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translation will be less laborious): for the Grecian is more according to my genius, than the Latin poet. In the works of the two authors we may read their manners and natural inclinations, which are wholly different. Virgil was of a quiet, sedate temper; Homer was violent, impetuous, and full of fire. The chief talent of Virgil was propriety of thoughts and ornament of words: Homer was rapid in his thoughts, and took all the liberties, both of numbers and of expressions, which his language, and the age in which he lived, allowed him: Homer's invention was more copious, Virgil's more confined: so that if Homer had not led the way, it was not in Virgil to have begun heroic poetry : for nothing can be more evident, than that the Roman poem is but the second part of the Ilias; a continuation of the same story, and the persons already formed: the manners of Æneas are those of Hector superadded to those which Homer gave him. The adventures of Ulysses in the Odysseis are imitated in the first six books of Virgil's Æneis: and though the accidents are not the same, (which would have argued him of a servile copying, and total barrenness of invention) yet the seas were the same, in which both the heroes wandered; and Dido cannot be denied to be the poetical daughter of Calypso. The six latter books of Virgil's poem are the four and twenty Iliads contracted: a quarrel occasioned by a lady, a single combat, battles fought, and a town besieged. I say not this in derogation to Virgil, neither do I contradict any thing which I have formerly said in his just praise: for his episodes are almost wholly of his own invention ; and the form, which he has given to the telling, makes the tale his own, even though the original story had been the same. But this proves, however, that Homer taught Virgil to design : and if invention be the first virtue of an epic poet, then the Latin poem can only be allowed the second place. Mr. Hobbes, in the preface to his own bald translation of the llias, (studying poetry as he did mathematics, when it was too late) Mr. Hobbes, I say, begins the praise of Homer where he should have ended it. He tells us, that the first beauty of an epic poem consists in diction, that is, in the choice of words, and harmony of numbers: now the words are the colouring of the work, which, in the order of nature, is last to be considered. The design, the disposition, the manners, and the thoughts, are all before it: where any of those are wanting or imperfect, so much wants or is imperfect in the imitation of human life; which is in the very definition of a poem. Words indeed, like glaring colours, are the first beauties that arise and strike the sight: but if the draught be false or lame, the figures ill-disposed, the manners obscure or inconsistent, or the thoughts unnatural, then the finest colours are but daubing, and the piece is a beautiful monster at the best. Neither Virgil nor Homer were deficient in any of the former beauties; but in this last, which is expression, the Roman poet is at least equal to the Grecian, as I have said elsewhere; supplying the poverty of his language by his musical ear and by his diligence. But to return : our two great poets, being so different in their tempers, one choleric and sanguine, the other phlegmatic and melancholic; that which makes them excel in their several ways is, that each of them has followed his own natural inclination, as well in forming the design, as in the execution of it. The very heroes show their authors; Achilles is hot, impatient, revengeful, Impiger, iracundus, inexorabilis, acer, &c. Æneas patient, considerate, careful of his people, and merciful to his enemies: ever submissive to the will of Heaven, “ quo fata trahunt, retrahuntque, sequamur.” I could please myself with enlarging on this subject, but I am forced to defer it to a fitter time. From all I have said, I will only draw this inference, that the action of Homer being more full of vigour than that of Virgil, according to the temper of the writer, is of consequence more pleasing to the reader. One warms you by degrees; the other sets you on fire all at once, and never intermits his heat. It is the same difference which Longinus makes betwixt the effects of eloquence in Demosthenes and Tully. One persuades; the other commands. You never cool while you read Homer, even not in the second book (a graceful fattery to his countrymen); but he hastens from the ships, and concludes not that book till he has made you amends by the violent playing of a new machine. From thence he hurries on his action with variety of events, and ends it in less compass than two months. This vehemence of his, I confess, is more suitable to my temper; and therefore I have translated his first book with greater pleasure than any part of Virgil: but it was not a pleasure without pains: the continual agitations of the spirits must needs be a weakening of any constitation, especially in age; and many pauses are required for refreshment betwixt the heats; the Iliad of itself being a third part longer than all Virgil's works together.

