the use of incense at funerals, its adulteration, and the varieties of cinnamon and cassia. 8-10 See Suetonius, Caligula, X L I I I - X L V I I . Prateus and Casaubon, with reference to Suetonius, report the essential information. T h e commentaries report only the first of Dryden's two theories concerning the ashes (note 8). 11 T h e first part of this note is paralleled by Casaubon's comment; the second part appears to be original with Dryden. i s T h e r e are parallels to Dryden's note in the commentaries, but they are without verbal similarities. 13 T h e information is standard, but for phrasing, cf. Prateus's comment that the slaves were patted in order to show the good condition of their bodies to the buyers and were made to dance and sing to show their agility and activity, good likeing. " G o o d condition, e m b o n p o i n t " (OED). 14 Cf. Holyday: " B u t by acewus is generally understood the Sorites, said to be invented by Chrysippus. . . . Casaubon . . . says here, that Persius speaking to the Covetous man, says . . . teach me to set an end to thy Covetousness: but alas, thou canst no more set bounds to T h a t , then Chrysippus could of old set an end to his Sorites."

Contributions

to Examen Poeticum

Examen Poeticum: Being The Third Part of Miscellany Poems was published in the summer of 1693. 1 A "Letter to the R e a d e r " from Jacob T o n s o n , who hacl argued pointedly with Dryden about the contents the preceding year, 2 attributes the eight-year g a p between his second miscellany (Sylvee, in 1685) and his third (Examen Poeticum) to the labor of "soliciting the translating of Juvenal and Persius." T h e title has nothing to do with examen as used in Of Dramatick Poesie twenty-five years earlier ("Examen of the Silent Woman"), where examen, borrowed from Corneille's use of the word in his three-volume Works of 1660, means "analysis," specifically the analysis and justification of a piece of poetry or drama. Rather, Dryden's source here, as the two mottoes prefixed to the volume make clear, is Virgil's Georgics, where examen means a swarm 1 Macdonald (p. 67) cites the London Gazette, 23-27 March 1693 ("The Third Part o£ Miscellany Poems . . . is preparing for the Press to come out next Term"), and also (p. 73) the Gentleman's Journal for June and July ("Examen Poeticum . . . has been Publish'd"). ' W a r d , Letters, pp. 45-52.

69«

Commentary

of bees; thus the v o l u m e ' s title, " A P o e t i c S w a r m of B e e s , " alludes t o the contents as h o n e y g a r n e r e d f r o m various sources. T h e sources, ancient a n d m o d e r n , f r o m w h i c h the h o n e y was g a r n e r e d w e r e n o t h i n g if n o t diverse. Examen Poelicum began with a hundred pages of D r y d e n ' s O v i d ( B o o k I of the Metamorphoses complete, p l u s single extracts f r o m B o o k s I X a n d X I I I , respectively); a n d it ended, 450 pages later, w i t h T a t e ' s verse translation of Syphilis, an eighty-four-page r e n d i t i o n of a L a t i n p o e m o n " t h e F r e n c h disease" by Fracastorius, a b i o g r a p h y of w h o m i n t r o d u c e d the translation. A b o u t 150 pages of Examen Poelicum w e r e w r i t t e n by D r y d e n . I n a d d i t i o n to the p o e m s inc l u d e d here, the v o l u m e also c o n t a i n e d five p o e m s D r y d e n h a d published earlier. 3 A m o n g the best of the 120-odd separate items i n the miscellany were, besides D r y d e n ' s contributions, C o n g r e v e ' s translations of H o m e r , discussed in the dedication, a n d Prior's " T o the H o n o u r a b l e M r . C h a r l e s M o n t a g u e . " Several c o n t r i b u t i o n s w e r e a n o n y m o u s . A m o n g o t h e r specified poets represented w e r e A d d i s o n (with a p o e m on D r y d e n ) , B u c k i n g h a m , H e n r y C r o m w e l l , Sidney G o d o l p h i n , G r a n v i l l e , N a t h a n i e l L e e , M u l g r a v e , Rochester, a n d W a l l e r . D r y d e n ' s c o n t r i b u t i o n s to Examen Poelicum w e r e mostly his versions of the Metamorphoses, h a i l e d enthusiastically by a writer in the Gentleman's Journal for N o v e m b e r 1692. 4 O f the 1,916 lines of p o e t r y contributed by D r y d e n to the miscellany, 1,527 are f r o m O v i d ; the rest, aside f r o m the 195 lines of H o m e r , consist of prologues, songs, a n d o t h e r brief pieces. L o r d R a d c l i f f e , to w h o m Examen Poelicum is dedicated, has b e e n identified as the " L o r d R „ " f o u r of whose poems a p p e a r e d in Examen Poeticum a n d three i n The Fourth Part of Miscellany Poems in 1694. 5 I n 1687 R a d c l i f f e married the d a u g h t e r of Charles II a n d M a r y Davies, the actress; o n his father's d e a t h in 1696/7 h e b e c a m e E a r l of D e r w e n t w a t e r ; h e died i n 1705. T h o u g h D r y d e n in the second sentence of the d e d i c a t i o n refers to R a d c l i f f e ' s " a c c e p t a n c e " of the miscellany, seemingly i m p l y i n g financial support, h e w r o t e to T o n s o n 011 30 A u g u s t 1693 ( W a r d , Letters, p . 58) that " I a m sure y o u t h o u g h t M y L o r d R a d c l y f f e w o u ' d h a v e d o n e something: I ghessd m o r e truly, that h e c o u ' d n o t . " T h e greatest a d m i r e r of the d e d i c a t i o n as an act of practical criticism a n d as a n expression of critical theory was u n q u e s t i o n a b l y P o p e , w h o s e Essay on Criticism, w r i t t e n p e r h a p s some fifteen years later a n d p u b l i s h e d in 1 7 1 1 , echoed the earlier w o r k in several couplets, images, a n d ideas (see notes to lines 40, 64, a n d 266). Sir W a l t e r Scott later p a i d a spirited Macdonald, p. 73. ' T h e paragraph in the Gentleman's Journal (p. 3) speaks of Sandys's Ovid as having been impaired by his voluntary submission to "too strict" a "confinement," and as being obsolete now bccause of improvements in language and ways of writing. After a reference to recent translations of Ovid's epistles, elegies, "and some other of his Works," the writer hails the forthcoming Metamorphoses by "so many able hands." "David Vieth, "Poems by 'My Lord R.': Rochester versus Radclyffe," PMLA, I.XXII (1957), 612-619. 4

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tribute to the dedication as a richly emotional example of Dryden's later prose (S-S, XII, 51-52). If the dedication communicates a lively sense of outrage against insults a n d of magnanimous superiority to moralizers, carping hypercritics, false flatterers, inferior translators, p e d a n t i c commentators, epic digressors, a n d governments m a d e u p of timeservers a n d blockheads, still it somehow manages to rise above polemics a n d lamentation a n d to give us a selfportrait of the a u t h o r which is at once personal, witty, a n d mellow. H e r e is Dryden the friend a n d household companion of an unmoneyed dedicatee whose present noble r a n k never causes h i m to forget that he was once, like Dryden, n o more t h a n one of the gentry. H e r e we see the poet listening to the charming voice of his patron's wife, offspring of a king a n d a woman who h a d charmed the king; a n d the p a t r o n a n d his wife in their turn listening to the poet read aloud his new version of Ovid—the Metamorphoses, or perhaps the Art of Love. Here, once again, we witness the enthusiasm of Dryden, the practicing dramatist, for his "greater Fathers," "our Predecessours . . . our Masters," Shakespeare a n d Jonson; a n d here once again, as in Of Dramatick Poesie twenty-five years before, we hear Dryden celebrate the Elizabethan in preference even to the A t h e n i a n stage. T h e enterprise of literature moves forward, even in Dryden's old age a n d darker days. Congreve, just emerging, has translated a bit of H o m e r a n d ought to be f u n d e d to do much more. Dryden's latest versions of Latin poetry are "the best of all my Endeavours in this kind." A n d despite the fact that "in this Satirical, a n d Censorious Age" neither Dryden nor his p a t r o n Radcliffe can escape travesty or censure, our author's prose remains, as ever, superbly equal to the task of d e f e n d i n g poetry against her enemies in epigrams not to b e easily forgotten or brushed aside.

TITLE PAGE Epigraph. Georgics, IV, vv. 100-101, 152-153) of the first: "From these [bees] at H u g e heavy Honey-Combs, of Golden translated: " T h a t which was sought out, good."

157. Cf. Dryden's version (11. pointed Seasons h o p e to press / Juice." T h e second may be they store u p for the common

DEDICATION P. 363: 1. 8 equitable. Valid in "equity" as distinguished f r o m "law"; fair, just, reasonable ( O E D ) : more than merely "legal." 363:8-9 other Poets. T h o u g h the prime m e a n i n g of "other" (as the rest of the sentence shows) is "other t h a n myself, J o h n Dryden," there is a second possible private reading (especially of the first half of the sentence): "other than yourself." See the h e a d n o t e on Radcliffe as contributor to the volume. 363:17 Gown. " T h e legal or clerical profession" (OED). For the theory that Dryden h a d once considered taking clerical orders, see "A Session of the

6g8

Commentary

Poets" in George deF. Lord, Poems on Affairs of State, I (1963), 353, 11. 9-14 and n. "There was a story, mentioned for example by Settle in his Absalom Senior [reprinted in H. W. Jones, Anti-Achitophel (1961), p. 48], that Dryden once wished to enter the priesthood. This Dryden elsewhere [in preface to Fables (1700), sig. *D2; Watson, II, 292] denies" (Noyes). 363:26-27 All whom they affect, look Golden to them. Malone quotes Pope, Essay on Criticism, 11. 558-559: All seems Infected that th'Infected spy, As all looks yellow to the Jaundic'd Eye. 364:14 the best Poet, and the best Patron. Charles Sackville, Lord Buckhurst (1638-1706), Earl of Middlesex (1685) and Dorset (1677), ordinarily referred to as "Buckhurst" or "Dorset." On him, see dedication of the essay Of Dramatick Poesie (Works, XVII, 3 ff.) and note on dedication of the Discourse of Satire, p. 527, above. He was said to have helped Dryden financially after Dryden's fall from the laureateship. 364:15 when in the full perfection. Noyes quotes Dorset's satirical epistle, To Mr. Edxoard Howard, on his Incomparable Poem, called the British Princess: Wit, like tierce-claret, when't begins to pall, Neglected lies, and's of no use at all, But, in its full perfection of decay, Turns vinegar, and comes again in play. On the idea, cf. Pope, Essay on Criticism, 11. 36-37. Howard was Dryden's brother-in-law. 364:16-17 the corruption of a Poet, is the Generation of a Critick. See the note on a similar aphorism in Works, IX, 321. Dryden's use of such "corruption" antitheses (e.g., in Life of Lucian [1711, pp. 50-51; Watson, II, 212] and in preface to Fables [1700, sigs. * B a n - * C i ; Watson, II, 282]) stems not only from Aristotle's De Generatione et Corruptione but also from the common Latin tag, frequent in the Renaissance and in the seventeenth century, corruptio optimi pessima (the corruption of the best is worst), used, e.g., by Denham, Progress of Learning (1668), 11. 175-176: " 'Tis the most certain sign, the world's accurst, / That the best things corrupted, are the worst." See Tilley, C 668. 364:24-25 Zoili, and Momi. Zoi'luses and Momuses. Zoi'lus was a grammarian of Amphipolis whose attacks on Homer made his name a synonym for carping criticism. Momiis, god of mockery, was also representative of the carping critic. 364:26-27 he who endeavour'd to defame Virgil. Perhaps Carvilius Pictor, author of Aeneidomastix ("Scourge of the Aeneid"). Ker cites W. S. Teuffel, History of Roman Literature (1891-1892), §225, 3, which lists Pictor, Herennius, Faustus, Bavius, and Melius among others who attacked Virgil. 365:4-6 Petronius . . . fell himself in his attempt. In Petronius's Satyricon, sec. 118-124, a speaker, Eumolpus, prescribes rules for writing poetry of the caliber of Homer, Virgil, or Horace. Citing the difficulty of writing such poetry about the Roman civil wars (the theme of

Notes

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363-366

699

Lucan's Pharsalia), Eumolpus then produces nearly 200 lines of dactylic hexameter of his own on this topic. 365:9 Scaliger, ruou'd . . . turn down Homer. Julius Caesar Scaliger, as Noyes notes, attacks Homer in his Poelices Libri Septem, 3. 365:13-14 who had not rather be that Homer than this Scaliger. Cf. Longinus, X X X I I I , 3-4: "Apollonius, for instance, in his Argonautica is an impeccable poet. . . . Yet would you not rather be H o m e r than Apollonius?" (Locb trans.). Cf. The Authors Apology for Heroique Poetry and Poetique Licence (1677, sig. b2; Watson, I, 198). 365:14 Hypcrcritick. "Hypercriticus is the title of Scaliger's Sixth Book, in which the passage 011 Claudian occurs, c[hapter] 5 " (Ker). 365:15 Claudian. Flourished about A.D. 400; author of The Rape of Proserpine and other works. 365:18-19 What a Censure has he made of Lucan, that he rather seems to Dark than Sing. "[Scaliger] censures Lucan, as Dryden states: Interdum mihi latrare, non canere videtur [sometimes he seems to me to bark, not sing]" (Noyes). 365:20-21 he had Learn'd Latin, as late as they tell us he did Greek. "Julius Scaliger was above thirty years old before he learned Greek, and he never attained any considerable knowledge of that language. H e was forty-seven years old, when his first work was published" (Malone). 365:21-22 Yet he came o f f , with a pace tua, by your good leave, Lucan. Scaliger apologized to Lucan before insulting him; the sentence quoted by Noyes (see 365:18-1911) begins Proinde ut nimis fortasse libera dicam (and so as I may say perhaps all too boldly). Scaliger's dictum is quoted more fully by Ker. 365:25 ff. We have txuo sorts of those Gentlemen etc. Perhaps the chief writer Dryden has in mind for the first sort is Gerard Langbaine, who in his Momus Triumphant (1688) and again in An Account of the English Dramatick Poets (1691) had combined praise of the Elizabethans with some criticism of Dryden, both as a playwright and as a critic of the Elizabethans; but there were others. Nicholas Brady, for example, who eulogized Shadwell at his funeral in 1693, had written in a prologue to his play, The Rape (1692): " W e r e o u r great B e n alive, how would h e rage! / H o w would he scourge the folly of this age, / A n d lash the Vermine w h o infect the Stage!" (see G . E. Bentley, Shakespeare and Jonson [1945], p. 220; see also pp. 198, 208, 222). For the "second sort" see the passage beg i n n i n g at 366:17 and 11. 365:32-33 Non . . . odit. "2 Epistles, i. 88, 89, quoted inaccurately, from memory: ' H e does not support buried genius, but attacks our writings; us and our writings he maliciously dislikes' " (Noyes). 366:4-5 thrust out us their Laioful Issue. T h i n l y veiled political allusion to the thrusting out of James II five years earlier. 366:8-9 their woful pieces. Scott seems to have taken this as a reference to Ryiner's tragedy Edgar (published 1678 but never acted), a stock j o k e down to Addison's Spectator 592 (1714); but Dryden's formal attack o n R y m e r begins at line 168. 366:17 another sort of Insects. Doubtless a special reference to T h o m a s

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Rymer, who h a d published A Short View of Tragedy: It's Original, Excellency, and Corruption, With Some Reflections on Shakespear, and other Practitioners for the Stage in 1692, with some uncomplimentary references to Dryden. See notes o n 366:17-18, 366:33-34, a n d 367:8. 3 6 6 : 1 7 - 1 8 more venomous than the former. O n 30 August 1693, shortly after Examen Poeticum was published, Dryden wrote T o n s o n (Ward, Letters, pp. 58-59) as follows: "About a fortnight ago I h a d an intimation f r o m a friend by letter. T h a t one of the Secretaryes, I suppose T r e n c h a r d h a d informd the Queen, that I had abusd her Government, (those were the words) in my Epistle to my Lord Radclyffe [see 363:18-23]; 8c that thereupon, she h a d commanded her Historiographer Rymer, to fall u p o n my Playes; wcl> h e assures me is now doeing. I d o u b t not his malice, from a former h i n t you gave me: & if he be employd, I am confident tis of his own seeking; who you know has spoken slightly of me in his last Critique [Rymer's A Short View of Tragedy]: & that gave m e occasion to snarl againe [a reference to the present passage]." 366:21 attack the Living by raking up the Ashes of the Dead. Dryden alludes to Rymer's strong preference for Greek tragedy as a standard for the genre a n d to his denigration of even the greatest English achievements, such as Othello. 366:27-28 as at the Funerals of a Turkish Emperour. Cf. Sir Paul Rycaut, The Turkish History from the Original of that Nation, to the Growth of the Ottoman Empire . . . with a Continuation to this Present Year MDCLXXXVII . . . (6th ed., 1687), I, 559: " A n d that the death of Solyman might then be m a d e known to all men, the Ensigns were presently let fall, a n d trailed u p o n the ground, a dead March sounded, a n d heavy silence commanded to be kept through all the Camp." 366:30 succeed. Are the legitimate successors. 366:33-34 I am the Man . . . seemingly Courted, and secretly Undermin'd. Dryden apparently has in m i n d Rymer's reference to h i m in A Short View of Tragedy (Rymer, Critical Works, p p . 92-93) after Rymer's account of the plot of Aeschylus's Persians: "If Mr. Dryden might try his Pen on this Subject, doubtless, to an Audience that heartily love their Countrey, a n d glory in the Vertue of their Ancestors, his imitation of yEschylus would have better success, a n d would Pit, Box, a n d Gallery, far beyond any thing now in possession of the Stage, however wrought u p by the unimitable Shakespear." T h e phrase "Pit, Box, a n d Gallery," of course, recalls The Rehearsal, a reference hardly likely to please Dryden. 366:34-35 I shall be able to defend my self. Cf. Dryden's letter to Dennis of March 1694 (Ward, Letters, p. 72); To my Dear Friend Mr. Congreve, 11. 41-48; and the prologue to Love Triumphant (1694), 11. 47-50. Dryden means that more recent times have been "completing" what Greek tragedy "began." 367:5-6 'Tis ill going to Law for an Estate, with him who is in possession of it. " R y m e r had been a p p o i n t e d Historiographer in the room of our author, soon after the Revolution" (Malone). 367:8 quantum mutatus. T h e famous phrase is used by Aeneas as he addresses the ghost of Hector (Aeneid, II, 274). Ker cites the conclusion of Rymer's dedication to the Earl of Dorset of his Short View: "Three, in-

