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Contrasts: Pastoral - Lamenting - Iambic - Satiric - Comedic - Lyric
Contrasts: Pastoral - Lamenting - Iambic - Satiric - Comedic - Lyric
Now in his parts, kinds, or species, as you list to term them, it is to
be noted that some poesies have coupled together two or three kinds, - as
tragical and comical, whereupon is risen the tragi-comical; some, in the
like manner, have mingled prose and verse, as Sannazzaro and Boethius; some
have mingled matters heroical and pastoral; but that cometh all to one in this
question, for, if severed they be good, the conjunction cannot be hurtful.
Therefore, perchance forgetting some, and leaving some as needless to be
remembered, it shall not be amiss in a word to cite the special kinds, to see
what faults may be found in the right use of them.
Is it then the pastoral poem which is misliked? - for perchance where the
hedge is lowest they will soonest leap over. Is the poor pipe disdained, which
sometimes out of Meliboeus` mouth can show the misery of people under hard
lords and ravening soldiers, and again, by Tityrus, what blessedness is
derived to them that lie lowest from the goodness of them that sit highest?
sometimes, under the pretty tales of wolves and sheep, can include the whole
considerations of wrong-doing and patience; sometimes show that contention
for trifles can get but a trifling victory; where perchance a man may see that
even Alexander and Darius, when they strave who should be cock of this world`s
dunghill, the benefit they got was that the after-livers may say:
Haec memini et victum frustra contendere Thyrsim;
Ex illo Corydon, Corydon est tempore nobis.^26
[Footnote 26: "Such things I remember, and that the conquered Thyrsis strove
in vain. From that time Corydon is with us the Corydon." - Virgil, "Eclogues,"
VII., 69-70.]
Or is it the lamenting elegiac, which in a kind heart would move rather
pity than blame; who bewaileth, with the great philosopher Heraclitus, the
weakness of mankind and the wretchedness of the world; who surely is to be
praised, either for compassionate accompanying just causes of lamentation, or
for rightly painting out how weak be the passions of wofulness?
Is it the bitter and wholesome iambic, who rubs the galled mind, in
making shame the trumpet of villainy with bold and open crying out against
naughtiness?
Or the satiric? who
Omne vafer vitium ridenti tangit amico;^27
[Footnote 27: "The sly fellow touches every vice while he makes his friend
laugh." - Condensed from Persius, "Sat.," I., 116.]
who sportingly never leaveth till he make a man laugh at folly, and at length
ashamed to laugh at himself, which he cannot avoid without avoiding the folly;
who, while circum praecordia ludit,^28 giveth us to feel how many headaches a
passionate life bringeth us to, - how, when all is done,
[Footnote 28: "He plays about his heartstrings." - Idem.]
Est Ulubris, animus si nos non deficit aequus.^29
[Footnote 29: "If we do not lack the equable temper, it is in Ulubrae" [that
we may find happiness]. Ulubrae was noted for its desolation. - Adapted from
Horace, "Epict.," I., II, 30.]
No, perchance it is the comic; whom naughty play-makers and stage -
keepers have justly made odious. To the argument of abuse I will answer after.
Only thus much now is to be said, that the comedy in an imitation of the
common errors of our life, which he representeth in the most ridiculous and
scornful sort that may be, so as it is impossible that any beholder can be
content to be such a one. Now, as in geometry the oblique must be known as
well as the right, and in arithmetic the odd as well as the even; so in the
actions of our life who seeth not the filthiness of evil, wanteth a great foil
to perceive the beauty of virtue. This doth the comedy handle so, in our
private and domestical matters, as with hearing it we get, as it were, an
experience what is to be looked for of a niggardly Demea, of a crafty Davus,
of a flattering Gnatho, of a vain-glorious Thraso; and not only to know what
effects are to be expected, but to know who be such, by the signifying badge
given them by the comedian. And little reason hath any man to say that men
learn evil by seeing it so set out; since, as I said before, there is no man
living, but by the force truth hath in nature, no sooner seeth these men play
their parts, but wisheth them in pistrinum,^30 although perchance the sack of
his own faults lie so behind his back, that he seeth not himself to dance the
same measure, - whereto yet nothing can more open his eyes than to find his
own actions contemptibly set forth.
[Footnote 30: "In the mill," where slaves were sent for punishment.]
So that the right use of comedy will, I think, by nobody be blamed, and
much less of the high and excellent tragedy, that openeth the greatest wounds,
and showeth forth the ulcers that are covered with tissue; that maketh kings
fear to be tyrants, and tyrants manifest their tyrannical humors; that with
stirring the effects of admiration and commiseration teacheth the uncertainty
of this world, and upon how weak foundations gilden roofs are builded; that
maketh us know:
Qui sceptra saevus duro imperio regit,
Timet timentes, metus in auctorem redit.^31
[Footnote 31: "The savage king who wields the sceptre with cruel sway fears
those who fear him, the dread returns upon the author`s head." - Seneca,
"Oedipus," 705-6.]