This is what I thought needful in this place to say of Homer. I proceed to Ovid and Chaucer; considering the former only in relation to the latter. With Ovid ended the golden age of the Roman tongue : from Chaucer the purity of the English tongue began. The manners of the poets were not unlike: both of them were well-bred, well-natured, amorous, and libertine, at least in their writings;

it may be also in their lives. Their studies were the same, philosophy and philology. Both of them were known in astronomy, of which Ovid's books of the Roman feasts, and Chaucer's treatise of the Astroiabe, are sufficient witnesses. But Chaucer was likewise an astrologer, as were Virgil, Horace, Persius, and Manilius. Both writ with wonderful facility and clearness : neither were great inventors : for Ovid only copied the Grecian fables; and most of Chaucer's stories were taken from his Italian contemporaries, or their predecessors. Boccace's Decameron was first published; and from thence our Englishman has borrowed many of his Canterbury Tales: yet that of Palamon and Arcite was written in all probability by some Italian wit, in a former age, as I shall prové hereafter : the tale of Grizild was the invention of Petrarch ; by bim sent to Boccace; from whom it came to Chaucer : Troilus and Cressida was also written by a Lombard author; but much amplified by our English translator, as well as beautified; the genius of our countrymen in general being rather to improve an inven. tion, than to invent themselves; as is erident not only in our poetry, but in many of our manufactures. I find I have anticipated already, and taken up froni Boccace before I come to him: but there is so much less behind; and I am of the temper of most kings, who love to be in debt; are all for present money, no matter how they pay it afterwards: besides, the nature of a preface is rambling; Dever whoily out of the way, nor in it. This I have learned from the practice of honest Montaigne, and return at my pleasure to Ovid and Chaucer, of whom I have little more to say. Both of them built on the inventions of other men; yet since Chaucer had something of his own, as the Wife of Bath's Tale, the Cock and the Fox, which I have translated, and some others, I may justly give our countryman the precedence in that part; since I can remember nothing of Ovid which was wholly his. Both of them understood the manners, under wbich name I comprehend the passions, and, in a large sense, the descriptions of persons, and their very habits : for an example, I see Baucis and Philemon as perfectly before me, as if some ancient painter bad drawn them; and all the pilgrims in the Canterbury Tales, their humours, their features, and the very dress, as distinctly as if I had supped with them at the Tabard in Southwark: yet even there too the figures in Chaucer are much more lively, and set in a better light: which though I have not time to prove, yet I appeal to the reader, and am sure he will clear me from partiality. The thoughts and words remain to be considered in the comparison of the two poets; and I have saved myself one half of that labour, by owning, that Ovid lived when the Roman tongue was in its meridian ; Chaucer, in the dawning of our language: therefore that part of the com, parison stands not on an equal foot, any more than the diction of Ennius and Ovid; or of Chaucer and our present English. The words are given up as a post not to be defended in our poet, because he wanted the modern art of fortifying. The thoughts remain to be considered : and they are to be measured only by their propriety; that is, as they flow more or less naturally from the persons described, on such and such occasions. The vulgar judges, which are nine parts in ten of all nations, who call conceits and jingles wit, who see Ovid full of them, and Chaucer altogether without them, will think me little less than mad, for preferring the Englishman to the Roman: yet, with their leave, I must presume to say, that the things they admire are not only glittering trifles, and so far from being witty, that in a serious poem they are nauseous, because they are unnatural. Would any man, who is ready to die for love, describe his passion like Narcissus? Would he think of “inopem me copia fecit,” and a dozen more of such expressions, poured on the neck of one another, and signifying all the same thing? If this were wit, was this a time to be witty, when the poor wretch was in the agony of death! This is just John Littlewit in Bartholomew Fair, who had a conceit (as he tells you) left him in his misery: a miserable conceit. On these occasions the poet should endeavour to raise pity: but, instead of this, Ovid is tickling you to laugh. Virgil never made use of such machines, when he was moving you to commiserate the death of Dido : he would not destroy what he was building. Chaucer makes Arcite violent in his love, and unjust in the pursuit of it: yet when he came to die, he made him think more reasonably: he repents not of his love, for that had altered his character; but acknowledges the injustice of his proceedings, and resigns Emilia to Palamon. What would Ovid have done on this occasion? He would certainly have made Arcite witty on his death-bed. He had complained he was farther off from possession, by being so near, and a thousand such boyisms, which Chaucer rejected as below the dignity of the subject. They, who think otherwise, would by the same reason prefer Lucan and Ovid to Homer and Virgil, and Martial to all four of them. As for the turn of words, in which Ovid particularly excels all poets, they are sometimes a fault and sometimes a beauty, as they are used properly or improperly; but in strong passions always to be shunned, because passions are serious, and will admit no playing. The French have a high value for them; and I confess, they are often what they call delicate, when they are introduced with judgment; but Chaucer writ with more simplicity, and followed nature more closely, than to use them. I have thus far, to the best of my know. ledge, been an upright judge betwixt the parties in competition, not meddling with the design nor the disposition of it; because the design was not their own, and in the disposing of it they were equal. It remains, that I say somewhat of Chaucer in particular.

