Re: Holly Holm Live Stream
Lillia Iniguez
There has been abundance of criticism spent onVirgil's "Pastorals" and "Æneïs:" but the "Georgics"are a subject which none of the critics havesufficiently taken into their consideration; most ofthem passing it over in silence, or casting it underthe same head with pastoral: a division by no meansproper, unless we suppose the style of a husbandmanought to be imitated in a Georgic, as that ofa shepherd is in a Pastoral. But, though the sceneof both these poems lies in the same place, thespeakers in them are of a quite different character,since the precepts of husbandry are not to be deliveredwith the simplicity of a ploughman, but withthe address of a poet. No rules, therefore, that [Pg 16]relate to pastoral, can any way affect the Georgics,which fall under that class of poetry which consistsin giving plain and direct instructions to the reader;whether they be moral duties, as those ofTheognis and Pythagoras, or philosophical speculations,as those of Aratus and Lucretius, or rules ofpractice, as those of Hesiod and Virgil. Amongthese different kinds of subjects, that which theGeorgic goes upon, is, I think, the meanest andleast improving, but the most pleasing and delightful.Precepts of morality, besides the natural corruptionof our tempers, which makes us averse tothem, are so abstracted from ideas of sense, thatthey seldom give an opportunity for those beautifuldescriptions and images which are the spiritand life of poetry. Natural philosophy has indeedsensible objects to work upon; but then it oftenpuzzles the reader with the intricacy of its notion,and perplexes him with the multitude of itsdisputes. But this kind of poetry I am now speakingof, addresses itself wholly to the imagination:it is altogether conversant among the fields andwoods, and has the most delightful part of naturefor its province. It raises in our minds a pleasingvariety of scenes and landscapes, whilst it teachesus, and makes the driest of its precepts look like adescription. A Georgic therefore is some part ofthe science of husbandry put into a pleasing dress, andset off with all the beauties and embellishments ofpoetry. Now, since this science of husbandry is ofa very large extent, the poet shows his skill insingling out such precepts to proceed on, as areuseful, and at the same time most capable of ornament.Virgil was so well acquainted with this secret,that, to set off his Georgic, he has run into aset of precepts, which are almost foreign to hissubject, in that beautiful account he gives us of the [Pg 17]signs in nature, which precede the changes of theweather.
By this example, the critics have concluded, thatit is not necessary the manners of the hero shouldbe virtuous. They are poetically good, if they areof a piece; though, where a character of perfectvirtue is set before us, it is more lovely; for therethe whole hero is to be imitated. This is the Æneasof our author; this is that idea of perfection in anepic poem, which painters and statuaries have only [Pg 135]in their minds, and which no hands are able to express.These are the beauties of a god in a humanbody. When the picture of Achilles is drawn intragedy, he is taken with those warts, and moles,and hard features, by those who represent him onthe stage, or he is no more Achilles; for his creator,Homer, has so described him. Yet even thus he appearsa perfect hero, though an imperfect characterof virtue. Horace paints him after Homer, and delivershim to be copied on the stage with all thoseimperfections.[33] Therefore they are either not faultsin a heroic poem, or faults common to the drama.After all, on the whole merits of the cause, it mustbe acknowledged, that the epic poem is more for themanners, and tragedy for the passions. The passions,as I have said, are violent; and acute distempersrequire medicines of a strong and speedyoperation. Ill habits of the mind are like chronicaldiseases, to be corrected by degrees, and cured byalteratives; wherein, though purges are sometimesnecessary, yet diet, good air, and moderate exercise,have the greatest part. The matter being thus stated,it will appear, that both sorts of poetry are ofuse for their proper ends. The stage is more active;the epic poem works at greater leisure, yet is activetoo, when need requires; for dialogue is imitatedby the drama, from the more active parts of it.One puts off a fit, like the quinquina, and relieves [Pg 136]us only for a time; the other roots out the distemper,and gives a healthful habit. The sun enlightensand cheers us, dispels fogs, and warms the groundwith his daily beams; but the corn is sowed, increases,is ripened, and is reaped for use in processof time, and in its proper season. I proceed, fromthe greatness of the action, to the dignity of theactors; I mean to the persons employed in bothpoems. There likewise tragedy will be seen to borrowfrom the epopee; and that which borrows isalways of less dignity, because it has not of its own.A subject, it is true, may lend to his sovereign;but the act of borrowing makes the king inferior,because he wants, and the subject supplies. Andsuppose the persons of the drama wholly fabulous,or of the poet's invention, yet heroic poetry gavehim the examples of that invention, because it wasfirst, and Homer the common father of the stage.I know not of any one advantage which tragedycan boast above heroic poetry, but that it is representedto the view, as well as read, and instructs inthe closet, as well as on the theatre. This is anuncontended excellence, and a chief branch of itsprerogative; yet I may be allowed to say, withoutpartiality, that herein the actors share the poet'spraise. Your lordship knows some modern tragedieswhich are beautiful on the stage, and yet Iam confident you would not read them. "Tryphonthe stationer"[34] complains, they are seldom asked forin his shop. The poet who flourished in the scene, isdamned in the ruelle;[35] nay more, he is not esteemed [Pg 137]a good poet by those, who see and hear his extravagancieswith delight. They are a sort of statelyfustian, and lofty childishness. Nothing but naturecan give a sincere pleasure; where that is notimitated, it is grotesque painting; "the fine womanends in a fishes tail."