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deed, of the Epick (the two by Homer and Virgil's Aeneids) are reckon'd in the degree of Perfection: But amongst the Tragedies, only the Oedipus of Sophocles. That, by Corneille, and by others of a Modern Cut, quantum Mutatus!" (Rymer, Critical Works, p. 83) in which "others," as Noyes says, "is a direct attack on the Oedipus of Dryden and Lee, made more cutting by being addressed to Dryden's favorite patron." 3 6 7 : 1 1 - 1 2 Miscellany Poems. Quoting the dedication's opening words, above. 367:23 arguing like Perault. In the ancients-moderns controversy being carried on in England by Temple, Wotton, and others, Charles Perrault (1628-1703) was a strong "modern" among the French. T h e third volume of his Parallel of the Ancients and the Moderns (1688-1697) had appeared in 1692; it dealt with poetry. 367:29-31 a Chorus . . . an unprofitable incumbrance. Dryden, with his activist un-Miltonic view of drama, shows awareness of the ancient Greek chorus as an expensive, well-established public institution, with no real modern British analogies. Noyes cites the opening of Rymer's Short View: "What Reformation may not we expect now, that in France they see the necessity of a Chorus to their Tragedies? . . . T h e Chorus was the root and original, and is certainly always the most necessary part of Tragedy" (Rymer, Critical Works, p. 84). 367:34 Lay-Bishops. Applied derisively to those who set up as teachers of morality (OED). 368:4 as they have the Lawrel. Apparently a reference to Nahum Tate, poet laureate after Shadwell's death in 1692. 368:8 Conduct. Formal excellence, technical control. 368:14-15 They follow . . . Rules. Cf. Pope, Essay on Criticism, 11. 7 1 2 7i3368:24 handle. A fact or circumstance that may be "laid hold of" or taken advantage of for some purpose; an occasion, opportunity, cxcuse, pretext (OED). 368:25-28 There is . . . Merit in delighting . . . Or . . . Horace is in the wrong. "It is not enough to make your hearers grin with laughter—though even in that there is some merit" (Satires, I, x, 7-8; Loeb trans.). 368:28 Lucilius. Horace's predecessor-satirist, whose merits and failings he discusses at the opening of the satire referred to. 368:35 this Satirical, and Censorious Age. Cf. Dryden's Eleonora, 11. 367-370, and its epistle dedicatory (Works, III, 246, 234). 369:13-14 has deriv'd from him a Charming Behaviour. Radcliffe married Charles II's daughter in 1687 when he was twenty-two and she was fourteen; she was now twenty. Cf. J. H. Wilson, All the King's Ladies (1958), p. 140. 369:16 the Muse Sings, the Grace accompanies. " T h e poet apparently speaks of Lady Radcliffe, who probably inherited those vocal powers with which her mother, Moll Davies, charmed Charles II. T h e Grace might be her daughter" (S-S, XII, 61). 369:32-33 the best of all my Endeavours. Malone notes • Dryden's observed tendency to prefer his own most recent performance. 370:5 If Wit be pleasantry. Dryden develops the same Virgil-Ovid con-

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trast in the preface to Fables (1700, sigs. *Bii»-*B2; Watson, II, 279). 370:6 propriety. Appropriateness. 370:8 Preface to his Heroical Epistles. See Works, I, 109-119. 370:10-35 A summary statement of Dryden's theory of translation will appear with the commentary on his dedication of the Aeneis, in this edition. 370:12-13 Chapman . . . professes to have done it . . . paraphrastically. See the 1616 preface to Chapman's Homer, ed. Allardyce Nicoll (1957), I, 17, a n d Chapman's " T o the Reader," in ibid., I, 9-10, 11. 118-123. 370:23-24 the so much admir'd Sandys. Sandys's Ovid went through many editions. See Fredson Bowers, George Sandys: A Bibliography of Printed Editions in England to iyoo (1950). Dryden's other references to Sandys are more favorable than here: cf. the preface to Ovid's Epistles (Works, I, 109); Of Dramatick Poesie (Works, XVII, 73); and the preface to Fables (1700, sig. *A; Watson, II, 270). Dryden's indebtedness to Sandys is detailed in the notes to Metamorphoses, Bk. I, and to the selections f r o m Bks. I X a n d X I I I , below. "I never R e a d h i m since I was a Boy" (370:25) is to be taken in a Pickwickian sense. 370:31-33 They neither knew good Verse, nor lov'd it; they were Scholars . . . but . . . Pedants. Watson compares Johnson's statement, in his life of Cowley, that the metaphysical poets were ostentatious of their learning. 371:3 the Dutch Commentatours. As Kinsley notes, Dryden presumably means Heinsius and Cnipping. See Works, I, 330, 331, 338. For Dryden's anti-Dutch disdain, see the preface to Sylvee (Works, III, 4, 16, 273). 371:5 their own dull Poets. T h o u g h n o one has alleged that Dryden read in the original any of the numerous Dutch contemporary poets, it is possible that he could have seen the Latin poems of Daniel Heinsius. See Discourse of Satire, 2 8 : 3 - 4 ^ 371:11 Synalephas. For commentary 011 synaloephas, see Works, I, 326330; R. D. Jameson, "Notes on Dryden's 'Lost Prosodia,'" MP, X X (1923), 241-253; Paul Fussell, Jr., Theory of Prosody in Eighteenth-Century England (1954)371:13 his oion turns. See Discourse of Satire, 84:14-15n. 371:22 Apollo's Priest etc. See Chapman's Homer, ed. Nicoll, I, 23. 371:27-28 See ibid. 371:27 Alpha. T h a t is, Book I, since the books of the Iliad and the Odyssey are n u m b e r e d by the twenty-four letters of the Greek alphabet, the Iliad with capitals, the Odyssey with lowercase letters. 372:12 I n the Greek line q u o t e d by Dryden, the next to last word ends with a vowel, the last word begins with one. 372:12-14 In each pair of words quoted, the final alpha of the first word has been dropped before the vowel that begins the second word (muria and algea have been reduced to muri and alge). 372:14 in revenge. Fanciful. T h e final letter is a case ending, dropped in speech as naturally as the "g" of "ing" might be in English. 3 7 2 : 1 5 - 1 6 Musas colere severiores. A tag f r o m Martial, Epigrams, IX, xi, used previously by Dryden in Of Dramatick Poesie (Works, XVII, 76, 386). 372:24 Iron Age. A glance ahead at Dryden's Ovid translation, Meta-

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morphoses, I, 162-191. For the tone, see above, To Kneller, 1. 118: "these Inferiour Times." 372:30 one by Mr. Congreve. Dryden here counts Congreve's two selections from Iliad, XXIV—Priam's Lamentation and Petition and The Lamentations of Hecuba, Andromache, and Helen—as a single fragment. Congreve's first play, The Old Batchelour, had appeared in January 1692/3, and in February, according to Malone, it went through three editions. Dryden's great tribute, the poem to Congreve, was only a year away. 372:32-373:1 the other. Dryden means The Last parting of Hector and Andromache, from Iliad, VI. 373:2-3 added to the Tenderness . . . he found in the Original. See the Twickenham edition of Pope's Homer, VII, cxl-cxli, for sample passages and discussion. 373:6-7 To cause Admiration, is . . . the . . . design of an Epick Poem. Standard critical doctrine; cf. Le Bossu: "The chief Passion which it [the epic poem] aims to excite being Admiration, nothing is so conducive to that as the Marvellous" (A General View of the Epic Poem . . . Extracted from Bossu, in the Twickenham edition of Pope's Homer, IX, 22). Admiration. Surprise, wonder. 373:8-9 to Arraign our Master. What follows is in the vein of Homerbaiting or Homer-burlesquing, a Renaissance tradition that to some extent influenced Dryden. See the Twickenham edition of Pope's Homer, VII, cxxiv-cxxvi, and William Frost, Dryden and the Art of Translation (1955), pp. 65-66. For an influential precedent in a critic Dryden was certainly familiar with, see the passage in J . C. Scaliger's Poetices (1561), p. 233, in which Andromache's lamentations for the dead Hector in Iliad, X X I I , are compared unfavorably with parallel passages involving Euryalus's mother in the Aeneid, 373:10 somewhat too digressive. René Rapin, Comparaison Des Poëmes d'Homere et de Virgile (Paris, 1654), ch. xi, notes that the "caractere essentiel . . . d'Homere est la longueur à dire 8c à raconter les choses. C'est le plus grand parleur cle toute l'antiquité, & les Grecs mesme tout grands discoureurs qu'ils estoient, ont repris dans Homere cette intemperance de paroles, comme un défaut considerable du discours. . . . Il est dans des redites, non seulement de mesmes paroles; mais aussi de mesmes choses, & clans des repetitions perpetuelles." 3 7 3 : 1 3 - 1 4 runs off her Biass. Digresses. 373:21 His Dear Friends the Commentators. The chief of Homeric friendly commentators was Eustathius, who characterized the speech of Andromache to Hector as one that "someone greatly grieved at the loss of a friend or benefactor would say" (see the note on Iliad, VI, 413, in Eustatathii, Commentarii Ad Homeri Iliadem [i960], II, 123). 373:27-28 Virgil had the Gift of expressing much in little, and sometimes in silence. See Rapin's Comparaison, ch. xi (speaking of Virgil): "II faut s'appliquer à le suivre de près pour connoistre que son silence, en de certains endroits, dit beaucoup, Se qu'il est d'une discretion exquise. Car quand on sçait un peu entrer dans son sens, on le trouve quelquefois aussi admirable, dans ce qu'il ne dit pas que dans ce qu'il dit." 373:29-30 though he yielded much to Homer in Invention, he more

Commentary Extell'd him in his Admirable Judgment. O n H o m e r e x c e l l i n g in i n v e n t i o n , see R a p i n ' s Comparaison, ch. x i v . V i r g i l ' s j u d g m e n t is praised at t h e end of c h a p t e r ix, w h e r e it is suggested that h e is " l e plus sage, le plus discret, 8c le plus j u d i c i e u x de tous c e u x q u i a y e n t jamais é c r i t . " 374:6 the irascible appetite, as our Philosophers call it. " 'Perturbations a n d passions, w h i c h t r o u b l e the phantasie, . . . are c o m m o n l y r e d u c e d into two inclinations, Irascible, a n d C o n c u p i s c i b l e ' ( B u r t o n , I. ii. 3. 3)" (Kinsley). 374:15 Concurrent. " R i v a l claimant, c o m p e t i t o r " ( O ED). 3 7 4 : 1 8 - 1 9 The Earl of Mulgrave. O n J o h n Sheffield, Earl o í M u l g r a v e (1648-1721), see J. H . W i l s o n , The Court Wits of the Restoration (1948), p p . 190-194, 2 1 2 - 2 1 3 , a n d passim. F o r the E a r l of M u l g r a v e a n d D r y d e n ' s connections with him, see Works, II, 278-279, 382. 374:23 the Translator has thrown him down. Saintsbury d e e m e d this verdict unjust, a n d t h o u g h t that it was a r e b o u n d f r o m D r y d e n ' s y o u t h f u l enthusiasm for C h a p m a n expressed in the dedication of The Spanish Fryar (1681); b u t C h a p m a n ' s j u n g l c l i k e linguistic density has l o n g b e e n a c o m m o n p l a c e of criticism. 374:24-25 monstrous length of Verse. I.e., the " f o u r t e e n e r s " (iambic h e p t a m e t e r couplets) i n t o w h i c h C h a p m a n translated the Iliad. F o r three a p p a r e n t echoes of C h a p m a n in twelve lines of D r y d e n ' s version, see the notes to the o p e n i n g of The Last parting of Hector and Andromache, below. 374:33 Sir Samuel Tuke. A u t h o r of The Adventures of Five Hours (1663). K e r cites a l i n e f r o m the p r o l o g u e to T u k e ' s p l a y : " A modest m a n m a y praise what's n o t his o w n . " O n the play, whose success D r y d e n evidently h a d n o t f o r g o t t e n thirty years later, see Works, V I I I , 235-236; X , 378, 443-444n. 374:34-35 My Fellows. T h e y i n c l u d e d L o r d R a d c l i f f e himself (see the h e a d n o t e above).

Translations from Ovid's Metamorphoses H a v i n g translated three of O v i d ' s epistles i n 1680, 1 D r y d e n r e t u r n e d to O v i d in the early 1690's, stimulated in part, it seems, by the k n o w l e d g e that N a h u m T a t e , o n e of his successors as p o e t laureate, was p l a n n i n g to b r i n g o u t a version of t h e Metamorphoses. O n 3 O c t o b e r 1692 D r y d e n h a d written T o n s o n , " I f I c a n n o t g e t m y price, w c h shall be twenty guynneas, I will translate the w h o l e b o o k ; w c l 1 c o m i n g o u t b e f o r e the w h o l e translation w i l l spoyl T a t e ' s u n d e r t a k i n g s . " 2 W h a t interested T o n s o n a b o u t this letter was D r y d e n ' s h a v i n g set a price of 20 g u i n e a s o n the 759 lines h e h a d 1 For a discussion of Dryden's early interest in Ovid, see Works, I, 323-326. ' W a r d , Letters, p. 50. Tate's translation, a joint undertaking, ultimately appeared in 1697 (ibid., p. 162) under the title, Ovid's Metamorphosis Translated by Several Hands, Vol. I, Containing the first Five Books. T a t e signed the dedication.

Examen

Poeticum

translated f r o m B o o k I, w h i c h h e h a d shortly t h e r e a f t e r (as T o n s o n rem i n d e d him) offered unsuccessfully to the rival p u b l i s h e r M o t t e u x . O n this basis, a n d since h e h a d already a d v a n c e d 50 g u i n e a s to D r y d e n , T o n s o n considered himself e n t i t l e d to a total of at least 1,900 lines as D r y d e n ' s c o n t r i b u t i o n to the f o r t h c o m i n g miscellany. 3 D r y d e n seems to h a v e acquiesced, for o n its a p p e a r a n c e in 1693, Examen Poeticum contained a total of 1,916 lines f r o m D r y d e n ; of these, m o r e than three-quarters w e r e f r o m the Metamorphoses. A l t h o u g h there seems some possibility that D r y d e n may h a v e consulted o t h e r L a t i n editions of Ovicl, 4 the established o p i n i o n of m o d e r n scholars h i p 6 is that h e relied heavily o n the 1670 v a r i o r u m edition of the D u t c h scholar B o r c h a r d C n i p p i n g 0 a n d o n the 1689 D e l p h i n edition of the F r e n c h scholar D a n i e l Crispinus; T accordingly, C r i s p i n u s has customarily b e e n used in the notes a n d C n i p p i n g has been consulted. E v i d e n c e f o r D r y d e n ' s use of specific t e x t u a l r e a d i n g s f r o m these t w o editions m a y b e f o u n d in the notes below. 8 A t o n e or two p o i n t s 9 D r y d e n ' s version seems to be slightly closer to the L a t i n prose p a r a p h r a s e s u p p l i e d by C r i s p i n u s than to O v i d ' s verse. 1 0 D e s p i t e D r y d e n ' s silence a b o u t G o l d i n g ' s 1567 translation of O v i d 1 1 a n d his dismissal of G e o r g e Sandys's translation of 1626, 1 2 his parallels w i t h these predecessors are f r e q u e n t e n o u g h to m a k e both of them clear sources f o r D r y d e n ' s Metamorphoses, a l t h o u g h the parallels w i t h Sandys " W a r d , Letters, p. 51. 4 In Metamorphoses, I, 820, Dryden translates agios as "fruitful Fields of Arcady," making one wonder if he could have seen a text reading Argos—the emendation later adopted by the I.oeb edition—and if the name and the location of Argos could have suggested Arcady. Both the editions we arc sure he used read agios. In Metamorphoses, I, 333, Dryden's " W o r l d " may translate the terras of a Cnipping note taken from Heinsius; or he may have seen a text reading terras instead of the getites given by Cnipping and Crispinus. •Established by James McG. Bottkol's pioneering contribution, "Dryden's Latin Scholarship," MP, X L (1943), 241-254, reprinted in Essential Articles for the Study of John Dryden, ed. II. T . Swcdenbcrg, Jr. (19G6), pp. 397-424. 0 P. Ovidii Nasonis Opera Omnia (Leiden, 1G70). See Bottkol, "Dryden's Latin Scholarship," p. 243. ' D a n i e l Crispinus, ed., Publii Ovidii Nasonis Opera (Lyon, 1689). For Dryden's use of both the Cnipping and the Crispinus editions, see Bottkol, "Dryden's Latin Scholarship," pp. 251-252. 8 Concerning tellus, see Metamorphoses, I, 7n; and, concerning Confremuire, see I, 25711. 0 See Metamorphoses, I, 146-147^ 591-59211. »Evidence for Dryden's use of the editorial apparatus in Cnipping or in Crispinus may he found in the notes to I, 89-91, 222, 242, 244, 397, 417, 501, and 788; IX, 40. M The XV. bookes of P. Ovidius Naso, entytuled Metamorphosis. "Ovid's Metamorphosis Englished. See the dedication of Examen Poeticum, 370:23-24 and n. A t a number of points in the notes to Metamorphoses, I, the literal prose version of John Brinsley (1618), sometimes more faithful to the original than the Loeb, has been quoted to show Ovid's syntax and plain sense. There is no evidence, however, that Dryden knew of, or used, Brinsley.

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are three or f o u r times as frequent as those with G o l d i n g in the Metamorphoses selections that appeared in the Examen Poeticum. T e n percent of Dryden's rhyme words, for example, had previously been used by one or the other predecessor, Sandys anticipating Dryden f o u r times as frequently as Golding. More than 8 percent of Dryden's lines contain some other kind of apparent echo of a predecessor, and these also are about three times as numerous from Sandys as f r o m Golding. Of more significance, among the 1,500-odd lines of the Metamorphoses in the Examen Poeticum, at least fifteen individual lines and more than thirty couplets closely parallel those of Sandys in rhetorical structure, whereas four individual lines, one couplet, and one triplet parallel Golding's. One line and one couplet rather closely parallel both predecessors. Finally, as the notes below show in detail, there are at least two dozen instances in which some shade of meaning which Dryden adds to Ovid's literal statement, or some interpretation he makes, had been anticipated by either Golding or Sandys, about as often by Golding as by Sandys. Dryden's departures from a verbatim rendering of Ovid perform various functions. T h e largest number of such departures seem to serve the purpose of clarity and make possible the ease and grace of Dryden's own new poetry, but a contrasting kind points deliberately toward the original Metamorphoses, reminding readers of Ovid's Latinity, his individual flavor, and his classic status. 1 3 A n d at least two further functions are discernible in Dryden's departures. First, some of them tend to emphasize qualities inherent in Ovid's narrative art, such as drama, conflict, or physical passion. Other departures contribute what might be called modernization, giving the suggestion of relevancy to the century of the K i n g J a m e s Bible, Bunyan, Milton, and the b a l e f u l — t o Dryden—accession of William I I I . T h e most salient example of anachronism is Dryden's substitution of " L o o v r e " f o r Ovid's Palatia, which is atypical. 1 4 Politics, however, and religion (especially in Miltonic form) do put in discreet appearances. T h e completely un-Ovidian insertion, "Piety in E x i l e m o u r n s , " 1 5 probably alludes to the poet's former royal master, and the obvious analogy between classical and Hebraic accounts of the creation which would occur to any reader of Metamorphoses, I, has been deliberately reinforced by a number of slight Miltonic echoes as well as by quiet allusions to the Bible, to postclassical theology, and to Christian precept. 1 8 Direct echocs of the Latin original (a specics of bilingual pun) apparently occur in Dryden's "Pavement" (I, 507) and in his "Clowns, deplore" (I, 371); also, many nonpunning echoes occur, as in "capacious" (I, 99) and "dispeopl'd" (I, 333). Sec also, as inserted by Dryden, the literary allusions to Lucretius (XIII, 15), to Catullus (I, 1001), to Virgil (I, 726), and, even, anachronistically, to Herrick (XIII, 165). " M o r e characteristic arc refcrcnccs to musical instruments (I, 129) aiul to the use of laurel for poets (I, 755-756). " S e e I, 190, and n " F o r Miltonic echoes, see I, 114, 132, 198, 212, 226, and 997; for the Bible, see I, 119; for generally Christian touches, see I, 155 (God's mercy), 241 (original sin), 506-507 (altars and saints), 510-511 (forgiveness), 512 (rebirth), 521 (relics), and 536-537 (miracles).

