English Literary Criticism by Charles Edwyn Vaughan (smart ebook reader TXT) 📕

Plato, upon the abuse, not upon poetry. Plato found fault, that the poets of his time filled the world with wrong opinions of the gods, making light tales of that unspotted essence; and therefore, would not have the youth depraved with such opinions. Herein may much be said, let this suffice: the poets did not induce such opinions, but did imitate those opinions already induced. For all the Greek stories can well testify, that the very religion of that time stood upon many and many-fashioned gods, not taught so by the poets, but followed, according to their nature of imitation. Who list, may read in Plutarch, the discourses of Isis, and Osiris, of the cause why oracles ceased, of the divine providence: and see, whether the theology of that nation stood not upon such dreams, which the poets superstitiously observed, and truly, (sith they had not the light of Christ,) did much better in it than the philosophers, who, shaking off superstition, brought in atheism. Plato therefore, (whose authority I had much rather justly construe, than unjustly resist,) meant not in general of poets, in those words of which Julius Scaliger saith qua auctoritate barbari quidam atque hispidi abuti velint, ad poetas e republica exigendos: but only meant, to drive out those wrong opinions of the Deity (whereof now, without further law, Christianity hath taken away all the hurtful belief) perchance (as he thought) nourished by the then esteemed poets. And a man need go no further than to Plato himself, to know his meaning: who in his dialogue called Ion, giveth high, and rightly divine commendation to poetry. So as Plato, banishing the abuse, not the thing, not banishing it but giving due honour unto it, shall be our patron, and not our adversary. For indeed I had much rather (sith truly I may do it) show their mistaking of Plato, (under whose lion's skin they would make an ass-like braying against poesy,) than go about to overthrow his authority, whom the wiser a man is, the more just cause he shall find to have in admiration: especially, sith he attributeth unto poesy more than myself do; namely to be a very inspiring of a divine force, far above man's wit; as in the aforenamed dialogue is apparent.

Of the other side, who would show the honours have been by the best sort of judgments granted them, a whole sea of examples would present themselves. Alexanders, Caesars, Scipios, all favourers of poets. Lalius, called the Roman Socrates, himself a poet: so as part of Heautontimorumenos in Terence was supposed to be made by him. And even the Greek Socrates, whom Apollo confirmed to be the only wise man, is said to have spent part of his old time in putting Asop's fables into verses. And therefore, full evil should it become his scholar Plato to put such words in his master's mouth against poets. But what need more? Aristotle writes the Art of Poesy: and why if it should not be written? Plutarch teacheth the use to be gathered of them, and how if they should not be read? And who reads Plutarch's either history or philosophy, shall find he trimmeth both their garments with guards of poesy. But I list not to defend poesy, with the help of her underling, historiography. Let it suffice, that it is a fit soil for praise to dwell upon: and what dispraise may set upon it is either easily overcome, or transformed into just commendation. So that, sith the excellencies of it may be so easily and so justly confirmed, and the low-creeping objections, so soon trodden down; it not being an art of lies, but of true doctrine: not of effeminateness, but of notable stirring of courage: not of abusing man's wit, but of strengthening man's wit: not banished, but honoured by Plato: let us rather plant more laurels, for to engarland our poets' heads, (which honour of being laureat, as besides them, only triumphant captains wear, is a sufficient authority, to show the price they ought to be had in,) than suffer the ill-favouring breath of such wrong-speakers, once to blow upon the clear springs of poesy.

But sith I have run so long a career in this matter, methinks, before I give my pen a full stop, it shall be but a little more lost time, to inquire, why England, (the mother of excellent minds,) should be grown so hard a step-mother to poets, who certainly in wit ought to pass all other: sith all only proceedeth from their wit, being indeed makers of themselves, not takers of others. How can I but exclaim,

Musa mihi causas memora, quo numine laso,

sweet poesy, that hath anciently had kings, emperors, senators, great captains, such as, besides a thousand others, David, Adrian, Sophocles, Germanicus, not only to favour poets, but to be poets; and of our nearer times, can present for her patrons, a Robert, king of Sicily, the great king Francis of France, King James of Scotland; such cardinals as Bembus, and Bibiena; such famous preachers and teachers, as Beza and Melancthon; so learned philosophers, as Fracastorius and Scaliger; so great orators, as Pontanus and Muretus; so piercing wits as George Buchanan; so grave counsellors, as besides many, but before all, that Hospital [Footnote: Michel de l'Hospital, Chancellor of France 1560-1568, and the noble champion of tolerance in the evil days of Charles IX. He narrowly escaped with his life at the massacre of S. Bartholomew, and died a few months later] of France: than whom (I think) that realme never brought forth a more accomplished judgment: more firmly builded upon virtue; I say these, with numbers of others, not only to read others' poesies, but to poetise for others' reading: that poesy thus embraced in all other places, should only find, in our time, a hard welcome in England, I think the very earth lamenteth it, and therefore decketh our soil with fewer laurels than it was accustomed; for heretofore, poets have in England also flourished; and which is to be noted, even in those times, when the trumpet of Mars did sound loudest. And now, that an over-faint quietness should seem to strew the house [Footnote: pave the way.] for poets, they are almost in as good reputation as the mountebanks at Venice. Truly even that, as of the one side it giveth great praise to poesy, which like Venus (but to better purpose) hath rather be troubled in the net with Mars, than enjoy the homely quiet of Vulcan: so serves it for a piece of a reason, why they are less grateful to idle England, which now can scarce endure the pain of a pen. Upon this necessarily followeth, that base men with servile wits undertake it: who think it enough, if they can be rewarded of the printer. And so as Epaminondas is said, with the honour of his virtue, to have made an office, by his exercising it, which before was contemptible, to become highly respected: so these, no more but setting their names to it, by their own disgracefulness, disgrace the most graceful poesy. For now, as if all the Muses were got with child, to bring forth bastard poets, without any commission, they do post over the banks of Helicon, till they make the readers more weary than post-horses: while in the mean time, they

