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greater progress than a much superior one, to whom these materials are wanting.

Hence, in Natural Philosophy, Astronomy, Chemistry, and other sciences that depend on an extensive knowledge and observation of facts, modern philosophers have an unquestionable superiority over the ancient. I am inclined also to think, that in matters of pure reasoning, there is more precision among the moderns, than in some instances there was among the ancients; owing perhaps to a more extensive literary intercourse, which has improved and sharpened the faculties of men. In some studies too, that relate to taste and fine writing, which is our object, the progress of society must, in equity, be admitted to have given us some advantages. For instance, in history: there is certainly more political knowledge in several European nations at present, than there was in ancient Greece and Rome. We are better acquainted with the nature of government, because we have seen it under a greater variety of forms and revolutions. The world is more laid open than it was in former times; commerce is greatly enlarged; more countries are civilized; posts are every where established; intercourse is become more easy; and the knowledge of facts, by consequence, more attainable. All these are great advantages to historians; of which, in some measure, as I shall afterwards shew, they have availed themselves. In the more complex kinds of poetry, like wise, we may have gained somewhat, perhaps, in point of regularity and accuracy. In dramatic performances, having the advantage of the ancient models, we may be allowed to have made some improvements in the variety of the characters, the conduct of the plot, attentions to probability, and to decorums. Blair.

$117. We must look to the Ancients for elegant Composition, and to the Moderns for accurate Philosophy.

From whatever cause it happens, so it is, that among some of the ancient writers, we must look for the highest models in most of the kinds of elegant composition. For accurate thinking and enlarged ideas, in several parts of philosophy, to the moderns we ought chiefly to have recourse. Of correct and finished writing in some works of taste, they may afford useful patterns; but for all that belongs to original genius, to spirited, masterly, and high execution, our best and most happy ideas

are, generally speaking, drawn from the ancients. In epic poetry, for instance, Homer and Virgil, to this day, stand not within many degrees of any rival. Orators, such as Cicero and Demosthenes, we have none. In history, notwithstanding some defects, which I am afterwards to mention in the ancient historical plans, it may be safely asserted, that we have no such historical narration, so elegant, so picturesque, so animated, and interesting as that of Herodotus, Thucydides, Xenophon, Livy, Tacitus, and Sallust. Although the conduct of the drama may be admitted to have received some improvements, yet for poetry and sentiment, we have nothing to equal Sophocles and Euripides: nor any dialogue in comedy, that comes up to the correct, graceful, and elegant simplicity of Terence. We have no such love-elegies as those of Tibullus: no such pastorals as some of Theocritus's: zad for lyric poe try, Horace stands quite unrivalled. The name of Horace cannot be mentioned without a particular encomium. That "curiosa felicitas," which Petronius has remarked in his expression; the sweetness, elegance, and spirit of many of his odes, the tho rough knowledge of the world, the excellent sentiments, and natural easy manner which distinguish his Satires and Epistles, all contribute to render him one of those very few authors whom one never tires of reading; and from whom alone, were every other monument destroyed, we should be led to form a very high idea of the taste and genius of the Augustan age. Ibid.

118. The assiduous Study of the Greek

and Roman Classics recommended. To all such then, as wish to form their taste, and nourish their genius, let me warmly recommend the assiduous study of the ancient classics, both Greek and Roman.

Nocturnâ versate manu, versate diurnâ*. Without a considerable acquaintance with them, no man can be reckoned a polite scholar; and he will want many assistances for writing and speaking well, which the knowledge of such authors would afford him. Any one has great reason to suspect his own taste, who receives little or no pleasure from the perusal of writings, which so many ages and nations have consented

"Read them by day and study them by night.”

FRANCIS

in holding up as subjects of admiration. And I am persuaded, it will be found, that in proportion as the ancients are generally studied and admired, or are unknown and disregarded in any country, good taste and good composition will flourish, or decline. They are commonly none but the ignorant or superficial, who undervalue them.

Blair.

selves caught, and no hope of escape left, we are made to see, first, their astonishment, next, their indignation, and then, their dejection, painted in the most lively manner, by such circumstances and actions as were natural to persons in their situation. The restless and unquiet manner in which they pass the night; the consultations of the Samnites; the various measures proposed to be taken; the messages

119. The ancient Historians excel in between the two armies, all heighten the

picturesque Narration.