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jy6

707

A shaping impulse that clearly operated as a control on Dryden's freedom in translating, however, was his desire to match Ovid's wit and epigrammatic snap. Dryden's substitution o£ " L o o v r e " for Palalia cited above, for example, contrasts sharply with his practice in the passage where Phaeton is advised to seek out his father, A p o l l o the sun-god: His Eastern Mansion is not far from hence, W i t h little pains, you to his Levee go. 1 7 Deucalion calls himself and Pyrrha " a Species in a pair"; Jove, who had told Ovid's Io he was Nec de plebe Deo, assures Dryden's h e is " N o p u n y Pow'r"; and in the age of iron and steel Ovid's comment, "all evil burst forth into this age of baser vein," becomes, in Dryden, "stubborn as the Mettal, were the M e n . " 1 8 T h a t Dryden's aphoristic aims were generated by O v i d himself can be seen especially clearly w h e n — a rarity— similarity of language allows an O v i d i a n point to be imported almost unchanged: Quod modo vena fuit, sub eodem nomine mansit and what was once a vein Its former Name, and N a t u r e did retain. 1 0 Far more typical of Dryden's methods is the slight, electric leap, as w h e n a stretch of Latin, rendered quite literally in the L o e b version, So, then, the earth, which had but lately been a rough and formless tiling, was changed and clothed itself with forms of men before u n k n o w n , is translated by Dryden, From such rude Principles our Form began; A n d Earth was Metamorphos'd into Man. 2 0

The First Book

of Ovid's

Metamorphoses

i - 8 Dryden imitates Sandys's couplet: O f formes, to other bodies chang'd, I sing. Assist, you Gods (from you these wonders spring). 5-6 Cf. Sandys: A n d , from the Worlds first fabrick to these times, Deduce my never discontinued Rymes. " D e d u c e " imitates the L a t i n deducite (Loeb: " b r i n g down my song . . . from the world's very beginning"). O n "deduce" see also J. C. Maxwell, "Pope's Statius and Dryden's O v i d , " N«• 18

50 1,

111-112.

708

Commentary

C n i p p i n g and Crispinus as ad Augusti tempora ("to the time of Augustus [Caesar]"). 5 add . . . Tenour to my Rhimes. A l t h o u g h an " o d d phrase" to Saintsbury, the m e a n i n g of Tenour is "continuance, duration"; T i l l o t s o n has a phrase like Dryden's, "a perpetual tenor of health" ( O E D ) . 7 this Terrestrial Ball. Instead of et terras ("the lands"), C n i p p i n g and Crispinus read ir tellns ("the earth"), which is what Dryden translates. 9 Cf. Sandys: " O n e face had Nature." T h e phrase "if a Face" is Dryden's addition; h e postpones the name " C h a o s " for three lines. His phrase is perhaps suggested by Milton on Death's appearance: " T h e other shape, / If shape it might be call'd that shape had n o n e " (Paradise Lost, II, 666-667). 10 indigested. Sandys uses "undigested" (Ovid's indigesta — disordered). 11 Lump. Used by both Sandys and Golding. 1 1 - 1 2 unfram'd; . . . Chaos nam'd. Also used by Sandys, whose "which they Chaos n a m ' d " is more literal, jarring Seeds. Also used by Sandys. 13-14 Sandys is as adroitly balanced and more literal (in proper names and prose sense) but is less clear to a modern reader: N o T i t a n yet the W o r l d with light adornes; N o r w a x i n g Phoebe fill'd her waned homes. Dryden's " S u n " and " M o o n " for Ovid's " T i t a n " and " P h o e b e " resemble the sol and luna of Crispinus's prose paraphrase as well as of Golding's version. 15 Earth suspended. C n i p p i n g quotes a note by Pontanus which includes the phrase terrae . . . suspensae ("of earth suspended"). 19-20 void of light . . . Waters dark Abyss. Cf. Genesis, I, 2: "darkness was upon the face of the deep." Earth unstable. Used by both Sandys and Golding. unnavigable. Also used by Sandys. ai Cf. Sandys: " N o certayne forme to any one assign'd." 23-24 Cf. Sandys: For, in one body joyn'd T h e C o l d and Hot, the Drie and H u m i d fight, T h e Soft and Hard, the Heavic with the Light. 25 Nature. Dryden omits melior (Sandys: "the better Nature"). 26 intestine. Dryden's addition. 28 grosser Air. Also used by Sandys. Contrast Golding, w h o is more literal: " A n d from the thicke and foggie ayre, he tooke the lightsome skie." 30-31 A n interpretation of "freed them from the blind heap of things . . . and bound them fast in harmony" (Loeb). Perhaps suggested by amice ("in a friendly manner") in Crispinus. 35 Dryden's addition. 37 Seeds. For Latin elementa; cf. 1. 12 above where the same word translates Ovid's semina, a Lucretian locution. 38-39 Dryden melodramatizes O v i d (Loeb: "held the solid land confined in its embrace"). 40 G o l d i n g ends the corresponding line "(what G o d so ere he was)." 42 no unequal portions. For Ovid's aequalis (Loeb: "of like form"). Cf. Sandys: "least the Earth unequall should appeare."

Notes

to Pages

376-378

7°9

43 Cf. Sandys: " H e turn'd it round, in figure of a Sphere." 45 congregated toaters. For Ovid's freta (seas), flow. Condenses Ovid (Loeb: "to spread abroad, to rise in waves"). 46 Sandys's use of three nouns ("Springs, Ponds, Lakes") is more literal. 47 bounding. "Setting bounds to, limiting" (OED). 49 Dryden here omits a line and a half of Ovid. 50 T h e chiasmus is Dryden's (Ovid has verb-noun, verb-noun parallelism). 50-51 T h e Ovidian sequence is plains-valleys-woods-mountains. Ovid bids valleys to sink and mountains to rise. Sandys: "the Plaines extend / . . . rocky Mountaynes." 52-55 Golding follows Ovid's statement more closely: And as two Zones doe cut the Heaven upon the righter side, And other twaine upon the left likewise the same devide, T h e middle in outragious heat exceeding all the rest: Even so likewise through great foresight to God it seemed best. Dryden embroiders in 11. 54-55. 56-57 An expansion of Ovid. Cf. Crispinus's gloss: quae sunt versus polos: "which are toward the poles." 58-59 Cf. Sandys: "the temperate hold / 'Twixt these their seats, the heat well mixt with cold." Rhyme word "cold" is also used in Golding. 60-64 A free rendering of Ovid. Line 61 is Dryden's addition. 65 wretched Mortals. For Ovid's humanas . . . mentes. 66 Wings. For fulminibus ("thunderbolts"). 68 Seas and Shoars. For Ovid's passim ("here and there"), their fury to discharge. Dryden's addition. 71-72 An expansion of Ovid. 74 Regions of the balmy Continent. Dryden's periphrasis for Ovid's Nabataea, the country of the Nabataeans (Arabia). 75-78 Dryden adds the running Persians and the details characterizing Zephyr. 7g-8o Dryden drops Ovid's mention of Scythia here, and adds Boreas's offspring, frozen Waggon. " T h e constellation of the Great Bear (Charles's Wain)" (S-S). 82 With Dryden's "rots with . . . R a i n " compare Golding's "rotten mistes." th' unwholsom year. T h e annual harvest, as Kinsley notes, adding, "Dryden's addition, imitating the Latin use of 'annus.' Cf. Aeneis, ii. 409." 83-86 Dryden's expansion of Ovid. 89-91 Dryden's embroidering of Ovid, adorn. Cnipping gives a note by Pontanus which speaks of the sky as incredibilem . . . ornatum ("incredibly adorned") with stars and planets. 92-96 Dryden captures the plenitude of Ovid's vv. 72-75 by means of a similar cumulative rhetorical series, reinforced by strong meter and the triplet. Sandys is cramped and stiff by contrast, but Golding is a noteworthy competitor: T h e heavenly soyle, to Gods and Starres and Planets first he gave. T h e waters next both fresh and salt he let the fishes have.

710

Commentary

T h e suttle ayrc to flickring fowles and birdes he hath assignde T h e earth to beasts both wilde and tame of sundrie sort and kinde. 92 A paraphrase of Ovid. 93 Dryden omits Ovid's stars here. 94 Dryden's exuberant version of Terra [eras cepil ("earth received beasts"). 95 For Ovid's volucres agitabilis aer ("mobile air [receives] birds"). 97 fF. A Creature of a more Exalted Kind etc. Cf. the creation passage ill The Hind and the Panther, I, 255-275 (Works, III, 1 3 0 - 1 3 1 ) . 99 capacious. From Ovid's capacius ("of a mind more broadly deep"). 100 For Empire form'd. Dryden's addition, fit to rule the rest. Cf. Sandys: "that should command the rest." 103 divided from the Skie. Cf. Golding: "parted from the skie." 104 pliant. Dryden's addition. 105 Prometheus. So Golding, Sandys, and the Cnipping and Crispinus glosses on Ovid's "son of Iapetus." 106 mixt. Having mixed it with. Cf. Sandys: "Which with the living streame Prometheus mixt." 107 the mute Creation. For Ovid's animalia caetera (Loeb: "all other animals"). 108 Earthy Mother. For Ovid's terrain ("earth"). 1 1 0 his own Hereditary Skies. Dryden's lavish version of Ovid's sidera ("the heavens"). Cf. Sandys: " A n d bade him Heavens transcendent glories view." 1 1 1 - 1 1 2 rude. Ovid's rudis. T h e couplet is an epigrammatic version of what the very literal Brinsley rendered: "So the earth which had beene but presently before unwrought and without forme, Being changed put upon it the unknowen shapes of men." With Dryden's second line, cf. Golding: " D i d take the noble shape of man, and was transformed new." 1 1 3 - 1 1 4 T h e rime riche ("New" and "knew") is unusual in Dryden. 1 1 3 The Golden Age was first. Also used by Sandys. Man yet New. Dryden's addition. 1 1 4 uncorrupted Reason. A Miltonic prelapsarian phrase; Ovid says only vindice nullo ("with no avenger") and sine lege ("without law"). Sandys has "without rule." 1 1 5 Good. For Ovid's fidem rectumque ("faith and right"). 1 1 6 Sandys: "As then, there was nor punishment, nor feare." 1 1 7 - 1 1 8 His words . . . opprest. An amplification of Ovid, his Soul sincere. Dryden's addition. 1 1 9 Dryden's addition. An allusion to the doctrine of natural law. Cf. I I Corinthians, 111, 3. 122 all was safe. Also used by Sandys. T h e line interprets Ovid's picture of secure existence without judges. 1 2 3 in distant prospect please. Dryden's addition. 124 Dryden omits Oviclian details about the pine tree's journey. 1 2 6 - 1 2 7 A n expansion of Ovid influenced by Sandys's couplet: Then, unambitious Mortals knew no more, But their owne Countrie's Nature-bounded shore.

Notes

to Pages 378-381

711

128 Cf. Sandys: "Nor Swords, nor Arms were yet." Ovid has fossae ("moats"), b u t n o t walls, fence, or m o u n d . 129 Dryden adds the " D r u m " a n d gives the " T r u m p e t s " a n "angry sound" (cf. Song for St. Cecilia's Day, 11. 25-27 [Works, III, 202]). 130 Swords. For Ovid's galeae . . . ensis (swords . . . helmets), void of Care and Crime. For Ovid's sine militis usu ("without use of a soldier") and securae (' 'without care"). 131 A spirited line, mainly Drydcn's addition. 132 guiltless of the Plough. I.e., " H a v i n g no acquaintance, dealings, or familiarity" with it; the OED cites this passage and also Dryden's probable source in Milton (Paradise Lost, IX, 390-392). 133 unprovok'd. For Ovid's per se ("of herself"), fruitful Stores. For Ovid's omnia. 134 Nature. Sandys's contribution. 135 Wildings. Also used by Sandys. " 'Wilding,' though general in derivation, was specially used for a crab a p p l e " (S-S). Strawberries. Mountain strawberries in Ovid. 136 Cf. Sandys: "Sowre Cornels, what u p o n the Bramble growes." »37 Acorns. From the tree of Jove, in Ovid. >38-139 A rearrangement of Ovid. 1 4 0 - 1 4 1 Dryden reworks Ovid (Loeb: "Anon the earth, untilled, b r o u g h t forth her stores of grain, a n d the fields, though un fallowed (renovatus), grew white with the heavy, bearded wheat"). 142 From Veins of Vallies. Dryden's addition. 143 sweating. For Ovid's stillabant ("distilled"), pores. Dryden's addition. 145 Hell. Sandys's word. For Ovid's tenebrosa . . . Tartara ("shady Tartarus"). 146-147 Sandys's "More base then Gold, and yet then Brasse more p u r e " is closer to the original. Cf. Crispinus: pejor atired, melior ahened ("worse than gold, better than bronze"). 148-149 A rearrangement and contraction of three lines of Ovid. 1 5 0 - 1 5 1 Dryden's addition. 1 5 4 - 1 5 5 An expansion of Ovid. 1 5 6 - 1 5 7 Sheds; / With . . . Oziers fene'd. Cf. Sandys: "Sheds with Osiers b o u n d . " Moss their Beds. Dryden's addition. I5g labour'd. For Ovid's gemuere ("groaned"). 160 Cf. Sandys: "Next u n t o this succeeds the Brazen Age." 161 Cf. Sandys: " p r o m p t to horrid w a n e , a n d rage." 162 Not Impious yet. Cf. Sandys: "But yet not wicked." 163 A free rendering of Ovid. 164 Modesty, and Shame. Apparently for Ovid's pudor; his fides goes untranslated here. 169 plough'd. Also in Sandys. 170 limited to each his right. Dryden's addition. 173 annual Income. Dryden's image. 174 rummaging. A "nautical term; [to r u m m a g e = ] to scrutinize a n d sort the contents of a ship's h o l d " (Kinsley, on Annus Mirabilis, 1. 829).

712

Commentary

175 Entrails. Also in Sandys, the precious Oar. Dryden's addition. 176 Hell. Sandys's "Stygian shades" is literal, the prudent Gods. Dryden's addition. 178 Cf. Sandys: "Curst Steel, more cursed Gold." Golding's "hurtfull yron" is literal. 179 Dryden's addition. 180-182 A free rendering of Ovid. 183-184 An expansion of Ovid's statement that men live on plunder. 187 Dryden omits Ovid's reference to brothers (Sandys: " 'twixt Brethren love decayes"). Dryden's portrayal of marriage is more violent than Ovid's. 188 I11 Ovid the stepmothers are terribiles and the poison Lurida (Sandys: "cruel . . . pale"). 189 "By omitting to render ante diem [before the time] Dryden rather obscures the sense" (S-S). 190 Piety in Exile mourns. In Ovid piety "lay vanquished." Dryden possibly refers to Catholic, exiled James. 196-197 An expansion of Ovid's thunderbolt-hurling image. 198 Red Lightening. For Ovid's fulmine (v. 155). Kinsley cites Milton, Paradise Lost, I, 174-175, where the thunder is "Wingd with red Lightning and impetuous rage." 199 Works. For Ovid's Olympus, Pelion, and Ossa. 800 Dryden's recasting of Ovid's Obruta mole (Loeb: "o'er-whelmed by their own bulk"). 201-203 A rearrangement of Ovid. 204 Dryden's addition. 207 Cf. Sandys: "Such, as well shewes, that they were borne of blood." 208 the King of Gods. For Ovid's Satumius (son of Saturn). 211 A paraphrase of Ovid. 212 Dryden's addition. Cf. the strife between mercy and justice in Milton's Jehovah (Paradise Lost, III, 406-407). Dryden Christianizes Ovid here. 213 kindl'd to. For Ovid's concipit ("conceives"). 215 For Ovid's tenuit mora nulla vocatos (Brinsley: "no delay withheld them being called"). 216 Dryden's addition. 217-218 For Ovid's Est via sublimis, caelo manifesta sereno (Sandys: "There is a way, well seene when skies be cleare"). 219 Golding is more literal: "which of his passing whiteness milkie hight." 220 The Ground-work is of Stars. Dryden's addition. 222 The Gods of greater Nations. For Ovid's Deorum . . . nobilium (Sandys: "nobler Deities"), of greater Nations. Dryden follows Crispinus's note, which glosses nobilium as Majorum Gentium. 223 Sandys is more literal: "on either hand, / Of nobler Deities the Houses stand." 224 the Nobler sort. For Ovid's potentes caelicolae clarique ("powerful and famous heaven-dwellers"). 225 Winding-doors. For Ovid's valvis (Loeb: "folding-doors"), front the Court. Loeb: "Fronting on this [Milky] way."

Notes

to Pages 381-384

713

226 This Place etc. Loeb: " T h i s is the place which, if I may make bold to say it . . ." Cf. Paradise Lost, V, 574-575: "what if Earth / B e but the shadow of Heav'n?" 227 Loovre. For Ovid's Palatia (the palace of the Caesars). James McG. Bottkol ("Dryden's Latin Scholarship," MP, X L [1943], 25311) notes that in 1626 Sandys rendered it as "White Hall." 229 For Ovid's Celsior ipse loco (Brinsley: " H e being higher in place"). Cf. Sandys: "in a higher T h r o n e " (with " T h r o n e " a rhyme word). 231 his Head. For Ovid's Terriftcam capitis . . . Caesarium ("terrifying locks of his head"), shook . . . shook. A turn replaces Ovid's concussit . . . movit ("shook . . . moved"). Drytlen omits Ovid's terque quaterque ("three or four times"). 233 Dryden's addition. 236-238 1 was . . . to hazard. An expansion of Ovid. 238 Giant Race. Serpent-footed and hundred-handed in Ovid. 240 Cf. Sandys: " T h o u g h fierce the Foe." 242 Depersonifies Ovid. Contrast Sandys: "Where-ever Nereus walks his wavy Round." Crispinus glosses Ovid's Nereus as a marine deity often used for oceano . . . terram ambiente. 243 All are corrupt. Dryden's lapsarian gloss, all must be destroy'd. For Ovid's Perdendum mortale genus. Cf. Sandys: "all the race of man I must confound." 244 Dryden's addition. Notes in Cnipping and Crispinus stress the extreme sanctity of divine oaths by Styx. 245 Dryden's paraphrase of Ovid's streams gliding through Stygian groves. 247 gangreen'd. For Ovid's immedicabile ("incurable"). 249-250 a Race . . . in Woods. For Ovid's Semidei . . . rustica numina Nymphae / Faunique, Satyrique, ir monticolae Silvani (Loeb: "demigods, rustic divinities, nymphs, fauns and satyrs, and sylvan deities upon the mountain-slopes"). There seems in Dryden a clear influence of Sandys's rendering: Our Demi-gods, Nymphs, Sylvans, Satyres, Faunes, Who haunt cleare Springs, high Mountayns, Woods and Lawnes. 254-255 who no Superior know etc. A free rendering of Ovid. 256 More literally "against me . . . Lycaon, well known for savagery, has laid his snares" (Loeb). 257 At this a murmur etc. Dryden renders Cnipping's and Crispinus's ConfremuSre omnes ("all murmured"); contrast the Loeb Contremuere ("trembled"). 258 with one Voice. For Ovid's studiisque ardentibus (Loeb: "with eager zeal"), they vote his Punishment. For Ovid's ausum / Talia deposcunt ("demanded him who had dared such things"). 262 Dryden's addition. 269-270 already . . . to me. A n expansion of Ovid's statement that Lycaon had already been punished. 2 7 1 - 2 7 2 For Ovid's v. 210, Quod tamen admissum, quae sit vindicta, docebo (Loeb: " B u t what he did and what his punishment I will relate"). 273-275 The Clamours . . . Had reach'd the Stars. For Ovid's v. 2 1 1 ,

Commentary Contigerat nostras infamia temporis atires (Locb: " A n infamous report of the age had reached my ears"). 275 I will descend. Past tense in Ovid. 278 more than what I hear'd, I found. A compression of Ovid's vv. 2 1 4 215. 281-282 the piny shade . . . by Curst Lycaon made. Dryden gains a turn (". . . infamous [1. 280] . . . More infamous") at the expense of conflating Lycaon (Ovid, v. 198; Dryden, I. 256) and Lycaei (Ovid, v. 217). Loeb: "and the pine-groves of chill Lycaeus." 284 Cf. Sandys: " I entred his unhospitable Court." 285-286 For Ovid's Signa dedi venisse Deum (Loeb: " I gave a sign that a god had conic"). 288 Dryden's addition. 290 shall cost him dear. Cf. C l i p p i n g ' s note Manifesto periculo ("by means of an obvious test [or danger]"). Crispinus also uses periculo. 293-294 to prove . . . Jove. For Ovid's veri (Loeb: "to test the truth with that"). 295 A n interpretation of Ovid's Nec contentus co (Loeb: "not content with that"). 302 bids me welcome. Dryden's addition. 303 Mov'd with disdain. Dryden's addition, the Table I o're-turn'd. Dryden's addition; in Ovid, J o v e overturns the house. 308 Dryden's addition. For the ambiguity of "Brutal," see William Frost, Dryden and the Art of Translation (1955), p. 60. 3 1 2 - 3 1 5 Detailed metamorphosis for Ovid's v. 236, In villos abeunt vestes, in crura lacerti (Loeb: "His garments change to shaggy hair, his arms to legs"). 322 Dryden omits qua terra patet ("wherever earth extends"). Mankind's a Monster. For Ovid's fera regnat Erinnys (Sandys: "the fierce Erinnys raignes"). 322-323 th' Ungodly . . . Crimes. For Ovid's In facinus jurasse putes (Sandys; "You'ld thinke they had conspir'd to sinne"). 324-325 With Dryden's free rendering compare Sandys: "Hut, all / Shall swiftly by deserved vengeance fall." 326 the greater Gods. For Ovid's "sonic." 328 The less. For Ovid's "others." fill uj) the cry. In Ovid tlicy gi\e consent by silence. 329 Ovid says they grieve over the threatened loss of man. 330 Dryden's addition. 332 A n intensification of Ovid. 333-334 dispeopl'd. Punning on Ovid's popitlandas ("to be devastated"). World. Translating terras (from a suggestion by Hcinsius cited in Cnipping's note) rather than gentes, the reading in Cnipping and Crispinus. mute, and more ignoble. Dryden's addition. 335-336 For Ovid's quis sit laturus in aras / Thura (Loeb: "Who would bring incense to their altars?"). 337 Father. For Ovid's Rex. To whom . . . reply'd. For Ovid's Talia quaerentes (Loeb: "As they thus questioned").

