Флакк Квинт Гораций - The Art of Poetry: an Epistle to the Pisos стр 3.

Descriptas servare vices, operumque colores,

Cur ego si nequeo ignoroque, poeta salutor?

Cur nescire, pudens pravè, quam discere malo?

From this general view of poetry, on the canvas of Aristotle, but entirely after his own manner, the writer proceeds to give the rules and history of the Drama; adverting principally to Tragedy, with all its constituents and appendages of diction, fable, character, incidents, chorus, measure, musick, and decoration. In this part of the work, according to the interpretation of the best criticks, and indeed (I think) according to the manifest tenor of the Epistle, he addresses himself entirely to the two young gentlemen, pointing out to them the difficulty, as well as excellence, of the Dramatick Art; insisting on the avowed superiority of the Graecian Writers, and ascribing the comparative failure of the Romans to negligence and avarice. The Poet, having exhausted this part of his subject, suddenly drops a second, or dismisses at once no less than two of the three Persons, to whom he originally addressed his Epistle, and turning short on the ELDER PISO, most earnestly conjures him to ponder on the danger of precipitate publication, and the ridicule to which the author of wretched poetry exposes himself. From the commencement of this partial address, o major juvenum, &c. [v. 366] to the end of the Poem, almost a fourth part of the whole, the second person plural, Pisones!—Vos!—Vos, O Pompilius Sanguis! &c. is discarded, and the second person singular, Tu, Te, Tibi, &c. invariably takes its place. The arguments too are equally relative and personal; not only shewing the necessity of study, combined with natural genius, to constitute a Poet; but dwelling on the peculiar danger and delusion of flattery, to a writer of rank and fortune; as well as the inestimable value of an honest friend, to rescue him from derision and contempt. The Poet, however, in reverence to the Muse, qualifies his exaggerated description of an infatuated scribbler, with a most noble encomium of the uses of Good Poetry, vindicating the dignity of the Art, and proudly asserting, that the most exalted characters would not be disgraced by the cultivation of it.

It is worthy observation, that in the satyrical picture of a frantick bard, with which Horace concludes his Epistle, he not only runs counter to what might be expected as a Corollary of an Essay on the Art of Poetry, but contradicts his own usual practice and sentiments. In his Epistle to Augustus, instead of stigmatizing the love of verse as an abominable phrenzy, he calls it (levis haec insania) a slight madness, and descants on its good effects—quantas virtutes habeat, sic collige!

In another Epistle, speaking of himself, and his addiction to poetry, he says,

All which, and several other passages in his works, almost demonstrate that it was not, without a particular purpose in view, that he dwelt so forcibly on the description of a man resolved

To conclude, if I have not contemplated my system, till I am become blind to its imperfections, this view of the Epistle not only preserves to it all that _unity of subject, and elegance of method, _so much insisted on by the excellent Critick, to whom I have so often referred; but by adding to his judicious general abstract the familiarities of personal address, so strongly marked by the writer, not a line appears idle or misplaced: while the order and disposition of the Epistle to the Pisos appears as evident and unembarrassed, as that of the Epistle to Augustus; in which last, the actual state of the Roman Drama seems to have been more manifestly the object of Horace's attention, than in the Work now under consideration.

Before I leave you to the further examination of the original of Horace, and submit to you the translation, with the notes that accompany it, I cannot help observing, that the system, which I have here laid down, is not so entirely new, as it may perhaps at first appear to the reader, or as I myself originally supposed it. No Critick indeed has, to my knowledge, directly considered the whole Epistle in the same light that I have now taken it; but yet particular passages seem so strongly to enforce such an interpretation, that the Editors, Translators, and Commentators, have been occasionally driven to explanations of a similar tendency; of which the notes annexed will exhibit several striking instances.

Of the following version I shall only say, that I have not, knowingly, adopted a single expression, tending to warp the judgement of the learned or unlearned reader, in favour of my own hypothesis. I attempted this translation, chiefly because I could find no other equally close and literal. Even the Version of Roscommon, tho' in blank verse, is, in some parts a paraphrase, and in others, but an abstract. I have myself, indeed, endeavoured to support my right to that force and freedom of translation which Horace himself recommends; yet I have faithfully exhibited in our language several passages, which his professed translators have abandoned, as impossible to be given in English.

All that I think necessary to be further said on the Epistle will appear in the notes.

I am, my dear friends,

With the truest respect and regard,

Your most sincere admirer,

And very affectionate, humble servant,

GEORGE COLMAN.

Q. HORATII FLACCI

EPISTOLA AD PISONES

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