In the first place, as he is the father of English poetry, so I hold him in the same degree of veneration as the Grecians held Homer, or the Romans Virgil: he is a perpetual fountain of good sense; learned in all sciences; and therefore speaks properly on all subjects: as he knew what to say, so he knows also when to leave off; a continence which is practised by few writers, and scarcely by any of the ancients, excepting Virgil and Horace. One of our late great poets is sunk in his reputation, because he could never forgive any conceit which came in his way; but swept, like a drag-net, great and small. There was plenty enough, but the dishes were ill-sorted; whole pyramids of sweet-meats, for boys and women, but little of solid meat, for men: all this proceeded not from any want of knowledge, but of judgment; neither did he want that in discerning the beauties and faults of other poets, but only indulged himself in the luxury of writing, and perhaps knew it was a fault, but hoped the reader would not find it. For this reason, though he must always be thought a great poet, he is no longer esteemed a good writer: and for ten impressions, which his works have had in so many successive years, yet at present a hundred books are scarcely purchased once a twelvemonth : for, as my lord Rochester said, though somewhat profanely, Not being of God, he could not stand.

Chaucer followed Nature every where; but was never so bold to go beyond her: and there is a great difference of being poeta and nimis poeta, if we believe Catullus, as much as betwixt a modest behaviour and affectation. The verse of Chaucer, I confess, is not harmonious to us; but it is like the eloquence of one whom Tacitus commends, it was auribus istius temporis accommodata : they who lived with him, and some time after him, thought it musical; and it continues so even in our judgment, if compared with the numbers of Lidgate and Gower, his contemporaries: there is the rude sweetness of a Scotch tune in it, which is natural and pleasing, though not perfect. It is true, I cannot go so far as he who published the last edition of him; for he would make us believe the fault is in our ears, and that there were really ten syllables in a verse, where we find but nine: but this opinion is not worth confuting; it is so gross and obvious an errour, that common sense (which is a rule in every thing but matters of faith and revelation) must convince the reader, that equality of numbers in every verse, which we call heroic, was either not known, or not always practised in Chaucer's age. It weré an easy matter to produce some thousands of his verses, which are lame for want of half a foot, and sometimes a whole one, and which no pronunciation can make otherwise. We can only say, that he lived in the infancy of our poetry, and that nothing is brought to perfection at the first. We must be children before we grow men. There was an Ennius, and in process of time a Lucilius, and a Lucretius, before Virgil and Horace; even after Chaucer there was a Spenser, a Harrington, a Fairfax, before Waller and Denbam were in being: and our numbers were in their nonage till these last appeared. I need say little of his parentage, life, and fortunes: they are to be found at large in all the editions of his works. He was employed abroad, and favoured by Edward the Third, Richard the Second, and Henry the Fourth, and was poet, as I suppose, to all three of them. In Richard's time, I doubt, he was a little dipt in the rebellion of the commons; and, being brother-in-law to John of Gaunt, it was no wonder if he followed the fortunes of that family, and was well with Henry the Fourth when he had deposed his predecessor. Neither is it to be admired, that Henry, who was a wise as well as a valiant prioce, who claimed by succession, and was sensible that his title was not sound, but was rightfully in Mortimer, who had married the heir of York; it was not to be admired, I say, if that great politician should be pleased to have the greatest wit of those times in his interests, and to be the trumpet of his praises. Augustus had given him the example, by the advice of Mæcenas, who recommended Virgil and Horace to him; whose praises helped to make him popular while he was alive, and after his death have made him precious to posterity. As for the religion of our poet, he seems to have some little bias towards the opinions of Wickliff, after John of Gaunt his patron; somewhat of which appears in the tale of Piers Plowman: yet I cannot blame him for inveighing so sharply against the vices of the clergy in his age: their pride, their ambition, their pomp, their avarice, their wordly interest, deserved the lashes which he gave them, both in that, and in most of his Canterbury Tales: neither has his contemporary Boccace spared them. Yet both those poets lived in much esteem with good and holy men in orders: for the scandal which is given by particular priests reflects not on the sacred function.