Notes

to

Pages

715

338 For Ovid's trepidure vcial ("forbade them to le;ir"). 341 try my skill again. Drydcn's addition. 342-344 For Ovid's v. 253, which Golding renders, "And now his lightning had he thought on all the earth to throw." 345-346 Cf. Sandys: H e fear'd lest so much flame should catch the skie, And burne heavens Axeltree. 349-350 blazing Worlds above. For Ovid's corrcptaque regia coeli ("palaces of the sky, snatched up"), inferiour Globe. For Ovid's mare . . . tellus (Loeb: "sea and land"). Dryden imitates this passage of the Metamorphoses in Annus Mirabilis, 11. 847-848 (Works, I, 91, 306). 351 His dire Artill'ry thus dismist. For Ovid's Tela reponuntur manibus fabricata Cyclopum (Loeb: "And so he laid aside the bolts which Cyclopean hands had forged"). 351-352 he bent . . . Punishment. For Ovid's Poena placet diversa (Loeb: " H e preferred a different punishment"). 353-354 Golding uses the same rhyme words. 355 Dryden is beautifully responsive to Ovid's rich, alliterative line: Protinus /Eoliis Aquilonem claudit iti antris (Loeb: "Straightway he shuts the North-wind lip in the cave of Aeolus"). 356 For Ovid's v. 263 (Loeb: "and all blasts soever that put the clouds to flight"). 357 The South. For Ovid's Notum (Loeb: "the South-wind"). 358 Foggs. Dryden's addition. Dryden disregards Ovid's turn in Notum . . . Notus (repeating the wind's name), flaggy. Drooping. 359-360 Sandys rhymes "showres" and "poures." 361-362 A reversal of the order of Ovid's v. 267. 361 For Ovid's rorant pennaeque, sinusque (Loeb: "his wings and garments drip with dew"). 362 For Ovid's Fronte sedent nebulae (Loeb: "dark clouds rest upon his brow"). 364 resist. Drydcn's addition. 365 For Ovid's Fit fragor (Loeb: "a crashing sound goes forth"). 366 on the ground. Dryden's addition. 370 For Ovid's Sternuntur segetes (Loeb: " T h e standing grain is overthrown"). 371 For Ovid's ir deplorata coloni / Vota jacent, which provided Dryden with his "deplore." Cloxvns. Peasants. An echo of Ovid's coloni (farmer's). 373-374 An elaboration of Ovid. 375-376 For Ovid's sed ilium / Caeruleus frater juvat auxiliaribus undis (Loeb: "his sea-god brother aids him with auxiliary waves"). 377-380 A free rendering of Ovid. 382 Dryden's addition. 384 Bear down the Datnms. Dryden's addition. 385-386 by Nature . . . new Command. Dryden's addition. 387 For Ovid's fontibus ora relaxant (Loeb: "uncurb their fountains' mouths"). 389 Cf. Golding: "with his threetyned Mace."

716

Commentary

392 expanded. F r o m Ovid's Exspatiata ("having deviated from the course"). 393 over-top the Grain. Dryden's addition. 394 Dryden's addition. 397 Household Gods. Crispinus glosses Ovid's sacris ("sacred things") as Penatibus ("penates, household gods"). 398 Piles. Small castles, towers, or strongholds ( O E D ) . 399-400 A free rendering of Ovid, vv. 288-290. 401 For Ovid's Omnia pontus erant. Deerant quoque littora ponto (Loeb: " A l l is sea, but a sea without a shore"). Cf. Of Dramatick Poesie (Works, X V I I , 67) for a comment and an alternate translation. 402-403 Dryden's rewriting of Sandys's couplet: H e takes a Hill: He, in a Boat deplores; A n d , where H e lately plow'd, now strikes his Oares. 406-407 downward . . . aloft. Suggested by Ovid's sumina . . . subjecta, referring to the difference in height of the tree and the vine. knock't against a Pine. In Ovid, fish are caught in treetops. 409 Monsters of the deep. Ovid's deformes . . . phocae ("ugly seals"). 410 Cities. O v i d also mentions groves. 411 wondrmg . . . glide. In Ovid, the dolphins are only in the woods. In translating this O v i d i a n set piece on disorder or uncreation, Dryden perhaps remembered the great Miltonic parallel: " i n their Palaces . . . Sea Monsters whelp'd / A n d stabl'd" (Paradise Lost, X I , 750-752). 414-415 R h y m e words same as in Golding. 414 frighted. Dryden's addition. 415 Lyon. For Ovid's leones . . . tigres. 416 rapid. For Ovid's fulminis (Loeb: "of his lightning stroke"). 417 The Stag swims faster etc. Dryden is translating Ovid's v. 306: crura nec ablato prosunt velocia cervo (Loeb: " n o r [do] his swift limbs [avail] the stag"). Scott comments that "Dryden, not Ovid, is answerable for the speed of the stag's exertions in the water," b u t Kinsley notes that C n i p p i n g glosses ablato ("earned away") as Celerilate pedum subducto ("borne off by the swiftness of his feet"). 418-419 C f . Sandys: T h e wandring Birds, his Earth l o n g sought in vaine, W i t h wearie wings descend into the Mayne. 421 Dryden introduces the generalization about Nature. 422-423 Cf. G o l d i n g : T h e greatest part of men were drownde, and such as scapte the floode Forlorne with fasting overlong did die for want of foode. 424 A Mountain. For Ovid's "land of Phocis" (Loeb). 425 Athenian. For Ovid's Actaeis, so spelled by C n i p p i n g and Crispinus, w h o gloss it as "the region of Attica." 426 bound. Boundary; Dryden's addition, fruitful Fields, while Fields they were. Response to Ovid's turn: Terra ferax, dum terra fuit (Loeb: " a fertile land, while still it was a land").

Notes

to Pages

387-390

717

427 Field of Waters. Dryden omits Ovid's adjectives " b r o a d " and "sudd e n " in v. 315. 428-429 forky rise. For Ovid's verticibus . . . duobus ("with two peaks"). Cf. Golding: " a hill with forked top." mates the lofty Skies. For Ovid's petit . . . astra ("makes for the stars"). Dryden reverses Ovid's starsclouds order and puts the name Parnassus at the beginning instead of in the middle of his couplct. Cf. Golding: W h e r e as a hill with forked top the which Parnasus hight, Doth pierce the cloudes and to the starres doth raise his head upright. 438 Wife. For Ovid's consorte tori, which G o l d i n g renders as "bedfellow." were only left behind. For Ovid's nam cetera texerat aequor (Loeb: " f o r the sea had covered all things else"). 433 Dryden's addition. 434-435 Simplifies, clarifies, and strengthens the more literal Sandys: Corycian Nymphs, and Hill-gods he adores; A n d T h e m i s , then oraculous, implores. 436-437 Similar to the powerful, slightly more literal Sandys: N o n e was there better, n o n e more just then Hee: A n d none more reverenc't the Gods then Slice. 438 surveying . . . high. Dryden's addition. 440 Millions. Transliterates Ovid's milibus ("thousands"). 441 the best. F o r Ovid's Innocuos , . . cultores numinis (Loeb: "innocent . . . worshippers of God"). 446 The Billows fall. For Ovid's Nec maris ira manet (Loeb: " t h e anger of the sea subsides"). 447 On the rough Sea. For Ovid's positoque (Sandys: "laid aside"). smooths its furroxu'd face. For Ovid's Mulcet aquas (Loeb: "calms the waves"). 449 a Tyrian Robe he wears. For Ovid's humeros innato murice tectum / Caeruleum. T a k e n by Renaissance commentators and translators to refer to dyes from shellfish. Cf. Golding: " I n purple robe on shoulder cast." 450 In his hand . . . bears. Dryden's addition. 451-452 Cf. Sandys: A n d bids him his lowd sounding shell inspire, A n d give the Floods a signall to retire. 455 gives it breath. Cf. Sandys: " T o which . . . he gives breath." 455-456 the blast . . . World around. For Ovid's v. 341 (Loeb: " 'twas heard by all the waters both of land and sea"). 457-458 A free rendering of Ovid, v. 338. 462-463 Earth . . . peeps upon the Seas. Cf. Sandys: "hils above the waters peep." 468 on their dishonour'd Branches. For Ovid's in fronde ("on their leaves"). 470 of a sickly hue. Dryden's addition. 471 Dryden's addition.

718

Commentary

475-476 Cf. Sandys: O Sisterl O my W i f e l the poore Remaines O f all thy Sex; which all, in one, containesl Dryden's last line and a half translate Ovid's ó foemina sola supersles (Loeb: " O only woman left on earth"). 477 now by Dangers joyn'd. Cf. Sandys: "now like dangers j o y n e l " (in rhyme position). 478 who breath'd the common Air, For Ovid's occasus el ortus (Loeb: "the rising and setting sun"). 479 a Species in a pair. Dryden's witty résumé. 480 The rest the Seas have swalloru'd. Cf. G o l d i n g : " T h e Sea hath swallowed all the rest." 481 wretched. Dryden's addition. 482-483 For Ovid's terrent etiamnum mtbila mentem (Loeb: " E v e n yet the clouds strike terror to my heart"). 489 our Father. " D r y d e n is somewhat inaccurate: Deucalion was the son of Prometheus, and Pyrrha the daughter of Epimetheus, the brother of Prometheus. Deucalion had addressed Pyrrha as sister only as a mark of tenderness" (Noyes). B u t " o u r Father" is still best taken as tender rhetoric. C n i p p i n g and Crispinus explain about Prometheus and Epimetheus in notes that Dryden presumably read, just as he certainly read Ovid's v. 390, where the point is clarified. 490 Dryden's addition. 491 abolisht Man. Dryden's addition. 492-493 Dryden omits Ovid, v. 365 (Sandys: " N o w , all our mortali Race we two contayne"), having already used the thought in his 1. 479. 497 Dryden's addition. 500 Foord. Dryden's addition. 501 living Waters. R u n n i n g water. Ovid's liquores (Loeb: "some drops") is here glossed by C n i p p i n g as Aquae vivae. Dryden adds, " i n the Fountain bred." 504-505 T h e couplet is based closely on Sandys: A t that time all defil'tl with mosse and mire; T h e unfrequented A l t a r without fire. 506 Gradual. " A l t a r steps ('templi . . . gradus', 1. 375). A nonce-use" (Kinsley). As with "Saint" in the next line, Dryden assimilates pagan to Christian ritual. 507 Pavement. For Ovid's gelido . . . saxo ("cold stone"), b u t influenced by his pavens ("trembling") which, untranslated by Dryden, modifies the worshiping pair. O v i d reads: gelidoque pavens dedit oscula saxo (Golding: "and trembling kist the floore"). 508 A n epithet (justis, righteous) transferred from Ovid's prayers to his goddess replaces the mitissima (most merciful) of the Latin (v. 380). 509 are bent. For Ovid's Vieta ("having been overcome by"), to pity, and to love. For Ovid's remollescunt (Brinsley: "begin to be appeased againe"). 510 Dryden's addition.

Notes

to Pages

390-393

7»9

5 1 2 by second birth. Dryden's addition. 5 1 3 and People . . . Earth. A free rendering of the more general request for assistance in Ovid's v. 380. 5 1 6 stooping . . . down. Dryden's addition. 5 1 7 Dryden emphasizes the ostensible grotesqucness of the oracle by the most striking of his few alexandrines in Metamorphoses, I. 5 2 1 - 5 2 2 Dryden omits Pyrrha's fear of offending her mother's ghost. 523 and long they sought in vain. Dryden's addition. 525 And said. A condensation of Ovid, the dark /Enigma. Dryden's addition. 528-529 Cf. Sandys: Or Earth is our Great-Mother: and the stones, Therein contayn'd, I take to be her bones. 530 Golding uses "fere" as a rhyme word. 532 The Man diffides. For Ovid's Diffidunt: "they mistrust." Dryden uses this Latinism only here and in Aeneis, X I , 636. 541 Rudiments. Suggested by Ovid's rudibus . . . sign is (Loeb: "roughly blocked-out images"). 545 Dryden's addition. 546-547 Cf. Sandys: T h e Earthy parts, and what had any juyce, Were both converted to the body's use. 555 Hence we. For Ovid's genus durum sumus ("we are a hard race"). 557-558 Sandys has the same rhyme words. 560 Digested by . . . heat. Cf. Sandys's "grew big with heat" (in rhyme position). 562 the vital seed. Cf. Golding: "the fruitfull seede" (in rhyme position). 563 in longer space. For Ovid's morando (Golding: "in length of time"). 564 Dryden's alexandrine suggests the "longer space" of the preceding line. 565 Pharian. "Of or pertaining to the island of Pharos; poet. Egyptian, Nilotic" (OED). 566 with Ebbing Tides. Dryden's addition. 568 crusted Creatures. For Ovid's animalia (Loci): "animate things"). Kinsley cites All for Love (1678), p. 68 (Act V): Th'original Villain sure no God created; He was a Bastard of the Sun, by Nile, Ap'd into Man; with all his Mother's Mud Crusted about his Soul. as . . . form'd. Dryden's addition. 569 when . . . Glebe. For Ovid's versis . . . glebis (Loeb: "as they turn over the lumps of earth"). 574 temper. From Ovid's temperiem ("mixture"). 576 mingl'd Atoms. Dryden's addition. 577 Genial Bed. Nuptial bed. Dryden's image. 578 Friendly Discord. For Ovid's discors concordia. fruitful Wars. Dryden's addition.

720

Commentary

580 faces. Dryden's addition. 589 vast Body, and long Train. For Ovid's spatii de monte ("space of mountain"). 590 Phcebus. For Ovid's Deus arcitenens ("bow-holding god") glossed by C n i p p i n g and Crispinus as Apollo, basking on a Bank. Dryden's addition. 591-592 Dryden changes Ovid's syntax. Cf. Crispinus: Deus . . . nunquarn usus anlea ejusmodi telis, nisi adversus damas ("the god h a d never before used shafts of this kind except against deer"). 593 Dryden's addition. 594 took place. Struck home, reached the target. 597-598 Dryden abridges Ovid's ceremony in vv. 445-446. 603 for Triumphs born. Dryden's addition. 605 with promiscuous Grace. Dryden's addition. 606 The first and fairest of his Loves. For Ovid's Primus amor. 607 decree. Dryden's addition. C09 T h e Memory of this line may have helped Dryden later to correct an error ("Venus Daughter") in the 1687 Speght's Chaucer; see preface to Fables (1700, sig. Csv; Watson, II, 287). 6 1 1 He. For Ovid's Delius: "Delian Apollo" (Loeb). the Stripling. Dryden's term for Cupid, u n n a m e d by Ovid in v. 455. 612 And thus insults him. Dryden's addition, lascivious Boy. Also used by Sandys. Cf. Ovid's lascive puer (Loeb: "wanton boy"). 6 1 6 - 6 1 7 Resistless. Dryden's addition. H e omits Ovid's references to Python's size here. In such a feather'd Death. For Ovid's innumeris tumidum . . . sagittis: "swollen with countless darts" (Loeb). Used again in Aeneis, IX, 866. 618 and lay my Weapons by. For Ovid's nec laudes assere nostras: "nor our prayses claime" (Sandys). 622 But mine on Phcebus. Dryden's addition. 626-627 Cf. Sandys: T w o different arrowes f r o m his Quiver drawes: One, h a t e of Love; the other Love doth cause. to repel . . . v IIAAAKIN. HOMERI ILI AS, ET VETERXJM in Edm SCHOLIA, Quae vulgo appeliantur DIDYMI. CANTABRICIAE, Ex Oflicina Joann. Hayes, 1689 Vcndit ED. BREWSTER, in coemetcrio D. Pauli Sub Insigni Gruis LONDINI. 3 Listed by Arthur E. Case, A Bibliography of English Poetical Miscellanies, (1935), no. 181. 1 Ibid., no. 151 (c); the text quoted in the notes is the earlier one. 5 In citing a literal version for comparison, the translation by Richmond Lattimore (1951) has been preferred to the Locb and to all others; it is literal, line by line, and syntactically faithful.

