that a man should be a doctor for the cure of bursten children, by declaring that his father and grandfather were born bursten? But Charles Ingoltson, next door to the Harp in Barbican has made a pretty penny by that asseveration. The generality go upon their first conception, and think no further; all the rest is granted. They take it that there is something uncommon in you, and give you credit for the rest. You may be sure it is upon that I go when, sometimes, let it is to keep up the amazement; and if my friend had only the skeleton and kit, he must have been contented with a less payment. But the doctor we were talking of adds to his long voyages the testimony of some people "that has been thirty years lame." When I received my paper, a sagacious fellow took one at the same time, and read until he came to the thirty years' confinement of his friends, and went off very well convinced of the doctor's sufficiency. You have many of these prodigious persons, who have had some extra-be to the purpose or not, I keep a Latin sentence ordinary accident at their birth, or a great disaster in some part of their lives. Anything, however foreign from the business the people want of you, will convince them of your ability in that you profess. There is a doctor in Mouse Alley, near Wapping, who sets up for curing cataracts upon the credit of having, as his bill sets forth, lost an eye in the emperor's service. His patients come in upon this, and he shows his muster-roll, which confirms that he was in his Imperial Majesty's troops; and he puts out their eyes with great success. Who would believe in my front; and I was not a little pleased when I observed one of my readers say, casting his eye on my twentieth paper, "More Latin still? What a prodigious scholar is this man!" But as I have here taken much liberty with this learned doctor, I must make up all I have said by repeating what he seems to be in earnest in, and honestly promise to those who will not receive him as a great man, to wit, "That from eight to twelve, and from two till six, he attends for the good of the public to bleed for threepence." ALEXANDER POPE. BORN 1688: DIED 1744. (From the Guardian and Poems.) RECEIPT TO MAKE AN EPIC POEM. Tell what the duty of a poet is, -Roscommon. It is no small pleasure to me, who am zealous in the interests of learning, to think I may have the honour of leading the town into a very new and uncommon road of criticism. As that kind of literature is at present carried on, it consists only in a knowledge of mechanic rules which contribute to the structure of different sorts of poetry; as the receipts of good housewives do to the making puddings of flour, oranges, plums, or any other ingredients. It would, methinks, make these my instructions more easily intelligible to ordinary readers, if I discoursed of these matters in the style in which ladies learned in economics, dictate to their pupils for the improvement of the kitchen and larder. I shall begin with epic poetry, because the critics agree it is the greatest work human nature is capable of. I know the French have already laid down many mechanical rules for compositions of this sort, but at the same time they cut off almost all undertakers from the possibility of ever performing them; for the first qualification they unanimously require in a poet, is a genius. I shall here endeavour (for the benefit of my countrymen) to make it manifest, that epic poems may be made "without a genius," nay, without learning, or much reading. This must necessarily be of great use to all those poets who confess they never read, and of whom the world is convinced they never learn. What Molière observes of making a dinner, that any man can do it with money, and if a professed cook cannot without, he has his art for nothing; the same may be said of making a poem, it is easily brought about by him that has a genius, but the skill lies in doing it without one. In pursuance of this end, I shall present the reader with a plain and certain recipe, by which even sonneteers and ladies may be qualified for this grand performance. I know it will be objected, that one of the chief qualifications of an epic poet, is to be knowing in all arts and sciences. But this ought not to discourage those that have no learning, as long as indexes and dictionaries may be had, which are the compendium of all knowledge. Besides, since it is an established rule that none of the terms those arts and sciences are to be made use of, one may venture to affirm, our poet cannot impertinently offend in this point. The learning which will be more particularly necessary to him, is the ancient geography of towns, mountains, and rivers: for this let him take Cluverius, value fourpence. Another quality required is a complete skill in languages. To this I answer, that it is notorious persons of no genius have been oftentimes great linguists. To instance in the Greek, of which there are two sorts; the original Greek, and that from which our modern authors translate. I should be unwilling to promise impossibilities, but modestly speaking, this may be learned in about an hour's time with ease. I have known one who became a sudden professor of Greek immediately upon application of the left-hand page of the Cambridge Homer to his eye. It is in these days with authors as with other men, the well-bred are familiarly acquainted with them at first sight; and as it is sufficient for a good general to have surveyed the ground he is to conquer, so it is enough for a good poet to have seen the author he is to be master of. But to proceed to the purpose of this paper. FOR THE FABLE. "Take out of any old poem, history book, romance, or legend (for instance, Geoffry of Monmouth, or Don Belianis of Greece), those parts of story which afford most scope for long descriptions. Put these pieces together, and throw all the adventures you fancy into one tale. Then take a hero whom you choose for the sound of his name, and put him in the midst of these adventures. There let bim work for twelve books; at the end of which you may take him out ready prepared to conquer or to marry; it being necessary that the conclusion of an epic poem may be fortunate." To make an Episode.