But how much it can move, Plautarch yieldeth a notable testimony of the
abominable tyrant Alexander Pheraeus; from whose eyes a tragedy, well made and
represented, drew abundance of tears, who without all pity had murdered
infinite numbers, and some of his own blood; so as he that was not ashamed to
make matters for tragedies, yet could not resist the sweet violence of a
tragedy. And if it wrought no further good in him, it was that he, in despite
of himself, withdrew himself from hearkening to that which might mollify his
hardened heart. But it is not the tragedy they do mislike, for it were too
absurd to cast out so excellent a representation of whatsoever is most worthy
to be learned.
Is it the lyric that most displeaseth, who with his tuned lyre and well
accorded voice, giveth praise, the reward of virtue, to virtuous acts; who
giveth moral precepts and natural problems; who sometimes raiseth up his voice
to the height of the heavens, in singing the lauds of the immortal God?
Certainly I must confess mine own barbarousness; I never heard the old song of
Percy and Douglas that I found not my heart moved more than with a trumpet;
and yet it is sung but by some blind crowder, with no rougher voice than rude
style; which being so evil apparelled in the dust and cobwebs of that uncivil
age, what would it work, trimmed in the gorgeous eloquence of Pindar? In
Hungary I have seen it the manner of all feasts, and other such meetings, to
have songs of their ancestors` valor, which that right soldierlike nation
think the chiefest kindlers of brave courage. The incomparable Lacedaemonians
did not only carry that kind of music ever with them to the field, but even at
home, as such songs were made, so were they all content to be singers of them;
when the lusty men were to tell what they did, the old men what they had done,
and the young men what they would do. And where a man may say that Pindar many
times praiseth highly victories of small moment, matters rather of sport than
virtue; as it may be answered, it was the fault of the poet, and not of the
poetry, so indeed the chief fault was in the time and custom of the Greeks,
who set those toys at so high a price that Philip of Macedon reckoned a
horserace won at Olympus among his three fearful felicities. But as the
unimitable Pindar often did, so is that kind most capable and most fit to
awake the thoughts from the sleep of idleness, to embrace honorable
enterprises.
There rests the heroical, whose very name, I think, should daunt all
backbiters. For by what conceit can a tongue be directed to speak evil of that
which draweth with it no less champions than Achilles, Cyrus, Aeneas, Turnus
Tydeus, Rinaldo? who doth not only teach and move to a truth, but teacheth and
moveth to the most high and excellent truth; who maketh magnanimity and
justice shine through all misty fearfulness and foggy desires; who, if the
saying of Plato and Tully be true, that who could see virtue would be
wonderfully ravished with the love of her beauty, this man setteth her out to
make her more lovely, in her holiday apparel, to the eye of any that will
deign not to disdain until they understand. But if anything be already said in
the defense of sweet poetry, all concurreth to the maintaining the heroical,
which is not only a kind, but the best and most accomplished kind of poetry.
For, as the image of each action stirreth and instructeth the mind, so the
lofty image of such worthies most inflameth the mind with desire to be worthy,
and informs with counsel how to be worthy. Only let Aeneas be worn in the
tablet of your memory, how he governeth himself in the ruin of his country; in
the preserving his old father, and carrying away his religious ceremonies; in
obeying the god`s commandment to leave Dido, though not only all passionate
kindness, but even the human consideration of virtuous gratefulness, would
have craved other of him; how in storms, how in sports, how in war, how in
peace, how a fugitive, how victorious, how besieged, how besieging, how to
strangers, how to allies, how to enemies, how to his own; lastly, how in his
inward self, and how in his outward government; and I think, in a mind most
prejudiced with a prejudicating humor, he will be found in excellency
fruitful, - yea, even as Horace saith, melius Chrysippo et Crantore.^32 But
truly I imagine if falleth out with these poet-whippers as with some good
women who often are sick, but in faith they cannot tell where. So the name of
poetry is odious to them, but neither his cause nor effects, neither the sum
that contains him nor the particularities descending from him, give any fast
handle to their carping dispraise.
[Footnote 32: "Better than Chrysippus and Crantor" - two distinguished
philosophers. - Horace, "Epict.," I. 2, 4.]
Since, then, poetry is of all human learnings the most ancient and of
most fatherly antiquity, as from whence other learnings have taken their
beginnings; since it is so universal that no learned nation doth despise it,
nor barbarous nation is without it; since both Roman and Greek gave divine
names unto it, the one of "prophesying," the other of "making," and that
indeed that name of "making" is fit for him, considering that whereas other
arts retain themselves within their subjects, and receive, as it were, their
being from it, the poet only bringeth his own stuff, and doth not learn a
conceit out of a matter, but maketh matter for a conceit; since neither his
description nor his end containeth any evil, the thing described cannot be
evil; since his effects be so good as to teach goodness, and delight the
learners of it; since therein - namely in moral doctrine, the chief of all
knowledges - he doth not only far pass the historian, but for instructing is
well nigh comparable to the philosopher, and for moving leaveth him behind
him; since the Holy Scripture, wherein there is no uncleanness, hath whole
parts in it poetical, and that even our Saviour Christ vouchsafed to use the
flowers of it; since all his kinds are not only in their united forms, but in
their several dissections fully commendable; I think, and think I think
rightly, the laurel crown appointed for triumphant captains doth worthily, of
all other learnings, honor the poet`s triumph.