Notes

to Pages

425-426

739

hand, the repetitions in lines 24-25 and 36-37 are perhaps meant to suggest Homer's occasional balladlikc habit of repeating phrases, lines, or entire passages with little or no variation. 1-2 Cf. Chapman: "This said, he went to sec / The vertuous Princesse, his true wife, white-arm'd Andromache." 3 Cf. Hall: "he found that she was gone," in the rhyme position. 5 Cf. Chapman: "climb'd the towre"; Ogilby: "a lofty Tower." 6-9 Dryden's addition, based on the last half of Homer's v. 373 (Lattimore: "in lamentation and tearful"). io-i2 But he . . . in the Gate. Dryden's beautiful, free rendering. Cf. Chapman: "Stood in the Gate." 1 2 - 1 3 and ask'd of ev'ry one . . . gone. A condensation of two and a half lines of the original. 1 4 - 1 5 Cf. Ogilby: went she abroad to see Her Sisters, or attended in the Train, T'implore Minerva in her sacred Fane? 16-17 The Servants answer'd etc. Dryden condenses Homer. 19 blew-ey'd Progeny of Jove. For Homer's "grim goddess" (Lattimore). 20-21 more solicitous . . . safety. Dryden's addition, perhaps based 011 Chapman: "all the way / Mournd and dissolved in teares for him." to the Tow'r was gone. Cf. Ogilby: "to a lofty Tower is gone." 22 Dryden's addition. 25 lagging after. Dryden's image. 27 Dryden's addition. 28 Cf. Hobbes: "passing the same streets / Through which he went." 30-31 Cf. Chetwood: Here Hector finds her with a Lovers Pace, She flies, and breathless, sinks in his Embrace. 32 Homer calls Andromache's father "lord over the Kilikian people" (Lattimore). Cf. Hobbes: "Who of Cilicia the sceptre carried." 33 Dryden's addition, based on Chapman: "she, whose grace / Brought him withall so great a dowre." 35 Hippoplacus. A literal translation of "CvoirXaKu in Homer's v. 396, now commonly divided into two words, M IIXokw, (beneath [the mountain] Placus). T h e one-word reading that Dryden (like Ogilby earlier and Pope later) translated here was frequent in Renaissance and eighteenthcentury editions. It occurs, for example, in both the 1689 Cambridge and the 1656 Amsterdam editions, either of which Dryden might well have used. Dryden, contra Noyes, did not blunder. 36-37 Compare 11. 24-25 above. Dryden evidently attempts to suggest Homer's occasional reiterative methods, although these do not happen to be in operation in the corresponding Greek passages. 39 Morning. Dryden's addition. 41 Dryden's addition. 43 the Wall. For Homer's llion.

74°

Commentary

44-45 H a l l rhymes "this w h i l e " and "gan to smile." 46 Prest . . . hand. Cf. Chetwood: "Pressing his h a n d . " 49 Too daring. Cf. Ogilby: " T h y too much daring." 51 Orphan. Also used by H o b b e s (for Homer's "little son"). 53 Dryden's addition. 6s Friends, nor Brothers. Dryden's addition. 63 stern. T h e word used also by C h a p m a n and O g i l b y to translate dios (godlike), all of Life bereft. T h e Homeric line speaks of Achilles killing only Eetion. 64-65 Cf. Ogilby: " R e n o w n e d Eilion stem Achilles slew, / A n d stately T h e b e s . . . destroy'd." 66 but despoil'd him not. Cf. Ogilby: "Yet h i m . . . he did not spoyle." 68 sent him . . . below. A paraphrase for Homer's "burned him." 70 A Tomb he rais'd. Cf. Hobbes: " O ' e r it rais'd a tomb." 71 the Holy Ground. Dryden's addition. H e discards Homer's appositive phrase for the nymphs. 75 bellowing . . . bleating. Responds to alliterative effects in Homer's v. 424. Ogilby's "Clove-Footed Heards and silver-fleeced Sheep" is more literal. 76-77 Cf. Ogilby: M y Mother who in Hypoplacus sway'd, He, with her Riches, Captive thence convey'd. 79 Dryden's addition, based on a phrase in Homer's next verse. 80-81 A paraphrase of Homer's v. 428. Cf. Ogilby: " D i a n a . . . shot her through the Heart." " D i a n a " (rather than "Artemis") occurs in the Latin versions of the Amsterdam and Cambridge Homers, in all the predecessors, and elsewhere in Drydcn. 84-85 Dryden's addition. 88-89 Dryden's addition. 91 Dryden's addition. 92 Dryden's "ascent" (not used by any predecessor) may come from ascensu facilis ("easy for ascent") in the Latin versions supplied by both the Amsterdam and Cambridge Homers. 94-97 Dryden freely recasts, expands, and rephrases Homer's catalogue. Meriones. Dryden replaces Homer's Idomeneus with his charioteer. 98 Condensing into a phrase Homer's pair of balanced verses, 338-339. 99-100 Dryden's addition. 104 Cf. C h a p m a n : "how T r o y would scorne." 106-107 Dryden expands the first half of Homer's v. 444. 108-109 O g i l b y uses the same rhyme words. 1 1 2 - 1 1 3 A n expansion of Homer's v. 446. 115 Dryden omits Homer's v, 449. by the Grecian Rage. Dryden's addition. 118 tho' built by Hands Divine. Dryden's addition. 119 nor his People . . . Z.me. Dryden's addition. 122 Fates which I foresee. Dryden generalizes Homer's "shall drop in the dust under the hands of men w h o hate them" (Lattimore).

Notes to Pages

426-431

741

125 A paraphrase of Homer's v. 455. 1 2 8 - 1 2 9 Cf. Chetwood: Perhaps some haughty Dame your hands shall doom T o Weave Troy's downfal in a Grecian Loom. 130 deep Wells. Dryden drops two Homeric place-names. 1 3 2 - 1 3 3 Chapman rhymes "Hector's wife" and "life." 1 3 4 - 1 3 5 An interpretation of Homer's relative clause in vv. 460-461. 137 Dryden's addition. 138 who . . . redress. A paraphrase of the last half of Homer's v. 463. 1 3 9 - 1 4 0 All Dryden's predecessors except Hobbes make this passage a simple prediction rather than a wish, as it is in Homer. 141 He said. Dryden uses the broken line, as in Virgil though never in Homer. It is Virgilian both in being a broken line and in using a Virgilian formula (dixerat). Hut cf. line 170, below. Homer begins each of these two lines with the present participle ("So speaking"). 143 Dryden's addition. 146-147 Dryden expands the last part of Homer's v. 468. 153 Dryden's addition. 154 thus reconcil'd. Dryden's addition. 155 he spoke. For "lifted his voice in prayer to Zeus and the other immortals" (Lattimore). 1 5 6 - 1 5 7 Dryden's freedom in dealing with the literal sense of Homeric invocations to deities foreshadows Pope's; see Douglas Knight, Pope and the Heroic Tradition (1951), pp. 50-52. 158 your Gracious Gifts bestow. Dryden's addition. 1 5 9 - 1 6 1 Cf. Chetwood: Grant, this my Child in Honour and Renown May equal me, wear and deserve the Crown. 162-169 An expansion of Homer's vv. 479-481. 1 6 2 - 1 6 3 Chetwood uses the same rhyme words. 168-169 Chetwood also uses a couplet to render the last half of Homer's v. 481: " T h i s will rejoyce his tender Mothers heart, / And sense of J o y to my pale Ghost impart." 1 7 0 - 1 7 4 An expansion of Homer's vv. 482-483 and half of v. 484. fragrant. Cf. Ogilby, and fragranti in the Amsterdam and Cambridge Homers. 1 7 5 - 1 7 6 Dryden generalizes Homer's vv. 484-485. 1 7 7 - 1 8 0 These two couplets read like an expansion of Chetwood's fairly close version: Madam, says he, these Fancies put away, I cannot dye before my fatal day. 183 to divert thy thoughts. Dryden's addition. 1 8 3 - 1 8 4 Ogilby uses the same rhyme words, task. Impose a task on, assign a definite amount of work to do (OED). 186 Feats of Chivalry. Dryden's addition. 187 Men. Homer specifies T r o j a n men. 188 A paraphrase of Homer's "So speaking" (v. 494). 189 and strode away. Dryden's addition.

742

Commentary

190-191 C f . C h e t w o o d : A l l sad she to her C a b i n e t returns A n d w i t h p r o p h e t i c k T e a r s a p p r o a c h i n g Evils mourns. 191 in silence. D r y d e n ' s a d d i t i o n . 192 Home. A condensation of parts of H o m e r ' s vv. 497-498. 194 restore. A p p a r e n t l y , r e n e w ( O E D , sense 5). 195 C f . O g i l b y : for H e c t o r yet alive they mourn, A s he w e r e slain, a n d never to return.

To My Dear Friend Mr.

Congreve

To my Dear Friend Mr. Congreve was prefixed to the first edition of C o n g r e v e ' s The Double-Dealer (1694), a l t h o u g h the verses, as D r y d e n told W a l s h in a letter of the p r e c e d i n g D e c e m b e r , h a d b e e n w r i t t e n " b e f o r e the play was a c t e d , " that is, b e f o r e N o v e m b e r 1693. 1 D r y d e n ' s fine verse e p i s t l e — a s g e n e r o u s a t r i b u t e to a y o u n g e r fellow dramatist as his Oldham h a d b e e n to a y o u n g e r f e l l o w satirist—recognizes p r o p h e t i c a l l y a talent that, u n l i k e O l d h a m ' s , later criticism has b e e n w i l l i n g to regard as comp a r a b l e i n stature to D r y d e n ' s own. W h i l e itself an original p o e m of force a n d distinction, To Congreve is also a c o m p l i m e n t , a n d it takes its c o n t e x t f r o m the various i n t e r c h a n g e d c o m p l i m e n t s that m a r k e d the relationship b e t w e e n the two m e n . D r y d e n a n d C o n g r e v e b e c a m e a c q u a i n t e d after C o n g r e v e , aged nineteen, h a d come to L o n d o n , some three or f o u r years b e f o r e p u b l i c a t i o n of these verses. C o n g r e v e h a d come ostensibly to study l a w ; actually h e soon j o i n e d the circle of literati over w h o m D r y d e n presided at W i l l ' s coffee house, w r o t e the " n o v e l l a " Incognita, a n d c o m p o s e d his first play, The Old Batchelour. C o n g r e v e gave an early version of this play to D r y d e n , w h o a d m i r e d it greatly, a n d revised it a f t e r c a r e f u l r e a d i n g s by himself, A r t h u r M a y n w a r i n g , a n d T h o m a s S o u t h e r n e . 2 D r y d e n also d r a f t e d C o n g r e v e for assistance w i t h the J u v e n a l - P e r s i u s project, assigning h i m the translation of J u v e n a l ' s e l e v e n t h satire. W h e n the satires a p p e a r e d in i 6 g g , C o n g r e v e ' s p o e m , To Mr. Dryden, On his Translation of Persius, was the o n l y dedicatory testimonial of any sort to b e i n c l u d e d in the v o l u m e . 3 I n the c o m m e n d a t o r y p o e m C o n g r e v e hails D r y d e n , in traditional metaphor, as a m a g i c i a n w h o has b r o u g h t Persius back to life a n d declares that praises n o w b e l o n g " n o t to O l d Persius, b u t the N e w . " I n note 7 of his translation of the J u v e n a l X I , moreover, C o n g r e v e inserted an a d m i r i n g reference to D r y d e n ' s h a n d l i n g of the character T h e r s i t e s in D r y d e n ' s version of Shakespeare's Troilus and Cressida. ' Ward, Letters, p. fig; Macdonald, pp. 54-55 " "Tliomas Southerne on Congreve," in John C. Hodges, William I.oilers and Documents (196,|), p. 151. For llic text of Congreve's poem, sec Appendix.

Congreve:

To

Congreve

743

I n the same year as the Juvenal-Persius v o l u m e , Examen Poeticum a p p e a r e d , and i n c l u d e d in it was the translation of a f r a g m e n t o f Iliad, X X I V , by C o n g r e v e . T h e dedicatory epistle D r y d e n w r o t e f o r the miscellany carried a special c o m p l i m e n t a r y notice of this c o n t r i b u t i o n of C o n greve's, in the course of w h i c h D r y d e n referred lo his y o u n g f r i e n d as o n e " w h o m I c a n n o t m e n t i o n w i t h o u t the H o n o u r w h i c h is d u e to his E x c e l l e n t Parts, a n d that entire A f f e c t i o n w h i c h I bear h i m . " 4 T h e c o m p l i m e n t a r y e x c h a n g e s b e t w e e n the two men, i n c l u d i n g Dryden's epistle To Congreve, clearly w e r e inspired by the respect each m a n ' s w o r k e v o k e d in the other, b u t they a p p e a r to h a v e rested also on a basis of m u t u a l personal affection. D r y d e n ' s letters m o r e than once g i v e evidence of this f r i e n d s h i p . " I a m M r C o n g r e v e ' s true L o v e r , " h e w r o t e T o n s o n on go A u g u s t 1693, "& desire y o u to tell him, h o w k i n d l y I take his o f t e n R e m e m b r a n c e s of me: I wish h i m all prosperity; & h o p e I shall n e v e r loose his A f f e c t i o n . " 5 I n 1694 C o n g r e v e witnessed D r y d e n ' s agreem e n t w i t h T o n s o n for the Virgil,® a n d D r y d e n , w r i t i n g T o n s o n later a b o u t plans for a c o n f e r e n c e o n details of the project, suggested that " M r . C o n g r e v e m a y b e w i t h us, as a C o m m o n f r i e n d ; f o r as y o u k n o w h i m for yours, I m a k e n o t the least d o u b t , b u t h e is m u c h m o r e m i n e . " 7 A n d finally, the request D r y d e n m a d e n e a r the conclusion of the verse e p i s t l e — " B e k i n d to m y R e m a i n s " — w a s d u l y f u l f i l l e d in 1 7 1 7 w h e n C o n g r e v e b r o u g h t o u t a n edition of D r y d e n ' s dramatic works. I n dedic a t i n g the e d i t i o n to the D u k e of Newcastle, C o n g r e v e reflected u p o n the " v e r y E l e g a n t , tho' very partial Verses w h i c h h e d i d m e the H o n o u r to write to m e , " a n d then p r o c e e d e d to set d o w n his f a m o u s character of D r y d e n , a w a r m a n d m o v i n g t r i b u t e to the talents a n d the personal q u a l i t i e s of his " d e p a r t e d f r i e n d . " 8 I n a d d i t i o n to expressing w a r m personal feeling, D r y d e n ' s epistle to C o n g r e v e arises o u t of specific i m m e d i a t e professional circumstances, a n d it brilliantly invokes the existence of l o n g literary traditions to w h i c h it effectively contributes. F r o m the b e g i n n i n g D r y d e n h a d sponsored Congreve's d r a m a t u r g i c career; a n d a l t h o u g h he h a d n o t p l a n n e d the epistle as part of a rescue o p e r a t i o n , h e obviously f o u n d satisfaction in the fact that its p u b l i c a t i o n w o u l d h e l p to counteract the d i s a p p o i n t i n g initial p u b l i c reception of his y o u n g f r i e n d ' s second play. In D e c e m b e r 1693 D r y d e n f o r w a r d e d a presentation c o p y of The Double-Dealer to W a l s h , n o t i n g that the play "is m u c h censured by the greater part of the T o w n : a n d is d e f e n d e d o n e l y by the best Judges, w h o , you k n o w , are comm o n l y the fewest. Y e t it gets g r o u n d daily. . . . T h e w o m e n t h i n k e h e has exposd their Bitchery too m u c h ; & the G e n t l e m e n , arc o f f e n d e d w i t h h i m ; for the discovery of their follyes. . . . M y verses, w h i c h y o u w i l l find b e f o r e it, w e r e written b e f o r e the play was acted, b u t I n e i t h e r alterd them nor d o I alter my o p i n i o n of the p l a y . " 0 4 See above, 372:30-32. "Ward, Letters, p. 59. 'Ibid., p. 164. ' Ibid., p. 76. ' S e e The Complete Works of William Congreve, ed. Montague Summers (1923; reissued 1964), IV, 182-185. • W a r d , Letters, pp. 62-63.

744

Commentary

A s a verse epistle, To Congreve c o n f o r m s to long-established modes, d a t i n g back to H o r a c e or b e y o n d , 1 0 a n d demonstrates in detail a f t e r detail D r y d e n ' s mastery of a " m i d d l e style" c o m b i n i n g " c o n v e r s a t i o n a l informality a n d d i g n i f i e d e l e v a t i o n " by use of a t o n e that "restricts a n d smiles at the d i g n i t y i m p o r t e d by [exalted] i m a g e r y . " 1 1 M u c h of this imagery, c o n c e r n i n g f a m o u s m e n of old, or monarchies, depositions, a n d true o r false successions w i t h i n the " k i n g d o m of letters," makes the epistle, i n effect, a p a n e g y r i c c o u n t e r p i e c e to Mac Flecknoe, Congreve b e i n g apotheosized as D r y d e n ' s true literary son just as S h a d w e l l h a d once b e e n d a m n e d to everlasting f a m e in the role of poetaster F l e c k n o e ' s most obviously a p p r o p r i a t e successor. 1 2

5 Gyant Race, before the Flood. See Genesis, vi, 4. 6 thus, when Charles Return'd etc. R e f e r r i n g to the condition of letters 111 E n g l a n d at the restoration of C h a r l e s II. 7 Janus. " J a n u s , the f a b l e d first K i n g of Italy, w h o came f r o m T h e s s a l y ; w i t h the aid of Saturn, w h o , d r i v e n by J u p i t e r f r o m h e a v e n , came to him a n d shared his throne, he taught the Italians agriculture a n d o t h e r arts" (Christie). 14 The second Temple etc. A n allusion to the r e b u i l d i n g of the Jewish temple after the exile, as N o y e s notes. See Ezra, v, vi. T h e "second T e m p l e " was i n f e r i o r to the earlier o n e of S o l o m o n , a c c o r d i n g to H a g g a i , 11, 15 Vitruvius. R o m a n architect of first century B.C., a u t h o r of the o n l y e x t a n t a n c i e n t treatise o n architecture. 19 A r t h u r H o f f m a n (Dryden's Imagery [1962], p. 134) suggests a possible allusion to Saint Paul's, restored by W r e n a f t e r the L o n d o n fire of 1666. H e also c o m m e n t s on the versification of the triplet of w h i c h this forms the final line: " A s t h o u g h conscious of the h e a v y l o a d thus laid on, D r y d e n e x p a n d s to a triplet a n d concludes with an A l e x a n d r i n e . " 20 In easie Dialogue is Fletcher's Praise. Cf. Of Dramatick Poesie (Works, X V I I , 48-49). 22—23 F o r the Jonson-Flctchcr contrast, see Defence of the Epilogue ( a p p e n d e d to Conquest of Granada [1G72], pp. 1 7 4 - 1 7 5 ; W a t s o n , I, 182). C f . also D r y d e n ' s c o m m e n t s on J o n s o n in Of Dramatick Poesie (1668), in the preface to An Evening's Love (1671), and in the dedication of The Assignation. For D r y d e n ' s d e b a t e with S h a d w e l l a b o u t Jonson, sec Works, II, 301-304. 29 Elherege his Courtship. T h a t is, the courtliness of Etherege. See, e.g., the e x c h a n g e s of verse epistles b e t w e e n this dramatist-diplomat a n d 10 See Jay Arnold Lcvinc, " T h e Status of llic Verse Epistle before Pope," SP, LIX (1962), 658-684. " Arthur Hoffman, Dryden's Imagery (1962), p. 133. 12 See Alan Roper, Dryden's Poetic Kingdoms (1965), pp. 166-184 (political background and possible implications); and Earl Miner, Dryden's Poetry (1967), p. 83 (analogies to Mac Flecknoe).

