Discourses on Satire and on Epic PoetryDryden, John
History
Discourses on Satire and on Epic Poetry
Dryden, John
Epic poetry; Satire; Satire -- History and criticism
Piety, as your lordship sees, takes place of all as the chief part of his
character; and the word in Latin is more full than it can possibly be
expressed in any modern language, for there it comprehends not only
devotion to the gods, but filial love and tender affection to relations
of all sorts. As instances of this the deities of Troy and his own
Penates are made the companions of his flight; they appear to him in his
voyage and advise him, and at last he replaces them in Italy, their
native country. For his father, he takes him on his back. He leads his
little son, his wife follows him; but losing his footsteps through fear
or ignorance he goes back into the midst of his enemies to find her, and
leaves not his pursuit till her ghost appears to forbid his farther
search. I will say nothing of his duty to his father while he lived, his
sorrow for his death, of the games instituted in honour of his memory, or
seeking him by his command even after death in the Elysian fields. I
will not mention his tenderness for his son, which everywhere is visible;
of his raising a tomb for Polydorus; the obsequies for Misenus; his pious
remembrance of Deiphobus; the funerals of his nurse; his grief for
Pallas, and his revenge taken on his murderer, whom otherwise, by his
natural compassion, he had forgiven: and then the poem had been left
imperfect, for we could have had no certain prospect of his happiness
while the last obstacle to it was unremoved.
Of the other parts which compose his character as a king or as a general
I need say nothing; the whole “Æneis” is one continued instance of some
one or other of them; and where I find anything of them taxed, it shall
suffice me (as briefly as I can) to vindicate my divine master to your
lordship, and by you to the reader. But herein Segrais, in his admirable
preface to his translation of the “Æneis,” as the author of the Dauphin’s
“Virgil” justly calls it, has prevented me. Him I follow, and what I
borrow from him am ready to acknowledge to him, for, impartially
speaking, the French are as much better critics than the English as they
are worse poets. Thus we generally allow that they better understand the
management of a war than our islanders, but we know we are superior to
them in the day of battle; they value themselves on their generals, we on
our soldiers. But this is not the proper place to decide that question,
if they make it one. I shall say perhaps as much of other nations and
their poets (excepting only Tasso), and hope to make my assertion good,
which is but doing justice to my country—part of which honour will
reflect on your lordship, whose thoughts are always just, your numbers
harmonious, your words chosen, your expressions strong and manly, your
verse flowing, and your turns as happy as they are easy. If you would
set us more copies, your example would make all precepts needless. In
the meantime that little you have written is owned, and that particularly
Public-domain text, read in full here on John Shaqi.
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