-"Take any remaining adventure of your former collection, in which you could no way involve your hero; or any unfortunate accident that was too good to be thrown away; and it will be of use applied to any other person, who may be lost and evaporate in the course of the work, without the least damage to the composition." For the Moral and Allegory.-"These you may extract out of the fable afterwards, at your leisure. Be sure you strain them sufficiently." FOR THE MANNERS. "For those of the hero, take all the best qualities you can find in all the celebrated heroes of antiquity; if they will not be reduced to a consistency, lay them all on a heap upon him. But be sure they are qualities which your patron would be thought to have: and, to prevent any mistake which the world may be subject to, select from the alphabet those capital letters that compose his name, and set them at the head of a dedication before your poem. However, do not absolutely observe the "Take of deities, male and female, as many as you can use. Separate them into two equal parts, and keep Jupiter in the middle. Let Juno put him in a ferment, and Venus mollify him. Remember on all occasions to make use of volatile Mercury. If you have need of devils, draw them out of Milton's Paradise, and extract your spirits from Tasso. The use of these machines is evident; for since no epic poem can possibly subsist without them, the wisest way is to reserve them for your greatest necessities. When you cannot extricate your hero by any human means, or yourself by your own wits, seek relief from heaven, and the gods will do your business very readily. This is according to the direct prescription of Horace in his 'Art of Poetry :' 'Never presume to make a god appear, That is to say, a poet should never call upon the gods for their assistance, but when he is in great perplexity." FOR THE DESCRIPTIONS. For a Tempest.- "Take Eurus, Zephyr, Auster, and Boreas, and cast them together in one verse. Add to these of rain, lightning, and of thunder (the loudest you can) quantum sufficit. Mix your clouds and billows well together until they foam, and thicken your description here and there with a quicksand. Brew your tempest well in your head, before you set it a blowing." For a Battle.-"Pick a large quantity of images and descriptions from Homer's Iliads, with a spice or two of Virgil, and if there remain any overplus you may lay them by for a skirmish. Season it well with similes, and it will make an excellent battle." For Burning a Town.-"If such a description be necessary, because it is certain there is one in Virgil, Old Troy is ready burned to your hands. But if you fear that would be thougnt borrowed, a chapter or two of the Theory of the Conflagation, well circumstanced, and done into verse, will be a good succedaneum." As for Similes and Metaphors, they may be found all over the creation; the most ignorant may gather them, but the danger is in applying them. For this advise with your bookseller. FOR THE LANGUAGE. (I mean the diction.) "Here it will do well to be an imitator of Milton, for you will find it easier to imitate him in this, than anything else. Hebraisms and Grecisms are to be found in him, without the trouble of learning the languages. I knew a painter, who (like our poet) had no genius, make his daubings to be thought originals by setting them in the smoke. You may in the same manner give the venerable air of antiquity to your piece, by darkening it up and down with Old English. With this you may be easily furnished upon any occasion, by the dictionary commonly printed at the end of Chaucer." I must not conclude without cautioning all writers without genius in one material point, which is, never to be afraid of having too much fire in their works. I should advise rather to take their warmest thoughts, and spread them abroad upon paper; for they are observed to cool before they are read. AN ESSAY ON MAN.* IN FOUR EPISTLES. The Design. Having proposed to write some pieces on Human Life and Manners, such as (to use my Lord Bacon's expression) come home to men's business and bosoms, I thought it more satisfactory to begin with considering Man in the abstract, his nature and his state; since, to prove any moral duty, to enforce any moral precept, or to examine the perfection or imperfection of any creature whatsoever, it is necessary first to know what condition and relation it is placed in, and what is the proper end and purpose of its being. The science of human nature is, like all other sciences, reduced to a few clear points; there are not many certain truths in this world. It is therefore in the anatomy of the mind as in that of the body: more good will accrue to mankind by attending to the large, open, and perceptible parts, than by studying too much such finer nerves and vessels, the conformations and uses of which will for ever escape our observation. The disputes are all upon these last, and, I will venture to say, they have less sharpened the wits than the hearts of men against each other, and have diminished the practice, more than advanced the theory of morality. If I could flatter myself that this essay has any merit, it is in steering betwixt the extremes of doctrines