Notes

to

Pages

432.-433

745

the Lords Buckhurst and Middlelon 011 pages 3 5 - 5 3 of James T h o r p e , ed„ The Poems of Sir George Etherege (1963), and T h o r p e ' s notes. Cf. also Dryden's Letter to Etherege (Works, III, 224-226). Southern's Purity. Cf. Dryden's compliment written two years earlier in " T o Mr. Southern; O n His Comedy, Called The Wives Excuse," 11. 1 5 - 1 7 (Works, III, 227): So Terence Plotted; b u t so Terence Writ. Like his iliy T h o u g h t s are true, thy Language clean, Ev'11 Lewdness is made Moral, in thy Scene. See John Wendell Dodds, Thomas Southerne, Dramatist (1933), pp. 1 3 i.| (on his relations with Drydcn), 1 7 - 1 8 (011 his relations with Congreve). In 1709 a violent Puritan attack 011 1 lie immorality of the contemporary theater made a specific exception of Southerne: "Southern is the credit of his age" (Dodds, Thomas Southerne, p. 22). 30 Manly. An allusion to the hero of Wycherley's comedy, The Plain Dealer. 32 foil'd. Outdone, surpassed (OED). 35-38 Kinsley paraphrases these lines: " H a d Scipio been as loveablc as you, the envious Fabius would have rejoiced in his early fame a n d supported him, even though I-'abius had in his own day been unsuccessful against H a n n i b a l . " 39-40 Nichol Smith: "An error: Giulio R o m a n o (1492-1546) was n i n e years younger t h a n R a p h a e l (1483-1520) a n d f r o m the first was R a p h a e l ' s pupil. Dryden would seem to have confused him with Pietro Perugino (1446-1524)." 45 one Edward did depose. Edward II, 1284-1327, king 1307-1327, the subject of Marlowe's play. Dethroned by a rebellion, Edward was murdered on 21 September 1327 46 A Greater Edward. Edward III, 1 3 1 2 - 1 3 7 7 , king »327-1377, victor over the French at Cricy (1346). O n Edward II a n d Edward I I I as polemical analogies to J a m e s I I a n d the young Prince James in some of the political literature of the 1680's and 1690's, see Alan Roper, Diyden's Poetic Kingdoms (1965), pp. 168-174. 47-48 A f t e r William I l l ' s accession the honors and emoluments previously accorded Dryden as England's greatest living writer were bestowed elsewhere. T h o m a s Sliadwell, the b u t t of Mac Flecknoe, became poet laureate and historiographer royal, to be succeeded, when h e died in 1692, by Nalium T a t e as laureate and T h o m a s Rymer as historiographer. Tom the Second. Usually taken to refer specifically to T h o m a s Rymer; for another reference to Rymer see the dedication of Examen Poeticum, 366:17-18 and note, above. 52 " T h e first parenthetic expression here is the formal equivalent of the stated m e a n i n g " (Hoffman, Dryden's Imagery, p. 136). 53 High on the Throne of Wit. A line o p e n i n g that takes its f o r m f r o m Paradise Lost, II, 1, " H i g h on a T h r o n e of Royal State," which Dryden h a d also explicitly echoed in Mac Flecknoe, 1. 107 ("High on a T h r o n e of his own Labours rear'd"). 55 Thy first attempt. T h a t is, The Old Balchelour (1693). 56 this. T h i s play, The Double-Dealer.

746

Commentary

58 Regular. Strict ¡11 dramatic construction and true to the unities of time, place, and action. Co Cf. the Latin proverb Poeta nascitur 11 on fit: "[Shakespeare] was an eminent instance of that Rule, Poeta non fit, sed nascitur, one is not made, but born a Poet" (Fuller, Worthies, Warwickshire II, 414, quoted by Tilley, p. 451). Dryden may well have remembered Jonson's famous (and contrasting) comment on Shakespeare: "A good Poet's made, as well as borne." 67 just abandoning. A reference to Love Triumphant, which was produced in 1694 and which Dryden considered his farewell to the stage. See Evelyn, Diary, 11 January 1694. th' Ungrateful Stage. Unpleasing; lacking in gratitude, financially unprofitable. 68-69 Unprofitably kept etc. Kept alive, without benefit to heaven or to myself, by God's grace. 72-73 Be kind to my Remains etc. See hcadnotc for reference to the 1717 edition of Diyden's dramatic works.

Contributions to The Annual Miscellany: For the Year 1694 The Third Book of Virgil's

Georgicks

Dryden's complete Virgil (1697) had been preceded by translations from the Aeneid, V, IX, and X, printed in Sylva in 1685 (see Works, III, 19-43), and by Dryden's translation from Georgia, III, in Tonson's The Annual Miscellany: For the Year 1694. Being the Fourth Part of Miscellany Poems, which also contained Dryden's epistle To Kneller. Unlike the Aeneis samples earlier, the Georgicks, III, of 1694 was neither fragmentary nor experimental; and although Dryden made a number of minor changes in it for the 1697 complete Virgil, nevertheless in the second edition a year later, on further reconsideration, he sometimes returned, as Noyes notes, to the earlier text of 1694. For full commentary 011 Dryden's translations of Virgil, see Volumes V and VI of this edition. 1 Pales. Rural deity feasted 21 April. 3 Amphrysian Shepherd. Apollo. Lyctean. Belonging to Pan. 7 Busiris. Xenophobic Egyptian king. 8 Eurystheus. Hercules' taskmaster. 9 Hylas. Hercules' ill-fated favorite. Latona's . . . Isle. Delos, where Latona bore Apollo and Artemis. 1 0 - 1 1 Pelops . . . Shoulder. Restored when Pelops was resurrected after being partly cannibalized, his Toyl / For fair Hippodamt. As charioteer, Pelops competed for her.

Notes

to Pages

433-449

747

18 Idume's Palms. Victory badges from southern Judaea. Mantua. Virgil's birthplace. 19 Parian Stone. Fine white marble. 20 Mincius. Mantua's river. 23 Casar. Augustus Caesar, whose temple this Geòrgie is to be. 25 Tyrian. Purple (appropriate for festival official). 30 Whorlbat. T r a n s l a t i n g Virgil's caestus, an ancient game in which leaden plummets were hurled. 41 Elephant. Ivory. 44 His . . . Ships. T h e Nile's, shattered in Caesar's victory over Egyptian forces. 45 Niphates. A r m e n i a n mountain or river. 48 backward Bows. Discharged while in flight. 58 Tros. "Mythical ancestor of Aeneas" (Sidgwick). 59 He the God. A p o l l o . 64 Tantalus. A d d e d by Drydcn. 66 Ixion's Wheel. Ixion was punished in I-Iades by being b o u n d to an endlessly revolving wheel. 73-75 Cytheron . . . Taygetus . . . Epidaurus. Mountains famous for cattle and dogs. 79-81 O b l i q u e l y foreshadowing the Aeneid. 82 Tithon. T r o j a n treated as Aeneas's ancestor. 99 Insult. A Latinism. " T h e act of leaping upon; 'covering' " ( O E D , which cites only this passage). 142 Cyllarus . . . Pollux. D i v i n e horse and demigod rider. 143-144 Such Coursers . . . Achilles. For Achilles' horses, see Iliad, X V I , 148. God of Thrace. Mars. Noyes cites Palamon and Arcite, II, 524529145-146 Saturn . . . with such a Mane. C a u g h t in adultery, Saturn fled as a horse. 160 requires. Stands in need of (OED). 177 Ericthonius. Legendary A t h e n i a n inventor-king. 180 Lapithte. Legendary Thessalian tribe. 192 Argos and Epirus were famous for horses. 235 Alburnian. R e f e r r i n g to Alburnus, a mountain in southern Italy. 238 Oestros . . . Asilus. " ' T h e gad-fly,' or large horse-fly" (Sidgwick). 242 Tanagrus . . . thence. " T h e N.E. face of A l b u r n u s is drained by T a n a g e r " (Sidgwick). 283 Beestings. T h e first milk of a cow after calving. 312 Honours. Leaves. 414 Sestian. Sestos was the town, on the European side of the Hellespont, to which Leander swam to visit the maiden Hero. 438 boring. "Defined in this context in OED as advancing 'by gradual persistent motion' (cf. Aeneis, iii. 660). But Dryden may also have had a more technical use in mind. '[With horsemen] a horse is said to boar or bore, when he shoots out his nose as high as h e can' (Bailey, 1731; OED); and this sense obviously applies to mares in heat. Cf. The Sixth Satyr of Juvenal, 1. 435" (Kinsley).

74»

Commentary

443 See Dryden's Juvenal VI, 805 and n. 469 officiously. Used in a favorable sense: "be nursed in the way they ought to be." 471 Winter-brouze. Fodder. 479 Fleece, when drunk with Tyrian Juice. W h e n dyed purple. 487 Camelots. Goatskin coats. 495 defend. Fend off. 537-540 Thus etc. I.e., the African herdsman and the R o m a n soldier are alike in simplicity of life. 541 Scythian Shepherd. Nomadic inhabitant of what is now southern European Russia. 543 Meotian Strand. Maeotis was the ancient name for the Sea of Azov, just north of the Black Sea and east of the Crimea. 544 Ister. T h e Danube. 585 barmy. Frothy. 586 Ryphaan Race. From mythical far northern mountains. 602 Did bribe thee. W o n thy love. 625 beamy. Antlered. 627 Galbanum. Bitter, odorous gum resin. 647 Calabria's woods. In southwestern Italy, opposite Sicily. 083 mother'd Oyl. T h e dregs or scum of oil. G89 Squills. Sliced and dried lily bulbs, used in medicine. 703 Gelons. A Scythian people. 742 Or. Ere, before. 759 roapy. Glutinous, stringy, 774 Clown. Rustic. 820 Tisiphonk. A Fury, sponsor of the plague.

To Sir Godfrey

Kneller

Dryden's epistle to Kneller, along with his translation of Virgil's Georgics, Book III, appeared in T o n s o n ' s The Annual Miscellany: For the Year i6p./. Being the Fourth Part of Miscellany Poems (1694). Horn in Liibcck, Kneller (1646-1723) was trained in Amsterdam in the tradition of the school of Hals and R e m b r a n d t and in Italy in that of Raphael and the Caracci; he had established a reputation as a painter of historical pictures and portraits in Venice and had enjoyed a great vogue in H a m b u r g before he arrived in England in early 1676. 1 In 1680, at the age of thirty-four, Kneller was appointed court painter to Charles II at the death of Peter Lely, and he served in this capacity for all succeeding sovereigns to George I. H e was knighted by W i l l i a m III in 1691. Kneller did portraits of most of the important persons of his d a y — o f Dryden several times, 2 of 'See Michael Morris, Lord Killanin, Sir Godfrey Kneller and His Times, i6,/6~iJ2} (1948), pp. 1, 4-6 'Ibid., p. 10. T h e three-quarter portrait of Dryden in the National Portrait Gallery is dated 1695 by Lord Killanin.

Notes

to Pages

449-462

749

Pope, Newton, Locke, Marlborough, and Wren; of Pepys, Tillotson, Dorset, Wycherley, Addison, Steele, Tonson, and many others. 8 He was eulogized in verse by Dryden, Pope, Addison, Prior, Tickell, and Steele, and at Kneller's dying request Pope wrote his epitaph. 4 T h e occasion for Dryden's epistle is uncertain. It is usually thought to have been an acknowledgment of Kneller's copy of the Chandos portrait of Shakespeare which Kneller had presented to Dryden (see 1. 73 of the poem and the sidenote). 6 T h e epistle to Kneller again demonstrates Dryden's interest in painting and the sister arts, and it seems natural to associate the poem, which has been admired in our time,® with Dryden's draft dedication for Purcell's music of The Prophetess (1691),'' his 1695 translation of Du Fresnoy's De Arte Graphical and A Parallel betwixt Painting and Poetry which he prefixed to that translation. i the fairest of her Kind. See 11. 3~6n, below. g Idea. See Jean Hagstrum's discussion of Plato's association of poetry and painting in The Sister Arts (1958), pp. 4-5. 3-6 True she was dumb . . . her Eyes. Kinsley cites To Mrs Anne Killigrew, 1. 103 {Works, III, 112): "And all the large Demains which the Dumb-sister sway'd," and the draft dedication for Purcell's The Vocal and Instrumental Musick of the Prophetess (Works, XVII, 324): "Painting is, indeed, another Sister, being like them, an Imitation of Nature: but I may venture to say she is a dumb Lady, whose charmes are onely to the eye: a Mute actour upon the Stage, who can neither be heard there nor read afterwards." T h e "fairest of her Kind" in 1. 1 turns out to be the putative Muse of painting, fairest of all the Muses, whose most recent epiphany has been the productions of Kneller. See 1. 49 and n. 14-21 Shadows are but . . . from the Frame. Cf. the draft dedication for The Prophetess (Works, XVII, 325, 11. 7-12), and see Hagstrum, Sister Arts, p. 178. 22-25 Prometheus . . . His Adam . . . his Fire. See Dryden's To the 8 Among Kneller's subjects were at least ten royal and numerous noble persons. See the list in Lord Killanin, Sir Godfrey Kneller, pp. 97-100. 4 See ibid., pp. 88-90, for the epitaph and an account of the whole episode. "So Scott suggested. Christie, however, believed that "as Kneller painted Dryden several times, it is equally likely that the poem may have been addressed to the painter after the completion of one of the portraits of the poet." Inasmuch as Kneller's copy of the Chandos Shakespeare was painted for Dryden about i68g (see O Sweet Mr. Shakespeare I'll have his picture, National Portrait Gallery [1964], p. 14), some five years before Dryden published his poem, Christie's conjecture has a certain appeal 6 For an appreciation and an interpretation of the poem, see Earl Miner, "Dryden's Eikon Basilike: To Sir Godfrey Kneller," in Seventeenth-Century Imagery: Essays on Uses of Figurative Language from Donne to Farquhar, ed. Earl Miner 097 1 )'First printed by R. G. Ham in PMLA, L (1935), 1065-1075. See Works, XVII, 324-326. •Kinsley thinks it probable that Kneller suggested this translation to Dryden.

Commentary Earl of Roscomon, 11. 73-74 and n (Works, II, 174, 383), and his translation of Ovid's Metamorphoses, I, 9 7 - 1 1 2 , above. Prometheus, who, according to Juvenal, X I V , vv. 34-35, formed men out of clay, also gave them fire which he stole from heaven. 26 See the discussion of "a better likeness, and a worse," "a better or worse likeness," in A Parallel betwixt Painting and Poetry prefixed to Dryden's translation of Charles du Fresnoy's De Arte Graphica (1695, sigs. (b)4», (f)g; Watson, II, 184, 202). Dryden means that ICneller's gift for portraying likenesses is the least of his achievements as a painter. 36 Picture. I.e., Pictura, the art of painting. 4 1 - 4 3 On the theory of light in painting see Dryden's translation of D u Fresnoy's De Arte Graphica, sees, xxxi, xxxiii. point of Light. Possibly alluding to the use of a single light source, as, e.g., frequently in the painting of De L a T o u r (1593-1652)44 languish'd. Cf. Dryden's translation of Du Fresnoy, sec. x x : " T h e more a Body is nearer to the Eyes, and the more directly it is oppos'd to them, the more it is enlighten'd. Because the Light languishes and lessens the farther it removes from its proper Source." 47-50 Cf. A Parallel betwixt Painting and Poetry, prefixed to Dryden's translation of Du Fresnoy's De Arte Graphica (1695, sig. (d)3*>; Watson, II, 192): " T h e two Arts . . . were both in a manner extinguish'd, by the Irruption of the barbarous Nations, and both restor'd about the times of Leo the Tenth, Charles the Fifth, and Francis the First" (noted by Kinsley). 49 Painting is evidently included among the Muses. 50 Rhyme began t' enervate Poetry. Rhyme was introduced (as a reguhir feature of line endings) during the Middle Ages, perhaps first by Provençal poets. 53 Skreen. Associated with the Orient. Cf. Pope: " A n d one describes a charming Indian Screen" ( R a p e of the Lock, III, 14). 54 Bantam's Embassy. Bantam is now a province in Java. "Eight ambassadors from the King of Bantam were in England in 1682. T h e English East India Company had then a factory there, which, in the reign of James II., was expelled by the Dutch, who also deposed the King. T h e Bantam ambassadors had been treated with distinction by Charles II.; he knighted two of them when they had their audience of leave. T h e faces of the ambassadors were well known by portraits and engravings" (Christie). Kinsley cites Evelyn's Diary for 20 J u n e 1682. 57 in Iron sleep. In deathlike sleep. A translation of Virgil's ferrus . . . Somnus (Aeneid, X , 745-746). 58 heavy Sabbath. Cf. Pope, The Dunciad (A), III, 1. 91. 72 Thy Pictures think, and 10e Divine their Thought. "Language that echoes Lovelace's witty tribute to Lely ['That contemplation into matter brought, / Body'd Idaea's, and could form a thought']" (Hagstrum, Sister Arts, pp. 178, 122). Cf. To Mrs Anne Killigrew, 11. 1 2 7 - 1 3 3 (Works, III, 73 Shakespear

thy Gift

ctc. '1 he portrait that Kncller presented to

Notes

to Pages

462-465

751

Dryden was copicd by him from that now known as the Chandos painting, artist unkown. T h e Chandos painting was then in the possession of Thomas Betterton, to whom it had been bequeathed by Sir William Davenant. Kneller's copy, which seems to have been hung above Dryden's desk, is now in the Earl Fitzwilliam collection. 78 Teucer. " T h e best archer of the Greeks; sheltered himself behind the shield of Ajax; v. Iliad, viii. 266-272" (Noyes). 80 Contemn . . . best. One of Dryden's best examples of a parallelism in which several well-placed sound echoes contribute to the effect of the statement. 81 Like his, thy Criticks etc. T h a t is, like Shakespeare's critics, Kneller's defeat themselves by their very attempt at criticism. Dryden, no doubt, is thinking of Rymer's criticism of Shakespeare. yi-g4 These lines were among those omitted in the 1701 reprint of the poem, presumably at Kneller's request (see textual headnote, p. 804, below). T h e passage is a splendid late example of Dryden's tendency to lapse into satire no matter what his subject. 98 Pope Leo X was Raphael's chief patron. gg Implies that the present public neglect of good poetry had ancient precedents. 100 Charles II was the patron of both Dryden and ICneller. 102-103 Rich . . . Shrine. Cf. Walpole's statement, cited by Kinsley on this poem, that "Pope said to him as he was painting, 'Sir Godfrey, I believe if God Almighty had had your assistance, the world would have been formed more perfect.' ' T o r e God, sir, replied Kneller, I believe s o ' " (Anecdotes of Painting, in Lord Oxford's Works [1782], III, 363). Whatever the degree of Kneller's vanity, however, Dryden's lines are most naturally read as a serious, and sincere, association of artistic creative power with the power exemplified in Creation itself. 115-123 Omitted in the 1701 reprinting, presumably at Kneller's request (see textual headnote, p. 804, below). 117 this Age. I.e., the "Iron Age" in the dedication of Exatnen Poeticum (372: 24, above). 119 Heroes. T h e painters of antiquity and the Italian Renaissance; cf. 11. 35-44- 59-4128 This and 1. 137 apparently are based on the proverb, "A wise (or valiant) man makes every country his own" (Tilley, M426). 132 not seven Cities. A reference to the well-known legend that seven Greek cities claimed to have been Homer's birthplace. 135 Our Genius. T h e guardian spirit of the British people. 145-153 "Mr. Walpole says that where Sir Godfrey 'offered one picture to fame, he sacrificed twenty to lucre; and he met with customers of so little judgment that they were fond of being painted by a man who would gladly have disowned his works the moment they were paid for.' T h e same author gives us Sir Godfrey's apology for preferring the lucrative, though less honorable line, of portrait painting. 'Painters of history (said he) make the dead live, and do not begin to live themselves till they are dead. I

Commentary

752

p a i n t t h e living, a n d they m a k e m e live.' Anecdotes of Painting (Works, 1798, vol. iii, p. 359), D r y d e n seems to a l l u d e to this expression in 11. 150154" (Scott). 147 D r y d e n p a r t i c u l a r i z e s t h e way his o w n g e n i u s is b o u n d e d by t h e times in Discourse of Satire, 82:80-83:17, above. 150-152 D r y d e n h e r e sets d o w n a h i e r a r c h y of l i t e r a r y values. 158 Posture. P l a c i n g of t h e subject in t h e design of t h e p a i n t i n g , sink. Disappear. 164-165 O m i t t e d in t h e 1701 r e p r i n t , p r e s u m a b l y a t K n e l l e r ' s r e q u e s t (see t e x t u a l h e a d n o t e , p. 804, below). 170 at a nearer view. I n t h e f o r e g r o u n d of t h e p a i n t i n g . 178 imbrown the Teint. D a r k e n or m a k e dusky t h e colors.

