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age, it is no great loss to us. One of their best poets represents them as very obscure and very contemptible; one of their best historians avoids quoting them, as too barbarous for politer ears: and one of their most judicious emperors ordered the greatest part of their writings to be burnt, that the world might be troubled with them no longer.
All these poets therefore may very well be dropped in the account, there being nothing remaining of their works; and probably no merit to be found in them, if they had remained. And so we may date the beginning of the Roman poetry from Livius Andronicus, the first of their poets of whom any thing does remain to us; and from whom the Romans themselves seem to have dated the beginning of their poetry, even in the Augustan age.
The first kind of poetry that was followed with any success among the Romans, was that for the stage. They were a very religious people; and stage plays in those times made no inconsiderable part in their public devotions; it is hence, perhaps, that the greatest number of their oldest poets, of whom we have any remains, and indeed almost all of them, are dramatic poets. Spence.
THE BUSINESS AND QUALIFICATIONS OF A POET. WHEREVER I went, I found that poetry was considered as the highest learning, and regarded with a veneration somewhat approaching to that which man would pay to the angelic nature. And
it yet fills me with wonder, that, in almost all countries, the most ancient poets are considered as the best whether it be that every other kind of knowledge is an acquisition gradually attained, and poetry is a gift conferred at once; or that the first poetry of every nation surprised them as a novelty, and retained the credit by consent which it received by accident at first: or whether, as the province of poetry is to describe nature and passion, which are always the same, the first writers took possession of the most striking objects for description, and the most probable occurrences for fiction, and left nothing to those that followed them, but transcriptions of the same events, and new combinations of the same images. Whatever be the reason, it is commonly observed, that the early writers are in possession of nature, and their followers of art: that the first excel in strength and invention, and the latter in elegance and refinement.
'I was desirous to add my name to this illustrious fraternity. I read all the poets of Persia and Arabia, and was able to repeat by memory the volumes that are suspended in the mosque of Mecca. But I soon found that no man was ever great by imitation. My desire of excellence impelled me to transfer my attention to nature and to life. Nature was to be my subject, and men to be my auditors: I could never describe what I had not seen: I could not hope to move those with delight or terrour, whose interests and opinions I did not understand.
Being now resolved to be a poet, I saw every thing with a new purpose; my sphere of atten
tion was suddenly magnified; no kind of knowledge was to be overlooked. I ranged mountains and deserts for images and resemblances, and pictured upon my mind every tree of the forest and flower of the valley. I observed with equal care the crags of the rock, and the pinnacles of the palace. Sometimes I wandered along the mazes of the rivulet, and sometimes watched the changes of the summer clouds. To a poet nothing can be useless. Whatever is beautiful, and whatever is dreadful, must be familiar to his imagination: he must be conversant with all that is awfully vast, or elegantly little. The plants of the garden, the animals of the wood, the minerals of the earth, the meteors of the sky, must all concur to store his mind with inexhaustible variety: for every idea is useful for the enforcement or decóration of moral or religious truth: and he who knows most will have most power of diversifying his scenes, and of gratifying his reader with remote allusions and unexpected instruction.
'All the appearances of nature I was therefore careful to study, and every country which I have surveyed has contributed something to my poetical powers.'
In so wide a survey,' said the prince, you must surely have left much unobserved. I have lived, till now, within the circuit of these mountains, and yet cannot walk abroad without the sight of something which I never beheld before, or never heeded.'
'The business of a poet,' said Imlac, is to examine, not the individual, but the species, to remark general properties and large appearances:
he does not number the streaks of the tulip, or describe the different shades in the verdure of the forest. He is to exhibit in his portraits of nature such prominent and striking features as recal the original to every mind; and must neglect the minuter discriminations, which one may have remarked, and another have neglected, for those characteristics which are alike obvious to vigilance and carelessness.
But the knowledge of nature is only half the task of a poet; he must be acquainted likewise with all the modes of life. His character requires that he estimate the happiness and misery of every condition, observe the power of all the passions in all their combinations, and trace the changes of the human mind as they are modified by various institutions, and accidental influences of climate or custom, from the sprightliness of infancy to the despondence of decrepitude. He must divest himself of the prejudices of his age or country; he must consider right and wrong in their abstract and invariable state; he must disregard present laws and opinions, and rise to general and transcendental truths, which will always be the same: he must therefore content himself with the slow progress of his name; contemn the applause of his own time, aud commit his claims to the justice of posterity. He must write as the interpreter of nature, and the legislator of mankind, and consider himself as presiding over the thoughts and manners of future generations, as a being superior to time and place.
His labour is not yet at an end; he must know
many languages and many sciences; and, that his style may be worthy of his thoughts, must, by incessant practice, familiarize to himself every delicacy of speech and grace of harmony.'
REMARKS ON SOME OF THE BEST POETS, ANCIENT AND MODERN.
IT is manifest, that some particular ages have been more happy than others in the production of great men, and all sorts of arts and sciences; as that of Euripides, Sophocles, Aristophanes, and the rest, for stage poetry, among the Greeks; that of Augustus for heroic, lyric, dramatic, elegiac, 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 lived Cicero, Sallust, and Cesar. A famous age in modern times, for learning in every kind, was that of Lorenzo de Medici, and his son Leo X. wherein painting was revived, poetry flourished, and the Greek language was restored.
Examples in all this are obvious: but what I would infer is this, that in such an age, it is possible some great genius may arise to equal any of the ancients, abating only for the language; for great contemporaries whet and cultivate each other; and mutual borrowing and commerce