But because we have ears as well as tongues, and that the lightest
reasons that may be will seem to weigh greatly, if nothing be put in the
counter-balance, let us hear, and, as well as we can, ponder, what
objections be made against this art, which may be worthy either of yielding or
answering.
First, truly, I note not only in these mibomovboi, poet-haters, but in
all that kind of people who seek a praise by dispraising others, that they do
prodigally spend a great many wandering words in quips and scoffs, carping and
taunting at each thing which, by stirring the spleen, may stay the brain from
a through-beholding the worthiness of the subject. Those kind of objections,
as they are full of a very idle easiness - since there is nothing of so sacred
a majesty but that an itching tongue may rub itself upon it - so deserve they
no other answer, but, instead of laughing at the jest, to laugh at the jester.
We know a playing wit can praise the discretion of an ass, the comfortableness
of being in debt, and the jolly commodity of being sick of the plague. So of
the contrary side, if we will turn Ovid`s verse,
Ut lateat virtus proximitate mali,
"that good lie hid in nearness of the evil," Agrippa will be as merry in
showing the vanity of science, as Erasmus was in commending of folly; neither
shall any man or matter escape some touch of these smiling railers. But for
Erasmus and Agrippa, they had another foundation than the superficial part
would promise. Marry, these other pleasant fault-finders, who will correct
the verb before they understand the noun, and confute others` knowledge before
they confirm their own, I would have them only remember that scoffing cometh
not of wisdom; so as the best title in true English they get with their
merriments is to be called good fools, - for so have our grave forefathers
ever termed that humorous kind of jesters.
But that which giveth greatest scope to their scorning humor is riming
and versing. It is already said, and as I think truly said, it is not riming
and versing that maketh poesy. One may be a poet without versing, and a
versifier without poetry. But yet presuppose it were inseparable - as indeed
it seemeth Scaliger judgeth - truly it were an inseparable commendation. For
if oratio next to ratio, speech next to reason, be the greatest gift bestowed
upon mortality, that cannot be praiseless which doth most polish that blessing
of speech; which considereth each word, not only as a man may say by his
forcible quality, but by his best-measured quantity; carrying even in
themselves a harmony, - without, perchance, number, measure, order, proportion
be in our time grown odious.
But lay aside the just praise it hath by being the only fit speech for
music - music, I say, the most divine striker of the senses - thus much is
undoubtedly true, that if reading be foolish without remembering, memory being
the only treasurer of knowledge, those words which are fittest for memory are
likewise most convenient for knowledge. Now that verse far exceedeth prose in
the knitting up of the memory, the reason is manifest; the words, besides
their delight, which hath a great affinity to memory, being so set, as one
cannot be lost but the whole work fails; which, accusing itself, calleth the
remembrance back to itself, and so most strongly confirmeth it. Besides, one
word so, as it were, begetting another, as, be it in rime or measured verse,
by the former a man shall have a near guess to the follower. Lastly, even they
that have taught the art of memory have showed nothing so apt for it as a
certain room divided into many places, well and thoroughly known; now that
hath the verse in effect perfectly, every word having his natural seat, which
seat must needs make the word remembered. But what needeth more in a thing so
known to all men? Who is it that ever was a scholar that doth not carry away
some verses of Virgil, Horace, or Cato, which in his youth he learned, and
even to his old age serve him for hourly lessons? as:
Percontatorem fugito, nam garrulus idem est.^33
[Footnote 33: "Avoid an inquisitive man, for he is sure to be a prattler." -
Horace, "Epist.," I. 18. 69.]
Dum sibi quisque placet, credula turba sumus.^34
[Footnote 34: "While each is pleasing himself, we are a credulous crowd." -
Ovid, "Rem. Amoris," 686.]
But the fitness it hath for memory is notably proved by all delivery of
arts, wherein, for the most part, from grammar to logic, mathematic, physic,
and the rest, the rules chiefly necessary to be borne away are compiled in
verses. So that verse being in itself sweet and orderly, and being best for
memory, the only handle of knowledge, it must be in jest that any man can
speak against it.
Now then go we to the most important imputations laid to the poor poets;
for aught I can yet learn they are these.
First, that there being many other more fruitful knowledges, a man might
better spend his time in them than in this.
Secondly, that it is the mother of lies.
Thirdly, that it is the nurse of abuse, infecting us with many pestilent
desires, with a siren`s sweetness drawing the mind to the serpent`s tail of
sinful fancies, - and herein especially comedies give the largest field to
ear,^35 as Chaucer saith; how, both in other nations and in ours, before poets
did soften us, we were full of courage, given to martial exercises, the
pillars of manlike liberty, and not lulled asleep in shady idleness with
poets` pastimes.
[Footnote 35: Plough]
And, lastly and chiefly, they cry out with an open mouth, as if they had
overshot Robin Hood, that Plato banished them out of his Commonwealth. Truly
this is much, if there be much truth in it.
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