Queis meliore luto finxit procordia Titan,

are better content, to suppress the outflowing of their wit, than by publishing them to be accounted knights of the same order. But I, that before ever I durst aspire unto the dignity am admitted into the company of the paper-blurrers, do find the very true cause of our wanting estimation, is want of desert: taking upon us to be poets, in despite of Pallas. Now, wherein we want desert were a thank-worthy labour to express: but if I knew, I should have mended myself. But I, as I never desired the title, so have neglected the means to come by it. Only overmastered by some thoughts, I yielded an inky tribute unto them. Marry, they that delight in poesy itself should seek to know what they do, and how they do; and especially, look themselves in an unflattering glass of reason, if they be inclinable unto it. For poesy must not be drawn by the ears, it must be gently led, or rather, it must lead. Which was partly the cause, that made the ancient-learned affirm, it was a divine gift, and no human skill: sith all other knowledges lie ready for any that hath strength of wit: a poet no industry can make, if his own genius be not carried unto it: and therefore is it an old proverb, orator fit; poeta nascitur. Yet confess I always, that as the fertilest ground must be manured, so must the highest-flying wit have a Dadalus to guide him. That Dadalus, they say, both in this and in other, hath three wings, to bear itself up into the air of due commendation: that is, art, imitation, and exercise. But these, neither artificial rules, nor imitative patterns, we much cumber ourselves withal. Exercise indeed we do, but that, very fore-backwardly: for where we should exercise to know, we exercise as having known: and so is our brain delivered of much matter, which never was begotten by knowledge. For, there being two principal parts, matter to be expressed by words, and words to express the matter, in neither, we use art, or imitation, rightly. Our matter is quodlibet indeed, though wrongly performing Ovid's verse,

Quicquid conabar dicere versus erat:

never marshalling it into an assured rank, that almost the readers cannot tell where to find themselves.

Chaucer undoubtedly did excellently in his Troilus and Cresseid; of whom, truly I know not whether to marvel more, either that he in that misty time, could see so clearly, or that we in this clear age walk so stumblingly after him. Yet had he great wants, fit to be forgiven, in so reverent antiquity. I account the Mirror of Magistrates [Footnote: A long series of Poems, published in the early part of Elizabeth's reign. The two first, and best, pieces in it—The Induction and Complaint of the Duke of Buckingham—were by Sackville, joint-author of the earliest English Tragedy, Gorboduc.] meetly furnished of beautiful parts; and in the Earl of Surrey's Lyrics, many things tasting of a noble birth, and worthy of a noble mind. The Shepherd's Calendar hath much poetry in his eclogues: indeed worthy the reading, if I be not deceived. That same framing of his style to an old rustic language I dare not allow, sith neither Theocritus in Greek, Virgil in Latin, nor Sannazar in Italian, did affect it. Besides these, do I not remember to have seen but few (to speak boldly) printed, that have poetical sinews in them: for proof whereof, let but most of the verses be put in prose, and then ask the meaning; and it will be found that one verse did but beget another, without ordering at the first, what should be at the last: which becomes a confused mass of words, with a tingling sound of rhyme, barely accompanied with reason.

Our tragedies and comedies, (not without cause cried out against,) observing rules neither of honest civility nor of skilful poetry, excepting Gorboduc, (again, I say, of those that I have seen,) which notwithstanding as it is full of stately speeches, and well-sounding phrases, climbing to the height of Seneca his style, and as full of notable morality, which it doth most delightfully teach, and so obtain the very end of poesy: yet in truth it is very defectious in the circumstances; which grieveth me, because it might not remain as an exact model of all tragedies. For it is faulty both in place and time, the two necessary companions of all corporal actions. For where the stage should always represent but one place, and the uttermost time presupposed in it should be, both by Aristotle's precept and common reason, but one day: there is both many days, and many places, inartificially imagined. But if it be so in Gorboduc, how much more in all the rest? where you shall have Asia of the one side, and Africa of the other, and so many other under-kingdoms, that the player, when he cometh in, must ever begin with telling where he is: or else, the tale will not be conceived. Now ye shall have three ladies walk to gather flowers, and then we must believe the stage to be a garden. By and by, we hear news of shipwreck in the same place, and then we are to blame, if we accept it not for a rock.

Upon the back of that, comes out a hideous monster, with fire and smoke, and then the miserable beholders are bound to take it for a cave. While in the meantime, two armies fly in, represented with four swords