tions (or pictures) whose only beauty proceeds from an excellence in the imagery. In these cases, painting must always be consulted. He mixes with the bleating lambs his cries ; Another oversight in Statius is want of rity in the circumstances: but this is owing to the irregularity of his genius, which was above insisting upon particulars, and gave only some bold strokes of likeness. If a translator can leave out such similies (or other passages) in Statius as are not proper, without violating the context or if he can supply any of their defects in a very short compass, I think he ought. Though these liberties are not to be taken with more correct writers. 6. 9. The pious mother thus, deceiv'd too late I scarce ever met with a more incoherent passage than this, in any author. The sense is fine, Swift from mankind the Pow'r of slumbers and easily apprehended by the context: the flew. v. 31. This place is not translated exactly to the letter, nor indeed would our language bear it. The original is extremely poetical, and correspondent to the best paintings in those times: -cornu fugiebat somnus inani. For Somnus (or sleep) was represented as a deity pouring dews out of a horn, over the temples of the sleeping person. Statius alludes to this in another passage, upon the same occasion; -cornu perfuderat omni. This remark I owe to Lactantius, who has given us the only tolerable comment upon Statius. Care has been taken to read him entirely over, though to little purpose. His notes are learned, short, and clear, but seldom poetical. Most of them are like the old Scholia upon Homer, explaining one word by another. He is full of apostrophes and exclamations, yet gives no reasons. Such as, exquisitè dictum ! pictum egregie! &c. 7. Mean while Adrastus bears the friendly part, And with kind words consoles, &c. v. 51. Chaucer, who was perhaps the greatest poet among the moderns, has translated these verses almost word for word in his Knight's Tale. I shall make this remark once for all: as nothing particularises the fine passages in Homer more than that Virgil vouchsafed to imitate them: so scarce any thing can exalt the reputation of Statius higher, than the verbal imitations of our great countryman, I prefer this to a volume of criticisms; no man would imitate what he could exceed. 8. v. 70. Inwoven on the pall, young Linus lay How mean a fate, unhappy child! is thine? words are obscure to a fault, and the transition too sudden and violent: Namque illi & pharetras, brevioraque tela Festinus voti pater, insontesque sagittas. Spes avidæ, must certainly be spoken of the mother deceived! with what care-&c." This jections at once. However 'tis a mere conjecture, All grave readers will reject this as a whimsical young man's notion; nor do I lay any stress upon it. To show I can be serious on occasion, I shall just refer them to Virgil's third Georgic, where will be found a transition from horses to cows, as obscure almost as this in Statius. should read spes avidi, instead of avidæ, still Gronovius (without any authority) thinks we preserving the context, and referring credula to spes. I cannot approve of this emendation for Besides, the repetition of in nomen would be taumany reasons; we at once lose half the beauty. tology, if it did not refer to another person: nor can urgere vestes be so properly applied to the father. Whoever reads this positive Dutchman's preface to Ammianus Marcellinus, will never think him to be a man of sense, or candour. 10. Stretch'd o'er the ground the tow'ring oaks were seen, &c. v. 108. This description is inimitably beautiful, and I might spend a whole page in admirations. 'Twere easy also, by drawing parallel places, (a common, but unfair practice) to prefer Statius to all the ancients, and moderns. Most of the poets have exercised their genius upon this occasion; particularly Ovid in the 10th book of his Meta morphosis: -Non Chaonis absuit arbos, Non nemus Heliadum, non frondibus esculus altis : Non tiliæ molles, non fagus, & innuba laurus, Et coryli fragiles, & fraxinus utilis hastis, Enodisque abies curvataque glandibus ilex, Et platanus genialis, acerque coloribus impar, Amnicolæque simul salices, & aquatica lotos. As also Claudian, in the Rape of Proserpina, Lib. the 2d. Chaucer seems to have a particular eye to this passage throughout all his poems. See his Knight's Tale, the Assembly of Fowls, and Complaint of the Black Knight. I am also much pleased to find