Ode on the Death

of

Purcell

O n 21 N o v e m b e r 1695, t h e eve of St. Cecilia's Day, H e n r y Purcell, t h e greatest m u s i c i a n of his time, d i e d a t thirty-seven years of age. H e h a d served as o r g a n i s t at W e s t m i n s t e r A b b e y f r o m 1679, w h e n h e succeeded J o h n Blow, a n d h e was b u r i e d b e n e a t h t h e o r g a n i n t h e a b b e y 1 i n g r e a t state a n d to his o w n music. H e was eulogized in a m a r b l e t a b l e t erected a t t h e e x p e n s e of A n n a b e l l a , f o u r t h w i f e of Sir R o b e r t H o w a r d , w h o h a d b e e n h i s p u p i l . 2 T h e lines of t h e i n s c r i p t i o n , a t t r i b u t e d to D r y d e n by Scott, 8 r e a d : H e r e lyes H E N R Y P U R C E L L Esq; W h o l e f t this L i f e A n d is g o n e to t h a t Blessed Place W h e r e o n l y his H a r m o n y can b e e x c e e d e d . I n 1696 D r y d e n ' s ode, "Sett to M u s i c k by Dr. Blow," was p u b l i s h e d by H e n r y P l a y f o r d ; it r e a p p e a r e d two years later, p r e f i x e d t o Orpheus Britannicus, a collection of PurcelPs music. 4 Dryden h a d known H e n r y Purcell a n d h a d collaborated with h i m f r e q u e n t l y , chiefly d u r i n g t h e five years p r e c e d i n g t h e composer's d e a t h . T h e close association of t h e t w o m e n seems to h a v e c o m e a b o u t t h r o u g h D r y d e n ' s interest in Purcell's successful a n d first large-scale w o r k f o r t h e p r o f e s s i o n a l stage, The Prophetess: or, The History of Dioclesian (1690; a d a p t e d f r o m B e a u m o n t a n d Fletcher by B e t t e r t o n ) , 6 f o r which D r y d e n h a d w r i t t e n his topical a n d soon suppressed " P r o l o g u e to The Proph1

Macdonakl, p. 5511. ' F o r an appreciation of the 250-253. On 11. 1-12, see Earl XXVIII (1961), 164-165. •See J . A. Westrup, Purcell Henry Purcell & the Restoration

a 'Ibid. S-S, XI, 148. ode, see Earl Miner, Dryden's Poetry (1967), pp. R. Wasseiman, "Pope's Ode for Musick," ELH,

(rev. ed„ 1965), p. 70; Robert Etheridge Moore, Theatre (1961), pp. 70-71.

Notes

to Pages

465-469

753

etess." 0 In the following year he had ghostwritten the epistle dedicatory for Purcell's publication of The Vocal and Instrumental Musick of the Prophetess.7 In these last years, moreover, Purcell had composed music for Dryden's Amphitryon (1690), had produced the score for their most ambitious collaborative effort, King Arthur (i6gi), had contributed songs for Cleomenes (1692) and Love Triumphant (1694), had set or reset songs for revivals of Aureng-Zebe and Tyrannick Love,9 and had produced the music for a number of the operatic adaptations of earlier plays of Dryden's which were produced in the 1690's.0 In a letter prefixed to the published text of Amphitryon,1® Dryden praised the "Excellent Composition of Mr. Purcell" and rejoiced that England had found a composer "equal with the best abroad." In the dedication of the brilliantly successful King Arthur,11 Dryden wrote: "There is nothing better, than what I intended, but the Musick; which has since arriv'd to a greater Perfection in England, than ever formerly; especially passing through the Artful Hands of Mr. Purcel, who has Compos'd it with so great a Genius, that he has nothing to fear but an ignorant, ill-judging Audience." Clearly, Dryden's final poetic tribute to the young composer was the expression of a genuine and personal admiration.

15 As He too late began. Since Purcell began composing in his early teens and was appointed organist at Westminster Abbey at the age of twenty-one, Dryden would seem to be referring here to the fact that Purcell did not begin his principal work for the professional stage until 1690, when his music for The Prophetess "effectually changed the course of [his] career" (see Robert Etheridge Moore, Henry Purcell & the Restoration Theatre [1961], p. 70). 16-22 Dryden effectively adapts the legend of Orpheus and Eurydice. 18 Sovereigns. Pluto and Proserpina, king and queen of the underworld, here thought of as symbolizing disorder. 20 The poio'r of Harmony. On the humanistic conception of harmony, see headnote to A Song for St. Cecilia's Day, 1687, in Works, III, 460-461. 21-22 Tun'd their jarring Sphere etc. Contrast the "untuning" of the sky at the end of Song for St. Cecilia's Day (see Works, III, 203, 466-467). In musical terminology, jarring meant "discordant"; cf. Thomas Mace, Musick's Monument (1676), p. 3: "Jarring Discords are . . . a simile of the Devil, or Hellish tortures." 23-26 Cf. Cowley, On the Death of Mr. Crashaxo (1649), 11. 43-46: • See Works, III, 255-256, 507-508. 7 A manuscript draft of the dedication including the signature "Henry Purcell" is extant in Dryden's handwriting. See Works, XVII, 324-326, 482-483. 8 See Franklin B. Zimmerman, Henry Purcell, 1659-169;: His Life and Times (1967), pp. 234-235; and Works, X, 502. •Macdonald, p. 55m For a fuller account of Dryden's relationship with Purcell, see Wcstrup, Purcell, pp. 67-73. 11 1690, sig. A3; S-S, VIII, 9-10. 1691, sig. Ajr-v; S-S, VIII, 135.

754

Commentary

"Angels . . . brought tlice there, ancl T h e y / A n d T h o u , their charge, went singing all the way." 24 Let down the Scale of Musick. For a drawing illustrating the scale of music, and a description visualizing it as a "ladder or staircase to be scaled, but made up of harmonic intervals and so a proper conceit f o r rising by tonal steps," see Earl Miner, Dryden's Poetry (1967), pp. 853-254. 25 handed him along. Accompanied him; led him by the hand.

Preface and Epilogue to The Husband His own Cuckold The Husband His oivn Cuckold was written by J o h n Dryden, J r . , Dryden's second son, in the early 1690's and was published in 1696. T h e dedication to Sir Robert Howard, the playwright's maternal uncle, is dated "Rome, August the 20th, 1695. New-Style." T h e play was performed at Lincoln's I n n Fields, the exact date of the first performance being unknown, although it appears to have been in late 1695 or early 1696.! In a letter to Tonson, dated November 1695 by Ward, Dryden refers to the forthcoming production of his son's play, and in another of 26 May 1696 lie negotiates for its publication. 2 A n advertisement of the published play appeared in the London Gazette, 9 - 1 3 J u l y 1696. In his preface Dryden speaks of having receivccl the play " f r o m Italy some years since"; clearly he had it in hand before 1 5 J u n e 1694, the date of his contract with T o n s o n for the translation of Virgil, for in that document he reserves the right to provide his son J o h n ' s play widi prologue, epilogue, or songs during the time when he would be working to complete the Virgil. 8 Given the terms of this provision, it is possible that he wrote the play's two songs, but any evidence that he did so is lacking. 4 H e seems to have helped prepare the play for the stage, 5 and he may well have chosen the appropriate Virgilian title-page motto ( A e n e i d , I I I , 343): 1 Van Lennep (p. 458) acccpts early 1696 as the probable date. John Barnard ("The Dates of Six Dryden Letters," PQ, X L I I [1963], 400-401), who dates a letter in which Dryden mentions the forthcoming production of his son's play May 1695 rather than November 1695, believes that the first performance was probably in late 1695. a F o r the first-mentioned letter, see Ward, Letters, pp. 79, 173, and footnote 1 above; for the letter negotiating publication of the play, see Ward, Letters, p. 82. s Ward, Life, p. 272. 4 C . E. Ward ("Some Notes on Dryden," RES, X I I I [1937], 303-304) claims Dryden's authorship of the songs on the basis of the Virgil contract stipulation, but the prologue to the play, also mentioned in the contract, was written by Congreve rather than by Dryden, so the authorship of the songs remains in question. "Ward so infers from Dryden's statement that "When my Sonns play is actcd J intend to translate again, if my health continue" (see Letters, pp. 79, 173).

Notes FA Pater

Aineas,

to

Pages

ir Avunculus

excilct

469-473

755

Hector

(Let Aeneas liis father and Hector his uncle spur him on). A t the time of the play's production the younger John Dryden was about twenty-eight years old; he had lived at R o m e with his brother Charles for some four years, where he was a gentleman-usher to the pope. 8 In September 1697 a letter from Dryden to his sons in R o m e speaks of a parcel being sent to them, and a postscript from the playwright's mother, Lady Elizabeth, notes that the parcel contains " n o t h i n g considarabell b u t my dcarc Jackes play." 7 John Dryden, Jr., continued to live on the Continent until his death in 1703.8 'l he opening of Drydcn's epilogue exists in two versions, one of which appears in liis preface to the play, and the other, at the end of the play. Dryden says in the preface that lie feared the first version of his epilogue (beginning " L i k e some raw Sophister") seemed " t o expose our young Clergy with too much freedom." T h e other version was presumably to have been used on the second night if the first was ill received. B o t h versions are anticlerical satire; the first, however, applies to contemporary Church of England clergy, whereas the second—like the "numerous Host of dreaming Saints" passage in Absalom and Achitophel—is directed backward at C o m m o n w e a l t h days. Hence the "raw Sophister" text w o u l d be the more likely to give offense. In the preface, Dryden finds that his son's play "may want Beauties, but the faults are neither gross, nor many." H e attacks, in typical fashion, the "wretchedly deprav'cl" taste of the age, but he exempts his son's play from catering to it. A n d though he concedes that "If it shall please G o d to restore him to me, I may perhaps inform him better of the R u l e s of W r i t i n g , " yet he detects, "if I am not partial, . . . that a G e n i u s is not wanting to liim." A fine balance of parental pride and critical candor thus pervades Dryden's preface, and the epilogue indicates that his earlier vigor and wit had not deserted him.

PREFACE

P. 471: 1. ¡so two Authors. Scott thinks Dryden probably means Congreve and Southerne. 472:25-26 to my dear Friend Mr. Congreve. T h e same phrase was used by Dryden for the title of his poem to Congreve. 473:4 seven years toil. " T h e o l o g y . . . required still the longest course of study—seven years for a Bachelor and eleven for a Doctor after taking the Arts degree" (Charles Edward Mallet, A History of the University of Oxford [1924], II, 325). ' S e e Christie, p. 481. See also J a m e s M . O s b o r n , John Dryden: Some Biographical Facts and Problems (rev. ed., 1965), p p . 259, 281. ' W a r d , Letters, p p . 92-95. " S e e O s b o r n , John Dryden, p p . 259, 281-282. J o h n D i y t l e n , Jr., f u r n i s h e d t h e first h a l f of the translation of Persius II, as his f a t h e r p o i n t s o u t in e x p l a n a t o r y n o t e 11 to that satire, w h e r e h e also states that his son is in I t a l y .

Commentary

756

473:6-8 Cf. Absalom and Achitophel, 11. 557-559, and Religio Laid, 11. 406-416. Dryden returns to a traditional anti-Puritan theme. 473:18-19 Dryden uses a metaphor (of flies breeding from maggots in a carcass) he had already used in Religio Laid (11. 417-420) in connection with Puritan preaching. A flyblow is "the egg deposited by a fly in the flesh of an animal, or the maggot proceeding therefrom" (OED). EPILOGUE

1 Sophister. "A student in his second or third year" (OED). 13 Third. Day. T h e author's benefit performance. Cf. the epilogue to The Unhappy Favourite, 1. 15 (Works, II, 182). In dedicating his play to Sir Robert Howard, J o h n Dryden, Jr., refers to "those assuming to themselves the name of Poets, who never had any other call to that Art beside the hope of a third day." Induction. " T h e action of formally introducing a clergyman into possession of the church to which he has been presented and instituted, together with all rights, profits, etc. pertaining to it" (OED). 21 Sable Garment. A priest's black vestments. 30 Muff. Muffs were used by men as well as women in the seventeenth century. 32 Clipt Money. A reference to the illegal clipping of coins. See notes to 11. 228-229 of The Medall (Works, II, 297). 33 our absent Author. John Dryden, Jr., was not in England. See 1. 38 and the lieadnote above. 36 "At genus immortale ma net [but the immortal race remains]—Virg. Georg. IV. 208" (Christie).

Ovid's

Amours

These versions of Elegies I and IV were published in Tonson's Poetical Miscellanies, The Fifth Part (1704). T h e date of their composition is unknown, but it may have been around 1693, when Dryden was translating The Art of Love, Book I. In Elegy I he expands Ovid's thirty lines into thirty-four; in Elegy IV, Ovid's seventy lines into eighty-eight. Elegy IV was thus somewhat more expanded, proportionally, than either Elegy I or the Art of Love, where Dryden has 888 lines for Ovid's 772. For Dryden's techniques in translating Ovid and for the Latin texts he used, see headnote to the Metamorphoses. Dryden apparently knew Marlowe's All Ovids Elegies, and he may have known an anonymous translation of the elegies published in 1683.

Notes to Pages 473-4J6

757

Book I. Elegy I 1 Tune my Lute. D r y d e n ' s image. 3 F o r O v i d ' s Par erat inferior versus ( L o e b : " T h e second verse was e q u a l to i h e first"). 4 - 5 Hut Cupid . . . a Foot purloin'il. " L a t i n h e r o i c p o e t r y is w r i t t e n in h e x a m e t e r s ; L a t i n elegiac p o e t r y in couplets, t h e h e x a m e t e r a l t e r n a t i n g with t h e p e n t a m e t e r : h e n c e t h e t e r m unequal (1. 34), which, however, is Dryden's, not O v i d ' s " (Noyes). See 11. 31 a n d 34. lohen . . . Verse. D r y d e n ' s addition. 8 Pltccbus. S u b s t i t u t e d for O v i d ' s Pierides, as in t h e a n o n y m o u s 1683 /•'.levies. i) (¿iteen of Love. For O v i d ' s Venus, as in t h e 1683 Elegies. 1 3 - 1 4 As h a d b e e n d o n e in t h e 1G83 Elegies, D r y d e n reverses O v i d ' s Ceres-Cynthia s e q u e n c e . 15 quit the trembling String. D r y d e n ' s a d d i t i o n . 16 Sword and Shield. For O v i d ' s spear, and Mars may learn to Sing. Cf. " A n d S t e r n Mars s i n g " (1683 Elegies). 17-18 M a r l o w e uses t h e same r h y m e words. 22 Pinnions . . . flutter. D r y d e n ' s a d d i t i o n . 24 want. Lack. Cf. M a r l o w e : " I h a v e n o niistresse, n o r n o f a v o u r i t . " 25 Thus I complain'd. Also used in t h e 1G83 Elegies a n d by M a r l o w e . 2 5 - 2 7 his Bozo . . . pursues. D r y d e n discards O v i d ' s m e n t i o n of t h e q u i v e r in v. 21 a n d reverses t h e o r d e r of O v i d ' s vv. 2 2 - 2 3 , in w h i c h C u p i d first chooses a n a r r o w a n d t h e n b e n d s t h e b o w . 29 (too well, alas, he knows his Trade,). D r y d e n ' s a d d i t i o n . 30 Mortal Wound. D r y d e n ' s s u b s t i t u t i o n for O v i d ' s " I a m on fire" (Loeb) in v. 26. 3 1 - 3 2 D r y d e n p u r s u e s a m o r e flexible course t h a n t h e relatively literal Marlowe: L e t my first verse b e sixe, my last five feet, Fare-well s t e r n e w a n e , f o r b l u n t e r P o e t s m e e t e . 34 Literally, " O Muse to b e s u n g to t h e lyre in elevens" ( L o e b ) . unequal Verse. Elegiacs (S-S). See 11. 4-511.

Book I. Elegy

IV

4 while he may touch. Cf. M a r l o w e : " W h i l e o t h e r s t o u c h . " 5 nauseous. D r y d e n ' s a d d i t i o n . 6 D r y d e n intensifies O v i d ' s e m b r a c c m e n t i m a g e (v. 6). 7 Hippodamia. D r y d e n follows C n i p p i n g a n d C r i s p i n u s in t h e i r gloss of O v i d ' s Candida . . . Atracis ( L o e b : " t h e fair d a u g h t e r of A t r a x " ) . As Noyes notes, t h e story of H i p p o d a m i a is told in lines 292 If. of D r y d e n ' s version of Metamorphoses, X I I , 111 Fables. N o y e s criticizes D r y d e n f o r a c c e n t i n g t h e n a m e Hippodamia i n s t e a d of Hippodamia. T h i s objection to a n o r m a l Anglicization of a classical n a m e seems of a piece w i t h

758

Commentary

Noyes's occasional unfairness to Dryden's scholarship; see W i l l i a m Frost, " M o r e about Dryden as a Classicist," N&Q, n.s., X I X (January 1972), 23-26. 8 Centaurs. O v i d has ambiguos . . . viros, which is glossed by C n i p p i n g and Crispinus as "centaurs." to Arms. From ad arma in C n i p p i n g ' s note. 9 - 1 0 Dryden's addition. Cf. Cnipping's note earn rapiendi causa: "for the purpose of seizing her." 11-18 Cf, Marlowe: I am 110 haife horse, nor in woods I dwell, Y e t scarce my hands from thee containe I well. (I wish I were:). Dryden's addition. Marlowe's "nor in woods I dwell" is literal. 13-14 which , . . me. A n interpretation of Ovid's injunction not to throw words to the winds (vv. 11-12). 15-16 Cf. Marlowe: Before thy husband come, though I not see W h a t may be done, yet there before him be. 17 Sit next him. D r o p p i n g Ovid's opening phrase in v. 15. 18 tread upon my Foot. Cf. Marlowe: " b u t 011 my foot first tread." 19 Cf. Marlowe: "View me, my becks, and speaking countenance." 22-23 Dryden elaborates Ovid's language-of-fmgers image (v. 20). 24 Cf. Marlowe: " L i n e s thou slialt read in wine by my hand writ." 26 Face. For Ovid's Purpureas . . . genas (Marlowe: "Rosie cheekes"). 29 D r o p p i n g Ovid's apostrophe men lux (Loeb: "light of mine"). 31 at Altars. Dryden's addition, the Boord. Also used by Marlowe. 32 Cf. Marlowe: " W h e n thou doest wish thy husband at the devill." Devil seems to be a monosyllable in Dryden. 34 th' officious Cuckold. Dryden's addition. 39-42 A n expansion. Marlowe is more literal: If liee gives thee what first himselfe did tast, Even in his face his offered Goblets cast. 44 hairy. For Ovid's rigido, glossed by C n i p p i n g as Immiti aspero ("harsh, rough"). Crispinus's prose paraphrase reads in sinus asperos: "on his rough breast." 45-46 Cf. Marlowe, who is relatively literal here: " T h y bosomes Roseat buds let him not finger." 48 Dryden's addition. 51 Dryden's addition. 56 A n obscene substitute for Ovid's v. 43, which is rendered by Marlowe: " N o r thy soft foote with his hard foote combine." 57-58 A brilliant, paraphrastic rendering of vv. 45-56, in about the same number of words as the Latin. Cf. Marlowe, w h o is tepid and blurred by contrast: I have beene wanton, therefore am perplext, A n d with mistrust of the like measure vext. 59-62 Dryden's expansion. Marlowe keeps rather close to O v i d : I and my wench oft under clothes did lurke, W h e n pleasure mov'd us to our sweetest worke.