Chaucer's Monk, his Chanon, and his Fryer, took not from the character of his Good Parson. A satyrical poet is the check of the laymen on bad priests. We are only to take care, that we involve not the innocent with the guilty in the same condemnation. The good cannot be too much honoured, por the bad too coarsely used; for the corruption of the best becomes the worst. When a clergymar is whipped, his gown is first taken off, by which the dignity of his order is secured: if he be wrong. fully accused, he has his action of slander; and it is at the poet's peril, if he transgress the law. But they will tell us, that all kind of satire, though never so well deserved by particular priests, yet brings the whole order into contempt. Is then the peerage of England any thing dishonoured, when a peer suffers for his treason? If he be libelled, or any way defamed, he has bis Scandalum Magnatum to punish the offender. They, who use this kind of argument, seem to be conscious to themselves of somewhat which has deserved the poet's lash, and are less concerned for their public capacity, than for their private; at least there is pride at the bottom of their reasoning. If the faults of men in orders are only to be judged among themselves, they are all in some sort parties : for, since they say the honour of their order is concerned in every member of it, how can we be sure, that they will be impartial judges? How far I may be allowed to speak my opinion in this case, I know not: but I am sure a dispute of this nature caused mischief in abundance betwixt a king of England and an archbishop of Canterbury; one standing up for the laws of his land, and the other for the honour (as he called it) of God's church; which ended in the murther of the prelate, and in the whipping of his majesty from post to pillar for his penance. The learned and ingenious Dr. Drake has saved me the labour of inquiring into the esteem and reverence which the priests have had of old; and I would rather extend than diminish any part of it: yet I must needs say, that when a priest provokes me without any occasion given him, I have no reason, unless it be the charity of a Christian, to forgive him. Prior læsit is justification sufficient in the civil law. If I answer him in his own language, selfdefence, I am sure, must be allowed me; and if I carry it farther, even to a sharp recrimination, somewhat may be indulged to human frailty. Yet my resentment has not wrought so far, but that I have followed Chaucer in his character of a holy man, and have enlarged on that subject with some pleasure, reserving to myself the right, if I shall think fit hereafter, to describe another sort of priests, such as are more easily to be found than the Good Parson ; such as have given the last blow to Christianity in this age, by a practice so contrary to their doctrine. But this will keep cold till another time. In the mean while, I take up Chaucer where I left him. He must have been a man of a most wonderful comprehensive nature, because, as it has been truly observed of him, he has taken into the compass of his Canterbury Tales the various manners and humours (as we now call them) of the whole English nation, in his age. Not a single character has escaped him. All his pilgrims are severally distinguished from each other; and not only in their inclinations, but in their very physiognomies and persons. Baptista Porta could not have described their natures better, than by the marks which the poet gives them. The matter and manner of their tales, and of their telling, are so suited to their different educations, humours, and callings, that each of them would be improper in any other mouth. Even the grave and serious characters are distinguished by their several sorts of gravity: their discourses are such as belong to their age, their calling, and their breeding; such as are becoming of them, and of them only. Some of his persons are vicious, and some virtuous; some are unlearned, or (as Chaucer calls them) lewd, and some are learned. Even the ribaldry of the low characters is different; the Reeve, the Miller, and the Cook, are several men, and distinguished from each other, as much as the mincing Lady Prioress, and the broad-speaking, gap-toothed Wife of Bath. But enough of this: there is such a variety of game springing up before me, that I am distracted in my choice, and know not which to follow. It is sufficient to say, according to the proverb, that here is God's plenty. We have our forefathers, and great granddames all before us, as they were in Chaucer's days; their general characters are still remaining in mankind, and even in England, though they are called by other names than those of Monks and Friars, and Chanons, and lady Abbesses, and Nuns: for mankind is ever the same, and nothing lost out of nature, though every thing is altered. May I have leave to do myself the justice (since my enemies will do me none, and are so far from granting me to be a good poet, that they will not allow me so much as to be a Christian, or a moral man); may I have leave, I say, to inform my reader, that I have confined my choice to such tales of Chaucer as savour nothing of immodesty? If I had desired more to please than to instruct, the Reeve, the Miller, the Shipman, the Merchants, the Sumner, and, above all, the Wife of Bath, in the prologue to her tale, would have procured me as many friends and readers, as there are beaux and ladies of pleasure in the town. But I will no more offend against good-manners: I am sensible, as I ought to be,