this passage finely imitated by two other of our ancient English poets. I shall first cite Fairfax, who understood the harmony of numbers better than any person then living, except Spenser. All the world knows his excellent version (or paraphrase rather) of Tasso's Gierusalem liberata. The other, whom I mean, is M. Drayton, whose Fairy-tale is a master-piece in those grotesque writings: Down fall the sacred palms, and ashes wild- The weeping fir, thick becch, and sailing The married elm fell with his fruitful vine; The tufted cedar, and the branching pine.... Drayton. I ask pardon for the tediousness of this note, and the reader in justice ought to acknowledge I writ it to gratify my pleasure, rather than my vanity; and surely no person who has the least taste can be displeased with so much variety. I insist only to produce one description more out of Statius. The verses are extremely natural, and carry something with them as awful and venerable as the subject: Sylva capax ævi, validâque incurva senectâ, Eternum intousæ frondis, stat pervia nullis Solibus. Subter opaca quies, vacuusque silentia servat Horror, & exclusæ pallet mala lucis imago, Nec caret umbra Deo. 11. Thebaid 4. Sacred to Heav'n and Hell the mourners rear Two massy altars v. 131. It may be asked why the Grecians raised two altars. Lactantius answers that one only was for Archemorus, and the other for the serpent that killed bim. If the reader supposes this to be too much honour Nothing can be more finely imaged than this character of lypsypile; it seems a perfect pieture of beauty in distress. Her very silence is eloquent she knows her innocence, but must not speak one word to defend it. She moves along by herself the very last of them all, while every eye seems to threaten and accuse her. And even after all this, there is still a dejected sweetness, a tenderness, a confusion that cannot be expressed. I know not how to make the reader any ways sensible of my own images, except I refer him to the character of Briseïs in Homer's first Iliad, and the picture of Sisigambis in Darius's tent. This puts me in mind of some fine strokes in Spenser, though upon a different occasion. What I mean, is the silence and confusion of Britomart, when the Red-cross knight discovers her to be a lady, and inquires after her adventures: Thereat she sighing softly, had no pow'r 14. Speech of Eurydice. v. 153. Statius has equally shown his conduct in this speech of Eurydice. She is injured, and indeed deserves a liberty to resent it. She condoles, she repents, she heightens her misfortunes, and then seems to wonder why Providence should inflict them. This she aggravates by considering the prosperity of her neighbours, which certainly gives the deepest remorse in all afflictions. Nothing can be finer than these two last particulars. They arise immediately from human nature, and give a lively picture of self-respect, and indulgency to our own frailties. What follows is more abrupt and violent; she draws the author of her misery in the most disagreeable colours, makes her treacherous, negligent, and even insensible of gratitude or pity. 15. Much of this kind is the speech of Asius in Homer's 12th Iliad. Eustathius makes a very moral remark upon it, which I shall transcribe, as I find it admirably translated to my hands. "The speech of Asius is very extravagant: he exclaims against Jupiter for a breach of promise, Whose hands sustain'd thee, and whose music not because he had broken his word, but because charm'd, Whose eye o'ersaw thee-v. 185. I am far from being disgusted with these little particularities that attend the most serious and noble passions. Nothing has a better effect in poetry, or painting. An incident may be small, and at the same time not trifling. This puts me in mind of an observation in Longinus: it is made upon Sappho's love-ode, translated afterwards by Catullus. "The poetess" (says he) "has assembled with admirable skill all the little accidents to that passion. Her heart beats fast, her tongue trembles, her sight seems to swim, and her colour vanishes all in one moment." This confusion suits admirably well with the wandering irresolutions of the soul upon such occasions. he had not fulfilled his own vain imaginations, This conduct, though very blameable in Asius, is very natural to persons under disappointments, who are ever ready to blame Heaven, and turn their misfortunes into a crime." Thus far Eustathius. Æneas (whose chief character is piety) could not help accusing men and gods when he lost Creusa. Though in justice to Virgil it ought to be observed, that he softens, or rather disapproves of the impiety at the same time; for so the word amens must be understood. Quem non incusavi, amens, hominumque deo. rumque ? As this note is capable of very serious refleations, it may not perhaps be amiss to look a little into the holy scriptures. The impatience of Job's wife, as also the diffidence and irresolution of David in the 73d Psalm, aré extraordinary instances of this sort. But Jeremiah çarries it yet farther: he proceeds to an expostulation with his Maker. "Let me talk with thee, O Lord, of thy judgments. Thou hast planted (the wicked) yea, they have taken root: they grow, yea, they bring forth fruit. But thou, ( Lord, knowest me, thou hast seen me, and tried my heart towards thee. I have forsaken my house, &c." Chap. 12. v. 1, 2, 3, & 8. speech of Lycurgus very oddly, by a reflection Lactantius solves the extravagance of this on his priesthood. His words are these, "priests may be as angry as they will," for so must he be understood according to the purport of the original. I much question whether his name-sake would have allowed this concession to the clergy: and if the translator may have leave to give his opinion, he thinks them to have less need of it, than any other part of the nation. 20. High o'er the people wrought with lively grace, Shine the fair glories of their ancient race. v. 297. 23. Swift flew the rapid car, and left behind -stupuêre relicta Nubila, certantes Eurique Notique sequuntur. Whoever translates Statius must have liberty to soften some of these hyperboles. Yet Lac. tantius was of another opinion, who admires this place in the tree spirit of criticism. Divine dictum dedit illis victoriæ votum, sed ademit effectum. His reinark is not worth translating. 24. I don't remember any thing more noble, or judicious than this historical picture. The des- original: cription of a shield was already worn out: 'twas impossible to add any thing of moment after Homer and Virgil. Nor is it introduced merely for ornament; it contains, no less than the story of their ancestors, magnanimûm series antiqua parentum. Its effects are visible: to inspire them with courage in the funeral games. Besides, it happily avoids most of the objections that have ⚫ been made against the shields of Achilles and Æneas. Its size answers all multiplicity of figures; and even every figure bears a plain reference to the subject of action. The rules of painting are exactly preserved: we have not only a contrast of passions in different persons, but variety of place in each distinct compartiment. "Tis reasonable to think our author designed this as a compliment to a common ceremony then among the Romans: who used at all solemn funerals to carry before the corps of the deceased the pictures of their ancestors. Thus Horace, Epode the 8th; -Funus atque imagines Ducunt triumphales tuam. See also Cicero's oration for Milo, and the 35th book of Pliny. Perhaps Statius owed the first hint of his historical picture to the custom we now mention. 21. -Brave Choræbus lifts his bleeding hands- Lactantius gives two meanings to this hemystic; the venerable or undaunted figure of Choræbus. I have chosen the latter, because it agrees best with his character in the first Thebaid. The story is too long to be transcribed. 22. Here Belus' sons at Hymen's altars stand, The contract of Danaus and Egyptus is too In foribus, laudatque nefas, atque inspicit enses. Theb. 4, So sad Apollo with a boding sigh in this simile, not without a fine commiseration 25. Admetus' life, &c. v. 431. This alludes chiefly to the story of Alceste, Admetus his wife, who was so honourable (it seems) as to lay down her life to atone for her husband's. Juvenal makes an agreeable use of this female gallantry: -spectant subeuntem fata mariti Alcesten. Lactantius. Euripides has written a tragedy upon this occasion. I am afraid few modern ladies would give such an example, but indeed husbands are much alter'd since the days of Admetus. I may add, that Statius takes notice of the death of Alceste in his Sylva,entituled the Tears of Etruscus, Lib. 3. I the rather cite this poem because it contains some fine strokes of humanity, and filial affection. Of the same nature is his Epicedion in Patrem. I wonder that these two ad mirable copies have never yet beeen