seemingly opposite, in passing over terms utterly unintelligible, and in forming a temperate, yet not inconsistent, and a short, yet not imperfect, system of ethics. This I might have done in prose, but I chose verse, and even rhyme, for two reasons. The one will appear obvious,-that principles, maxims, or precepts, so written, both strike the * Dedicated to H. St John, Lord Bolingbroke. reader more strongly at first, and are more easily retained by him afterwards; the other may seem odd, but is true. I found I could express them more shortly this way than in prose itself; and nothing is more certain, than that much of the force as well as grace of arguments or instructions depends on their conciseness. I was unable to treat this part of my subject more in detail, without becoming dry and tedious; or, more poetically, without sacrificing perspicuity to ornament, without wandering from the precision, or breaking the chain of reasoning: if any man can unite all these without diminution of any of them, I freely confess he will compass a thing above my capacity. What is now published is only to be considered as a general map of Man: marking out no more than the greater parts, their extent, their limits, and their connection; but leaving the particular to be more fully delineated in the charts which are now to follow. Consequently these Epistles in their progress (if I have health and leisure to make any progress) will be less dry, and more susceptible of poetical ornament. I am here only opening the fountains, and clearing the passage. To deduce the rivers, to follow them in their course, and to observe their effects, may be a task more agreeable. EPISTLE L Argument. Of the Nature and State of Man, with respect to the universe. Of Man in the abstract.-I. That we can judge only with regard to our own system, being ignorant of the relations of systems and things. II. That Man is not to be deemed imperfect, but a being suited to his place and rank in the creation, agreeable to the general order of things, and comformable to ends and relations to him unknown. III. That it is partly upon his ignorance of future events, and partly upon the hope of a future state, that all his happiness in the present depends. IV. The pride of aiming at more knowledge, and pretending to more perfection, the cause of man's error and misery. The impiety of putting himself in the place of God, and judging of the fitness or unfitness, perfection or imperfection, justice or injustice of His dispensations. V. The absurdity of conceiting himself the final cause of the creation, or expecting that perfection in the moral world, which is not in the natural. VI. The unreasonableness of his complaints against Providence, while on the one hand he demands the perfections of the angels, and on the other the bodily qualifications of the brutes; though to possess any of the sensitive faculties in a higher degree would render him miserable. VII. That, throughout the whole visible world, a universal order and gradation in the sensual and mental faculties is observed, which causes a subordination of creature to creature, and of all creatures to man. The gradations of sense, instinct, thought, reflection, reason; that reason alone countervails all the other faculties. How much further this order and subordination of living creatures may extend, above and below us; were any part of which broken, not that part only, but the whole connected creation must be destroyed. VIII. - IX. The extravagance, madness, and pride of such a Awake, my ST JOHN ! leave all meaner things Or garden tempting with forbidden fruit. L. Say first, of God above, or Man below, In God's, one single can its end produce; When the proud steed shall know why Man His fiery course, or drives him o'er the plains; Then say not Man's imperfect, Heaven in fault; As who began a thousand years ago. III. Heaven from all creatures hides the book of fate, Through worlds unnumbered though the God be All but the page prescribed, their present state: known, 'Tis ours to trace him only in our own. He, who through vast immensity can pierce. From brutes what men, from men what spirits know: Or who could suffer being here below? II. Presumptuous Man! the reason wouldst Wait the great teacher Death; and God adore. thou find, Why formed so weak, so little, and so blind? What future bliss, he gives not thee to know, He asks no angel's wing, no seraph's fire; M 176 IV. Go, wiser thou! and, in thy scale of sense, In pride, in reasoning pride, our error lies; And who but wishes to invert the laws Of ORDER, sins against the eternal Cause. But ALL subsists by elemental strie; VI. What would this Man? Now upward will And little less than angels, would be more; V. Ask for what end the heavenly bodies Is Heaven unkind to Man, and Man alone? shine, Shall he alone, whom rational we call, Earth for whose use? Pride answers, ""Tis for Be pleased with nothing, if not blessed with all? mine : For me kind Nature wakes her genial power, But errs not Nature from this gracious end, sweep Towns to one grave, whole nations to the deep? Why then a Borgia, or a Catiline? The bliss of Man (could pride that blessing find) No powers of body or of soul to share, For this plain reason, Man is not a fly. Or quick effluvia darting through the brain, If Nature thundered in his opening ears, VII. Far as creation's ample range extends, Who knows but He, whose hand the lightning Of hearing, from the life that fills the flood, forms, Who heaves old ocean, and who wings the storms: Or turns young Ammon loose to scourge man- From pride, from pride, our very reasoning springs; Better for us, perhaps it might appear, To that which warbles through the vernal wood! |