In all the virtues of narration, particularly in that of picturesque descriptive narration, several of the ancient historians eminently excel. Hence, the pleasure that is found in reading Herodotus, Thucydides, Xenophon, Livy, Sallust, and Tacitus. They are all conspicuous for the art of narration. Herodotus is, at all times, an agreeable writer, and relates every thing with that naiveté and simplicity of manner, which never fails to interest the reader. Though the manner of Thucydides be more dry and harsh, yet, on great occasions, as when he is giving an account of the plague of Athens, the siege of Platea, the sedition in Corcyra, the defeat of the Athenians in Sicily, he displays a very strong and masterly power of description. Xenophon's Cyropædia, and his Anabasis, or retreat of the ten thousand, are extreme. ly beautiful. The circumstances are finely selected, and the narration is easy and engaging; but his Hellenics, or continuation of the history of Thucydides, is a much. inferior work. Sallust's art of historical painting in his Catilinarian, but, more espe cially, in his Jugurthine war, is well known, though his style is liable to censure, as too studied and affected.

Ibid.

120. Livy remarkable for Historical

Painting.

Livy is more unexceptionable in his manner; and is excelled by no historian whatever in the art of narration: several remarkable examples might be given from him. His account, for instance, of the famous defeat of the Roman army by the Samnites, at the Furce Caudinæ, in the beginning of the ninth book, affords one of the most beautiful exemplifications of historical painting, that is any where to be met with. We have first, an exact description of the narrow pass between two mountains, into which the enemy had decoyed the Romans. When they find them

scene. At length, in the morning, the consuls return to the camp, and inform them that they could receive no other terms but that of surrendering their arms, and passing under the yoke, which was considered as the last mark of ignominy for a conquered army. Ibid.

121. TACITUS remarkable for Historical Painting.

Tacitus is another author eminent for historical painting, though in a manner altogether different from that of Livy. Livy's descriptions are more full, more plain, and natural; those of Tacitus consist in a few bold strokes. He selects one or two remarkable circumstances, and sets them before us in a strong, and, generally, in a new and uncommon light. Such is the following picture of the situation of Rome, and of the Emperor Galba, when Otho was advancing against him: "Age. "batur huc illuc Galba, vario turbæ fluc"tantis impulsu, completis undique ba"silicis et templis, lugubri prospectu. "Neque populi aut plebis ulla vox; sed "attoniti vultus, et conversæ ad omnia "aures. Non tumultus, non quies; sed

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quale magni metus, et magnæ iræ, si"lentium est*." No image, in any poet, is more strong and expressive than this last stroke of the description: "Non tumultus, "non quies, sed quale," &c. This is a conception of the sublime kind, and discovers high genius. Indeed, throughout all his works, Tacitus shews the hand of a master. As he is profound in reflection, so he is striking in description, and pathetic in sentiment. The philosopher, the poet, and

"Galba was driven to and fro by the tide of "the multitude, shoving him from place to place. "The temples and public buildings were filled "with crowds, of a dismal appearance. No cla

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the historian, all meet in him. Though
the period of which he writes may be
reckoned unfortunate for an historian, he
has made it afford us many interesting ex-
hibitions of human nature. The rela-
tions which he gives of the deaths of seve-
ral eminent personages, are as affecting as
the deepest tragedies. He paints with a
glowing pencil; and possesses beyond all
writers, the talent of painting, not to the
imagination merely, but to the heart.
With many of the most distinguished
beauties, he is, at the same time, not a
perfect model for history; and such as
have formed themselves upon him, have
seldom been successful. He is to be ad-
mired, rather than imitated. In his re-
flections he is too refined; in his style too
concise, sometimes quaint and affected,
often abrupt and obscure. History seems
to require a more natural, flowing, and
popular manner.
Blair.

122. On the Beauty of Epistolary
Writing.

Its first and fundamental requisite is, to be natural and simple; for a stiff and laboured manner is as bad in a letter as it is in conversation. This does not banish sprightliness and wit. These are graceful in letters, just as they are in conversation: when they flow easily, and without being studied; when employed so as to season, not to cloy. One who, either in conversation or in letters, affects to shine and to

style of letters should not be too highly sparkle always, will not please long. The polished. It ought to be neat and correct, but no more. All nicety about words, betrays study; and hence musical periods, and appearances of number and harmony in arrangement, should be carefully avoided in letters. The best letters are commonly

such as the authors have written with most facility. What the heart or the imagination dictates, always flows readily; but where there is no subject to warm or interest these, constraint appears; and hence those letters of mere compliment, congratulation, or affected condolence, which have cost the authors most labour in composing, and which, for that reason, they perhaps consider as their master-pieces, never fail of being the most disagreeable and insipid to the readers.

Ibid.

123. Ease in writing Letters must not

degenerate to carelessness.