Notes to Pages 476-480

759

66 Nor mix one drop of water etc. Ovid simply says to keep the wine pure. 72 Grubble. "Grope" (OED, citing this line and Dryden's Don Sebastian [1692], I, i, 293, "Let me rowl, and grubble thee." or . . . Kiss. Dryden's addition. 76 An imaginative replacement for Ovid's laconic Node vir includel (Loeb: "At night your husband will shut you in"). 78 Dryden interprets Ovid's picture of gloom and tears (v. 61). 79 Cf. Marlowe: " T h e n will he kisse thee, and not onley kisse." 80 A reworking of Ovid's v. 64 (Marlowe: "But force thee give him my stolne honey blisse"). 83 An erotic intensification of Ovid's Blanditiae taceant (Marlowe: "Forbeare sweet wordes"). 84 Sport. For Ovid's Venus; also used by Marlowe. 88 Cf. Marlowe (whose last line is more literal): Hut though this night thy fortune be to trie it. T o me to morrow constantly deny it.

Ovid's Art of Love.

Book I

On 30 August 1693 Dryden declared in a letter to Tonson: " I have translated six hunderd lines of Ovid; but believe I shall not compasse his 772 lines under nine hunderd or more of mine." 1 As Noyes observes, the reference to 772 lines identifies the work in progress as the first book of the Ars Amatoria. In December 1697 Dryden again wrote to Tonson, saying: "You told me not, but the Town says, you are printing Ovid de Arte Amandi; I know my Translation is very uncorrect: but at the same time I know no body else can do it better, with all their pains." 2 T h e rumor was ill founded, for the translation was not published in full until 1709. (See textual headnote.) Dryden occasionally echoes three earlier English translations of the Art of Love: those of Thomas Heywood (1600?), Francis Wolferston (1661), and Thomas Hoy (1692). 1 - 2 Cupid's School . . . Degree . . . Rudiments. T h e pedagogical metaphor is Dryden's, (Loeb: "If anyone among this people knows not the art of loving, let him read my poem, and having read be skilled in love"). 4 instructs. Dryden continues the metaphor. Heywood is literal: " B y art the Chariot runs, by art Love's guided." 5-6 Abridging two couplets by discarding Ovid's references to charioteers and seamen of the past, a catalogue that concludes: " I shall be 1

Ward, Letters, p. 58.

"Ibitl., pp. 98-yy.

760

Commentary

called the Tiphys and Automcdou of L o v e " (Loeb). Though instructive, Dryden's manual is not meant to sound as erudite as Ovid's. 7-8 obstinate and wild, . . . stubborn. Dryden omits Ovid's outright statement that Cupid often resists him. 1 0 - 1 5 A free rendering, the Centaur . . . Cliiron. For Ovid's "soil of Philyra." rcceiv'd the Rod. I11 Ovid, "held out his hands to the lash." taught . . . Lyre. A11 expansion of Ovid's "made him perfect 011 the lyre." 13 Cf. Hoy: "Sol't'ning the growing Passions of his Mind." 1 6 - 1 8 Dryden amplifies the brief statement by Ovid that he is Love's teacher. «1 reclaim'd. Dryden's addition. 22 Horse. Omitting Ovid's magnanimi: "spirited." 24 Dryden's addition. 26 Dryden's addition. 27 Dryden adds Soul and Sight. 29 the Delphian God affords. For Ovid's direct address: "which you give, O Phoebus." 30 Auspice. Dryden's addition. Cf. the Cnipping note ab avium auspiciis: "by auspices of birds." 3 1 - 3 2 Dryden translates Ovid's vv. 27-28, nee mihi sunt visae Clio Cliusquc sorores / servanti pecudes vallibus, Ascra, tuis (Loeb: "neither did Clio and Clio's sisters appear to me while I kept flocks in thy vale, O Ascra"), as Kinsley notes, in the light of Cnipping's note on Ascra: Vicus est in Thespiis, juxta Heliconis partem: quam Dius ir Pycimede, Hesiodi parentes incoluerunt, relicta patria Cuma (It is a district in Thespiae, near part of Mount Helicon, where Dius and Pycimede, I-Icsiod's parents, settled after they left Cumae, their native land). With a slight difference in phrasing, Crispinus gives the same information about both Ascra and Hesiod. Cf. Wolferston: Clio nor Clio's Sisters have I seen A keeping Sheep on the Ascrcan Green. 37-38 For Ovid's Nos Venerem tutam . . . canemus (Loeb: "Of sate love-making do I sing"). Kinsley compares Cnipping's note: Ignnbiles foeminas, ad quas est aditus tutus: (hnuii 5»9. 524. 525. 526, 527, 534, 537- 547. 554 Satire 1, 573, 576, 646 Satire 11, 572 Satire 111, 655, 663, 664, 683 Satire IV, 693 Satire VI, 646, 688, 728 Satire VIII, 677 Satire X, 658, 666 Satire XIV, 750 Juvenal, Dryden's translations from, 513-514. See also Dryden, John

Keats, John Ode on a Grecian Urn, 770 Ketch, Jack, 573 Killigrew, Anne, 561 Killigrew, Charles, 561

L „ W. Commendatory poem to The Faerie Qtieene, 536 Labeo, Attius, 589, 656, 664, 665 Translation of The Iliad, 589, 664 Lampoon, 526 Langbaine, Gerard Momus Triumphans, 699 Account of the English Dramatick Poets, An, 699 Lascaris, Giovanni Giorgio, 534

Index

8ÎÎO Le Bossu, René Traité du Poëme

Epique,

537,

543. 569-570 Lee, Nathaniel, 529, 696 Oedipus (with John Dryden), 701 Leigh, Richard Censure of the Rota, The, 532 Le Moyne, Pierre Saint Louys, 536 Leo X, 534, 751 L'vy,

553- 554- 649- 6 52

Locke, John, 749 Lockier, Dean, 579 Lodge, Thomas, 516, 520 London Gazette, The, 513 Longinus, 565, 699 Louis X I V , 526, 531, 534 Lovelace, Richard, 750 Lucan [Marcus Annacus Lucanus], 567< 597. 6 94. 699 Pharsalia, The, 535, 678 Lucian, 526, 560 Lucilius, Gaius, 517, 519, 549, 556, 559. 570. 701 Lucretius [Titus Lucretius Carus], 526, 708 De Rerum Natura, 531, 565, 619, 690, 732 Lycophron, 524n

M., T . Micro-Cynicon, Sixe Snarling Satyres, 525 Mace, Thomas Mustek's Monument, 753 Mackenzie, Sir George, 581 Maecenas, Gaius, 526 Maidwell, Lewis Translation of A Breviary of Roman History, 576 Malone, Edmund, 532, 534, 536, 540, 541, 548, 562, 576, 581, 585, 586, 698 Mark ham, Gervase Translation of Ariosto's satires, 522 Marlborough, 1st Duke of, 749

Marlowe, Christopher All Ovids Elegies, 756-759 passhn Marston, John, 520, 524n Martial [Marcus Valerius Martialis], 535. 577. 654< 658, 659, 702 Martianus Capella, 560 Mascardi, Agostini, 578 Maurus, Rhabanus, 736 Maynwaring, Arthur, 742 Meleager (of Gadara), 560 Menander, 576, 689 Menippean satires. See Varronian satires Menippus, 517, 560 Dialogues (epistles), 561 Michelangelo Buonarroti, 534 Micyllus, Jacobus Edition of Ovid, 730 Middleton, Charles, 2d Earl of Middleton, 745 Milton, John, 521, 571, 582 Apology for Smectymnuus, An, 5»7" Mansus, 541 Naturam Non Pati Senium, 534 On the Morning of Christ's Nativity, 632, 728 Paradise Lost, 535, 537, 540, 541, 581, 708, 711, 712, 713, 716, 727, 735. 737« 745 Minturno, Antonio Sebastiano, 516 Molière, Jean Baptiste Poquelin, 534 Monmouth, James Scott, Duke of, 532 Monson, Thomas, 781, 782 More, Henry Exposition of the Prophecies of Daniel, 539 Philosophical Works, 539 Motteux, Peter, 513 Mulgrave, John Sheffield, 3rd Earl of, 541, 696, 704 Essay upon Satyr, An, 521, 522 Nero, 535, 561, 565, 572, 599, 634, 635> 637-638, 655

Index Newcastle, William Duke of, 743 Newton, Sir Isaac, 749 Nicene Creed, 737 Noilot, Francis, 561 North, Roger Life of the Right Francis North, 562

Cavendish,

Office of the B.V. Mary in

Honourable

England,

736 Ogilby, John Translation of Iliad, 738-742 passim Old Comedy, 5 1 5 , 516, 57a Oldham, John, 529, 578, 596 Imitation of Juvenal, Satire III, 592> 593. 607-617 passim Eighth Satire of Monsier Boileau, Imitated, The, 620 Orpheus Britanniens, 752 Orrery, Roger Boyle, Earl of, 528 Ovid [Publius Ovidius Naso], 582, 701-702 Ars Amatoria, 759 Epistles, 704 Heroides, 583 Ibis, 549 Metamorphoses, 583, 597, 635, 722 Ovid, Dryden's translations from: see Dryden, J o h n Owen, J o h n Epigrams, 536 Pacuvius, Marcus, 5 1 7 , 556, 661 Saturae, 549 Pedemonte, Francesco Filippi, 5 1 6 Penn, William, and manuscript copy of the ode to Purcell, 805 Pepys, Samuel, 749 Perrault, Charles Parallel of the Ancients and the Moderns, 701 Persius [Aulus Persius Flaccus], 517, 519, 524-525. 534. 547 Satire I, 573, 691

821

Satire 11, 693 Satire I I I , 657, 680 Satire IV, 683 Satire V, 656, 693 Persius, Dryden's translations from, 5 1 3 - 5 1 4 . See also Dryden, J o h n Petrarch [Francesco Petrarca], 722 Petronius, Gaius [Petronius Arbiter], 560, 561 Satyricon, 542, 569, 698 Pictor, Carvilius Aeneidomastix, 698 Pilatus, Leontius, 534 Pindar, 565, 568, 690 Pithoeus, Peter, 586 Plato, 565, 749 Alcibiades II, 666 Laws, 546 Symposium, 575 Pliny the Younger, 606, 647, 649, 687, 690, 695 Letters, 694 Plutarch, 548, 636, 651, 677 Poems on Affairs of State, 531, 698 Pontanus, Joannes Jovianus, 709 Pope, Alexander, 524, 525, 529, 5305 3 1 , 582, 749 Dunciad, The, 529, 750 Epilogue to the Satires, 51411 Essay on Criticism, An, 5 2 1 , 696, 698, 701 Imitations of Horace, 576 Peri Bathous, 529 Rape of the Lock, The, 750 To Arbuthnot, 514 To Augustus, 5 1 4 Translation of Homer, 585, 703, 74« Porphyrio, 518, 552 Power, Thomas, 5 1 4 Prateus, Ludovicus [Louis Deprez] Delphin edition of Horace, 544, 547 Delphin edition, Juvenal, 587— 592 passim, 597-654 passim Delphin edition, Persius, 587-592 passim, 655-695 passim

822

Index

Primer, or, Office of the B. Virgin Mary Revis'd, The, 736, 802 Prior, Matthew, 527, 532, 749 "Heads for a Treatise upon Learning," 532-533 Mr. Charles To the Honourable Montague, 696 Priscian, 636 Purcell, Henry, 752-753 Vocal and Instrumental Mustek of The Prophetess, 749, 753 Puttenham, George, 516, 518

Rycaut, Sir Paul Turkish History, The, 700 Rymer, Thomas, 745, 751 Edgar, 699 Preface to Rapin's Reflections, 529 Short View of Tragedy, A, 700, 701 Tragedies of the Last Age Con• sider'd, 537

llacine, J e a n , 526, 534 Radcliffe, Edward, Lord, 696, 697, 701, 704 Raphael [Raffacllo Sanzio], 534, 748 Rapin, René, 543 Comparaison Des Poëmes, 703, 704 Réflexions sur la Poétique, 535 Ravenscroft, Edward Prologue to The Citizen Tum'd Gentleman, 532 Rembrandt van R i j n , 748 Richelieu, Cardinal, 542 Rigaltius [Nicolas Rigault], 543, 562 Edition of Juvenal and Persius,

Sackville, Charles, Lord Buckhurst, 6th Earl of Dorset. See Dorset Sackville, Thomas, ist Earl of Dorset and Baron Buckhurst, 528 Sallust [Gaius Sallustius Crispus] Jugurtha, 551 Sandys, George Translation of Ovid, 702, 705-734 passim Sappho, 690 Satire: in verse, 514; the genre of, 5 1 5 - 5 1 7 , 660; and comedy, 5 1 5 516, 572; and tragedy, 5 1 5 - 5 1 7 ; etymology of, 5 1 7 - 5 2 2 ; and the ethos of the satirist, 522-523; style in, 524-525, 573; medical metaphor applied to, 574; conventional persona used in, 654 Saturnalia, 55a Satyr plays, 5 1 7 - 5 1 8 , 526, 550 Scaligcr, Joseph Justus, 544 Scaliger, Julius Caesar, 524, 544, 572 Poetices Libri Septem, 544, 545,

543- 544- 562, 574 Robortello, Francesco, 5 1 6 Rochester, J o h n Wilmot, Earl of, 529. 57 8 ' 6 96 Allusion to the Tenth Satire of the First Book of Horace, 529 Roman Breviary, 737 Ruaeus [Charles de la Rue] Delphin edition of Virgil, 576 Rubianus, Crotus, with Ulrich Von Hutten Epistolae Obscurorum Virorum, 561

55°. 555- 5 6 3 . 57°. 699- 7 ° 3 Scarron, Paul Typhon, 580 Virgile travesti, 580 Scholiast, the, 554, 588 and passim Schrevellius, Cornelius Variorum edition, Juvenal, 587592 passim, 597-654 passim Variorum edition, Persius, 587592 passim, 655-694 passim Scudcry, Georges de Alaric, 536

Quintilian [Marcus Fabius Quintilianus], 544, 554, 556, 559, 655 lnstitutio Oratoria, 549-550

Index Scclley, Sir Charles, 529, 618 Bellamira, or The Mistress, 689 Segrais, J e a n Preface to translation of the Aeneid, 535 Selclen, J., 585 Seneca, Lucius Annaeus, 560, 561, 678 Epistles, 662 Settle, Elkanah Absalom Senior, 698 Shadwell, Thomas, 527, 542, 593, 596, 600, 699, 701, 744, 745 Translation of Juvenal, Satire X , 59». 593- 594. 637-652 passim Shaftesbury, Anthony Ashley Cooper, 1st Earl of, 532 Shakespeare, William, 521, C97, 749, 751 a Henry IV, 529 Measure for Measure, 640 Othello, 700 Sicyonius, Epigenes, 548 Sidney, Sir Philip, 529, 536, 543 Defence of Poesie, The, 51611 Socrates, 5 1 5 , 678 Sophocles Oedipus, 701 Southerne, Thomas, 742, 745, 755 Spence, Joseph Anecdotes, 5 3 1 , 579 Spenser, Edmund, 555, 583 Faerie Qtieene, The, 535, 536,

537. 54». 5 fi 2

Letter to Sir Walter Raleigh, 537 Mother Htibberds Tale, 526 Shepheardes Calendar, The, 537, 615 Stapylton, Sir Robert, 573 Translation of Juvenal, 592-654 passim Statius, Publius Papillitis Sylvae, 534, 549 Thebaid, 534 Steele, Sir Richard, 749 Taller, The, 581 Stelluti, Francesco Edition of Persius, 563

823

Stepney,

George, 5 1 3 ^

514,

542,

595-596n

Strabo, 546, 560 Suetonius [Gaius Suetonius Tranquillus], 542, 553 Lives of the Caesars, 528, 5 7 1 ; Augustus, 572; Caligula, 636, 695 Swan, Mr., 574

Tacitus, Cornelius, 606; Delphin edition of, 534 Annals, 563, 571 Histories, 528, 563, 636 Tasso, Torquato, 535 Gerusalemme Liberata, 535, 536,

539 Tassoni, Alessandro Secchia Rapita, 579 Tate, Nahum, 514, 542, 701, 745 Ovid's Metamorphosis Translated by Several Hands, 704 Syphilis, 696 Temple, Sir William, 701 Of Ancient and Modern Learning• 577 Terence [Publius Terentius Afer], 689 Phormio, 542 Theocritus, 565 Thuanus [Jacques Auguste de Thou], 562 Thucydides, 565 History of the Peloponnesian War, 548 Tickell, Thomas, 749 Tillotson, J o h n , 708, 749 Timon, author of Silloi, 548 Titus [Titus Flavius Sabinus Vespasianus, Emperor 79-81], 528, 550 Tonson, Jacob, 5 1 3 , 593, 704, 749, 756 Tuke, Sir Samuel Adventures of Five Hours, The, 704

Index

824

T u r n , the, 535, 564, 580-581, 58», 583-584, 714, 715, 716, 724, 725, 726, 728, 729, 764, 765, 767, 768, 77°. 7 7 1 ' 773 Uziiah and Jotham,

Virgil, Polydore, 520 Von Hutten, Ulrich. See Rubianus, Crotus Vossius, Gerardus Joannes De Poetis Graecis, 548

529

Valerius Maximus, 554 Van Dyck, Sir Anthony, 533 Variorum edition of Juvenal and Persius. See Schrevellius, Cornelius Variorum edition of Ovid. See Cnipping, Borchard Varius Rufus, 533 Varro, Marcus Terentius, 526, 558, 560, 561 Saturae Menippeae, 517 Varronian (or Menippean) satires, 526, 558-559, 560, 561, 579 Vaughan, Henry, 596 Translation of Juvenal, Satire X , 5g2, 638-648 passim Velleius Paterculus, 534 Vespasian [Titus Flavius Sabinus Vespasianus, Emperor 69-79], 55° Vida, Marcus Hieronymus De Arle Poelica, 543 Virgil, 526, 552, 582, 704 Aeneid, 529, 5 3 1 , 535, 540, 541, 555- 575- 57 6 - 580. 5 8 5 . 591. 613, 625, 635, 651, 662, 682, 700-701, 703, 746, 747, 750, 754-755. 7 6 9 Eclogues, 540, 568, 570, 722, 767 Georgics, 525, 539, 5 5 1 , 580, 632, 695-696, 697, 722, 756

Waller, Edmund, 526, 537, 581, 582, 696 Walpole, Horace, 4th Earl of Orford Anecdotes of Painting, 751, 752 Walsh, William, 578, 742, 743 Dialogue Concerning Women, A, 582 Letters and Poems Amorotis and Gallant, preface to, 582 Wedderburn, David Edition of Persius, 563 Wesley, John, 736 Weienhall, Edward Translation of Juvenal, Satire X , 592, 637-645 passim William I I I (William of Orange), 527, 528, 541, 595, 652, 745 Wolferston, Francis Translation of Ovid's Art of Love, 759, 7 6 1 - 7 7 5 passim Wood, Thomas Translation of Juvenal, Satire I, 592. 593- 5 9 7 - 6 o 3 passim Wotton, William, 701 Wren, Christopher, 744, 749 Wycherley, William, 568, 749 Plain Dealer, The, 745, 570

Zoïlus, 698