translated. "Foot-race. v. 766. Since that, Mr. Pope has imitated these verses al- In deference to the above-mentioned criticism, mnost verbatim in his Windsor Forest: and II thought fit to leave out, vestigia cunctis indethought fit to transfer them hither, rather than prensa procis; for there lies all the confusion. expose my own weakness. I never was heartily 30. mortified before; I just know how to admire him and to despise myself! the reader may be assured, I durst not presume to do this without that gentleman's consent; who not only gave me leave to use his translation, but also to alter any circumstances that might not correspond with the original. I remember a paper in the Guardian that cousists chiefly of parallel descriptions upon this occasion; and thither I refer the cu rions. Balde the Jesuit has some bold strokes in an ode whose title I forgot, though 'tis written partly in imitation of the war-horse in Job. I mention this, purely to do justice to that poet's memory, who (notwithstanding some extravagances) came nearer to the spirit and abruptness of Pindar, than any of his cotemporaries. 27. Earth opening seem'd to groan (a fatal sign!) v. 600. I must own, I think this foot-race an inimitable piece of poetry. The design itself is equally as just; the circumstances perhaps are more beautiful than those upon the same subject in the Greek or Roman poet. Had Statius given the prize to Idas, (than which nothing was more easy) I cannot but think the moral would have been highly defective. Yet Euryalus in Virgil wins the race by downright fraudulence. In the descriptive parts our author borrows nothing considerable from either of the above cited -αυτὰρ όπισθεν Because Amphiaraus was afterwards to be And treads each footstep, -e'er the dust can rise swallowed under ground. See the latter end of the seventh Thebaid: Illum ingens haurit specus, & transire parantes Sicut erat, rectos defert in Tartara currus: 31. Thus in some storm the broken billows rise 'Tis with great judgment the poet introduces this simile, which admirably paints the size and I have endeaunmoveableness of Capaneus. voured to give it this turn, adding the epithet vast, to strengthen the idea. A translator can I take this to be one of the most noble des- seldom do his author this justice, and I see no criptions I ever met with in any language. 28. reasons against it, if the deviation exceeds not one word. However, it is manifest the original alludes only to the noise, and sudden overflow Loud shouts each chief that from high Elis ing of the waters. 'Tis impossible to give a more leads His native train, &c. v. 639. I have open'd this passage a little, but with 29. Lives there a warrior in the world of fame, Who never heard of Atalanta's name? v. 649. The commentators are all mighty merry upon these verses. It seems Statius has confounded the history of Atalanta (there being two of that name) and takes the wife of Hippomenes for that of Pelops; the famous racer in days of yore. This (say they) is a remarkable oversight, and very few of them can heartily forgive it. The matter is hardly worth debate: poets were never thought infallible. Whoever reads the critical discourse upon the Iliad, will find many errours even in Homer; though not so many as La Motte fancied. Aristotle, Cicero, and Dionysius of Halicarnassus were seldom right in their quotations. Macrobius tells us, that Virgil ran into many palpable mistakes, purely to disengage himself from too much exactness, and to imitate Homer. Mons, la Mothe le Vayer has written an entire treatise upon this subject: and I think it worth reading, merely as a mortification for human vanity. lively image of Alcidamas. Statius has com-. Assilit, ut præceps cumulo salir unda, minaces I have taken notice in the foot-race, that Statius has varied from Virgil, with admirable judgment. The same may be advanced here in respect to Homer, who in his fight of the cæstus, rewards insolence and pride, instead of punishing them. There is an exact parity of character between Capaneus and Epëus: but not the same success. The boaster in this place meets with the most manifest disadvantage: a great improvement of the moral. Upon the whole: it may be required I should attempt something like a comparison between the descriptions of this game in Homer, Virgil, and Statius. To speak my own sentunents, I cannot but prefer the latter, not only for its greater variety of incidents, but for the cha |