It ought, at the same time, to be remembered, that the ease and simplicity which

I have recommended in epistolary corre spondence, are not to be understood as importing entire carelessness. In writing to the most intimate friend, a certain degree of attention, both to the subject and the style, is requisite and becoming. It is no more than what we owe both to ourselves, and to the friend with whom we correspond. A slovenly and negligent manner of wri ting, is a disobliging mark of want of respect. The liberty, besides, of writing letters with too careless a hand, is apt to betray persons into imprudence in what they write. The first requisite, both in conversation and correspondence, is to attend to all the proper decorums which our own character, and that of others, demand. An imprudent expression in conversation may be forgotten and pass away; but when we take the pen into our hand, we must remember, that "Litera scripta Ibid.

manet."

§ 124. On PLINY'S Letters. Pliny's Letters are one of the most celebrated collections which the ancients have

given us, in the epistolary way. They are elegant and polite; and exhibit a very pleasing and amiable view of the author. smell too much of the lamp. They are But, according to the vulgar phrase, they too elegant and fine; and it is not easy to avoid thinking, that the author is casting an eye towards the Public, when he is apauthor, who publishes his own letters, to pearing to write only for his friends. Nothing indeed is more difficult, than for an opinion of the world in what he says; by divest himself altogether of attention to the which means, he becomes much less agreeable than a man of parts would be, if, without any constraint of this sort, he were wri Ibid.

ting to his intimate friend.

125. On CICERO'S Letters. Cicero's Epistles, though not so showy as those of Pliny, are, on several accounts, a far more valuable collection; indeed, the most valuable collection of letters extant

in any language. They are letters of real business, written to the wisest men of the age, composed with purity and elegance, but without the least affectation; and, what adds greatly to their merit, written without any intention of being published to the world. For it appears that Cicero never kept copies of his own letters; and we are wholly indebted to the care of his freedman Tyro, for the large collection that was

made

made after his death, of those which are now extant, amounting to near a thousand. They contain the most authentic materials of the history of that age; and are the last monuments which remain of Rome in its free state; the greatest part of them being written during that important crisis, when the republic was on the point of ruin; the most interesting situation, perhaps, which is to be found in the affairs of mankind. To his intimate friends, especially to Atticus, Cicero lays open himself and his heart, with entire freedom. In the course of his correspondence with others, we are introduced into acquaintance with several of the principal personages of Rome; and it is remarkable that most of Cicero's correspondents, as well as himself, are elegant and polite writers; which serves to heighten our idea of the taste and manners of that age. Blair.

126. On POPE's and SWIFT's Letters.

The most distinguished collection of letters in the English language, is that of Mr. Pope, Dean Swift, and their friends; partly published in Mr. Pope's works, and partly in those of Dean Swift. This collection is, on the whole, an entertaining and agreeable one; and contains much wit and ingenuity. It is not, however, altogether free of the fault which I imputed to Pliny's Epistles, of too much study and refinement. In the variety of letters from different persons, contained in that collection, we find many that are written with ease, and a beautiful simplicity. Those of Dr. Arbuthnot, in particular, always deserve that praise. Dean Swift's also are unaffected; and as a proof of their being so, they exhibit his character fully, with all its defects; though it were to be wished, for the honour of his memory, that his epistolary correspondence had not been drained to the dregs, by so many successive publications, as have been given to the world. Several of Lord Bolingbroke's, and of Bishop Atterbury's Letters, are masterly. The censure of writing letters in too artificial a manner, falls heaviest on Mr. Pope himself. There is visibly more study and less of nature and the heart in his letters, than in those of some of his correspondents. He had formed himself on the manner of Voi

See his Letter to Atticus, which was written a year or two before his death, in which he tells him, in answer to some enquiries concerning his epistles, that he had no collection of them, and that Tyro had only about seventy of them. Ad Arr. 16. 5.

ture, and is too fond of writing like a wit.
His letters to ladies are full of affectation.
Even in writing to his friends, how forced
an introduction is the following, of a letter
to Mr. Addison: "I am more joyed at
"your return, than I should be at that of
"the Sun, as much as I wish for him in
"this melancholy wet season; but it is his
"fate too, like yours, to be displeasing to
"owls and obscene animals, who cannot
"bear his lustre." How stiff a compli
ment is it, which he pays to Bishop At-
terbury: "Though the noise and daily
"bustle for the public be now over, I dare
"say, you are still tendering its welfare;
as the Sun in winter, when seeming to
"retire from the world, is preparing
"warmth and benedictions for a better
"season." This sentence might be tole-
rated in an harangue; but is very unsuit-
able to the style of one friend correspond-
Ibid.
ing with another.