of the scandal I have given by my loose writings, and make what reparation I am able, by this public acknowledgment. If any thing of this nature, or of profaneness, be crept into these poems, I am so far from defending it, that I disown it. Totum boc indictum volo. Chaucer makes another manner of apology for his broad-speaking, and Boccace makes the like; but I will follow neither of them. Our countryman, in the end of his characters, before the Canterbury Tales, thus excuses the ribaldry, which is very gross in many of his novels.

But first, I pray you of your courtesy,
That ye ne arrettee it nought my villany,
Though that I plainly speak in this mattere
To tellen you her words, and eke her chere:
Ne though I speak her words properly,
For this ye knowen as well as I,
Who shall tellen a tale after a man,
He mote rehearse as nye, as ever he can:
Everich word of it been in his charge,
All speke he, never so rudely, ne large.
Or else he mote tellen his tale untrue,
Or feine things, or find words new :
He may not spare, although he were his brother,
He mote as well say o word as another.
Christ spake himself full broad in holy writ,
And well I wote no villany is it,
Eke Plato saith, who so can bim rede,
The words mote been cousin to the dede.

Yet if a man should have inquired of Boccace or of Chaucer, what need they had of introducing suck characters, where obscene words were proper in their mouths, but very indecent to be heard; I know not what answer they could have made: for that reason, such tale shall be left untold by me. You have here a specimen of Chaucer's language, which is so obsolete, that his sense is scarce to be understood; and you have likewise more than one example of his unequal numbers, which were mentioned before. Yet many of his verses consist of ten syllables, and the words not much behind our present English: as for example, these two lines, in the description of the carpenter's young wife:

Wincing she was, as is a jolly colt,
Long as a mast, and upright as a bolt.

I have almost done with Chaucet, when I have answered some objections relating to my presen work. I find some people are offended, that I have turned these tales into modern English ; because they think them unworthy of my pains, and look on Chaucer as a dry, old-fashioned wit, not worth reviving. I have often heard the late earl of Leicester say, that Mr. Cowley himself was of that, opinion ; who, having read him over at my lord's request, declared he had no taste of him. I dare not advance my opinion against the judgment of so great an author: but I think it fair, however, to leave the decision to the public: Mr. Cowiey was too modest to set up for a dictator; and being shocked perhaps with his old style, never examined into the depth of his good sense. Chaucer, I confess, is a rough diamond, and must first be polished, ere he shines. I deny not likewise, that, living in our early days of poetry, he writes not always of a piece ; but sometimes mingles trivial things with those of greater moment. Sometimes also, though not often, he runs riot, like Ovid, and knows not when he has said enough. But there are more great wits besides Chaucer, whose fault is their excess of conceits, and those ill sorted. An author is not to write all he can, but only all he ought. Having observed this redundancy in Chaucer, (as it is an easy matter for a man of ordinary parts to find a fault in one of greater) I have not tied myself to a literal translation ; but hare often omitted what I judged unnecessary, or not of dignity enough to appear in the company of better thoughts. I have presumed farther, in some places, and added somewhat of my own, where I thought my author was deficient, and had not given his thoughts their true lustre, for want of words to the beginning of our language. And to this I was the more emboldened, because (if I may be per

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