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$127. On the Letters of BALZAC, VOITURE, SEVIGNE; and Lady MARY WORTLEY MONTAGUE.

Balzac's re

The gaiety and vivacity of the French genius appear to much advantage in their fetters, and have given birth to several agreeable publications. In the last age, Balzac and Voiture were the two most celebrated epistolary writers. putation indeed soon declined, on account of his swelling periods and pompous style. But Voiture continued long a favourite author. His composition is extremely sparkling; he shews a great deal of wit, and can trifle in the most entertaining manner. His only fault is, that he is too open and professed a wit, to be thoroughly agreeable as a letter-writer. The letters of Madame de Sevignè are now esteemed the most accomplished model of a familiar correspondence. They turn indeed very much upon trifles, the incidents of the day, and the news of the town; and they are overloaded with extravagant compliments, and expressions of fondness, to her favourite daughter; but withal, they shew such perpetual sprightliness, they contain such easy and varied narration, and so many strokes of the most lively and beautiful painting, perfectly free from any affectation, that they are justly entitled to high praise. The Letters of Lady Mary Wortley Montague are not unworthy of being named after those of Mad. de Sevigne. They have much of the French ease and vivacity, and retain more the character of

agreeable

agreeable epistolary style, than perhaps any letters which have appeared in the English language. Blair.

128. Lyric Poetry. On PINdar. Pindar, the great father of lyric poetry, has been the occasion of leading his imitators into some defects. His genius was sublime; his expressions are beautiful and happy; his descriptions picturesque. But finding it a very barren subject to sing the praises of those who had gained the prize in the public games, he is perpetually digressive, and fills up his poems with fables of the gods and heroes, that have little connection either with his subject, or with one another. The ancients admired him greatly; but as many of the histories of particular families and cities, to which he alludes, are now unknown to us, he is so obscure, partly from his subjects, and partly from his rapid, abrupt manner of treating them, that, notwithstanding the beauty of his expression, our pleasure in reading him is much diminished. One would imagine, that many of his modern imitators thought the best way to catch his spirit, was to imitate his disorder and obscurity. In several of the choruses of Euripides and Sophocles, we have the same kind of lyric poetry as in Pindar, carried on with more clearness and connection, and at the same time with much sublimity.

Ibid.

$ 129. On HORACE, as a Lyric Poet. Of all the writers of odes, ancient or modern, there is none that, in point of correctness, harmony, and happy expression, can vie with Horace. He has descended from the Pindaric rapture to a more moderate degree of elevation; and joins connected thought, and good sense, with the highest beauties of poetry. He does not often aspire beyond that middle region, which I mentioned as belonging to the ode; and those odes, in which he attempts the sublime, are perhaps not always his best. The peculiar character, in which he excels, is grace and elegance;

* There is no ode whatever of Horace's, with

out great beauties. But though I may be singular in my opinion, I cannot help thinking that in

some of those odes which have been much ad

mired for sublimity (such as Ode iv. Lib. iv.

"Qualem ministrum fulminis alitem, &c.") there appears somewhat of a strained and forced effort to be lofty. The genius of this amiable poet shews itself, according to my judgment, to greater advantage, in themes of a more temperate kind.

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Among the Latin poets of later ages, there have been many imitators of Horace. One of the most distinguished is Casimir, a Polish poet of the last century, who wrote four books of odes. In graceful ease of expression, he is far inferior to the Roman. He oftener affects the sublime; and in the attempt, like other lyric writers, frequently becomes harsh and unnatural. But, on several occasions, he discovers a considerable degree of original genius, and poetical fire. Buchanan, in some of his lyric compositions, is very elegant and classical.

Among the French, the odes of Jean Baptiste Rousseau have been much and justly celebrated. They possess great beauty, both of sentiment and expression. They are animated, without being rhapsodical; and are not inferior to any poetical productions in the French language.

In our own language, we have several lyric compositions of considerable merit. Dryden's Ode on St. Cecilia, is well known. Mr. Gray is distinguished in some of his odes, both for tenderness and sublimity; and in Dodsley's Miscellanies, several very beautiful lyric poems are to be found. As to professed Pindaric odes, they are, with a few exceptions, so incoherent, as seldom to be intelligible. Cowley, at all times harsh, is doubly so in his Pindaric compositions. In his Anacreon. tic odes, he is much happier. They are agreeable and the most perfect, in their smooth and elegant; and, indeed, the most kind, of all Mr. Cowley's poems.

Ibid.

131. On the different Kinds of Poetical Composition in the Sacred Books; and of the distinguishing Characters of the chief Writers. 1st. Of the Didactic.

The several kinds of poetical composi tion which we find in scripture, are chiefly

the

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