Изображения страниц
PDF
EPUB

only as an apology for the author, not for the performance. In my opinion, the proper boundaries in this. subject have seldom been fixed between the contending parties. Where any innocent peculiarities of manners are represented, such as those above mentioned, they ought certainly to be admitted; and a man, who is shocked with them, gives an evident proof of false delicacy and refinement. The poet's monument more durable than brass, must fall to the ground like common brick or clay, were men to make no allowance for the continual revolutions of manners and customs, and would admit of nothing but what was suitable to the prevailing fashion. Must we throw aside the pictures of our ancestors, because of their ruffs and fardingales? But where the ideas of morality and decency alter from one age to another, and where vicious manners are described, without being marked with the proper characters of blame and disapprobation, this must be allowed to disfigure the poem, and to be a real deformity. I cannot, nor is it proper I should, enter into such sentiments; and however I may excuse the poet, on account of the manners of his age, I never can relish the composition. The want of humanity and of decency, so conspicuous in the characters drawn by several of the ancient poets, even sometimes by HOMER and the GREEK tragedians, diminishes considerably the merit of their noble performances, and gives modern authors an advantage over them.

We are not interested in the fortunes and sentiments of such rough heroes: We are displeased to find the limits of vice and virtue so much confounded; and whatever indulgence we may give to the writer on account of his prejudices, we cannot prevail on ourselves to enter into his sentiments, or bear an affection to characters, which we plainly discover to be blameable,

The case is not the same with moral principles as with speculative opinions of any kind. These are in continual flux and revolution. The son embraces a different system from the father. Nay, there scarcely is any man, who can boast of great constancy and uniformity in this particular. Whatever speculative errors may be found in the polite writings of any age or country, they detract but little from the value of those compositions. There needs but a certain turn of thought or imagination to make us enter into all the opinions, which then prevailed, and relish the sentiments or conclusions derived from them. But a very violent effort is requisite to change our judgment of manners, and excite sentiments of approbation or blame, love or hatred, different from those to which the mind from long custom has been familiarized. And where a man is confident of the rectitude of that moral standard, by which hẹ judges, he is justly jealous of it, and will not pervert the sentiments of his heart for a moment, in complaisance to any writer whatsoever.

Of all speculative errors, those which regard religion are the most excusable in compositions of genius; nor is it ever permitted to judge of the civility or wisdom of any people, or even of single persons, by the grossness or refinement of their theological principles. The same good sense, that directs men in the ordinary occurrences of life, is not hearkened to in religious matters, which are supposed to be placed altogether above the cognizance of human reason. On this account, all the absurdities of the pagan system of theology must be overlooked by every critic, who would pretend to form a just notion of ancient poetry; and our posterity, in their turn, must have the same indulgence to their forefathers. No religious principles can ever be imputed

as a fault to any poet, while they remain merely principles, and take not such strong possession of his heart, as to lay him under the imputation of bigotry or superstition. Where that happens, they confound the sentiments of morality, and alter the natural boundaries of vice and virtue. They are therefore eternal blemishes, according to the principle above mentioned; nor are the prejudices and false opinions of the age sufficient to justify them.

It is essential to the ROMAN Catholic religion to inspire a violent hatred of every other worship, and to represent all pagans, mahometans, and heretics, as the objects of Divine wrath and vengeance. Such sentiments, though they are in reality very blameable, are considered as virtues by the zealots of that communion, and are represented in their tragedies and epic poems as a kind of divine heroism. This bigotry has disfigured two very fine tragedies of the FRENCH theatre, POLIEUCTE and ATHALIA; where an intemperate zeal for particular modes of worship is set off with all the pomp imaginable, and forms the predominant character of the heroes. "What is this," says the sublime JOAD to JOSABET, finding her in discourse with MATHAN, the priest of BAAL, "Does the daughter of DAVID speak to this traitor? Are you not afraid, lest the earth should open and pour forth flames to devour you both? Or, lest these holy walls should fall and crush you together? What is his purpose? Why comes that enemy of GOD hither to poison the air, which we breathe, with his horrid presence?" Such sentiments are received with great applause on the theatre of PARIS; but at LONDON the spectators would be full as much pleased to hear ACHILLES tell AGAMEMNON, that he was a dog in his forehead, and a deer in his heart; or

JUPITER threaten JUNO with a sound drubbing, if she will not be quiet.

RELIGIOUS principles are also a blemish in any polite composition, when they rise up to superstition, and intrude themselves into every sentiment, however remote from any connection with religion. It is no excuse for the poet, that the customs of his country had burthened life with so many religious ceremonies and observances, that no part of it was exempt from that yoke. It must for ever be ridiculous in PETRARCH to compare his mistress, LAURA, to JESUS CHRIST. Nor is it less ridiculous in that agreeable libertine, BOCCACE, very seriously to give thanks to GOD ALMIGHTY and the ladies, for their assistance in defending him against his enemies.

ESSAYS,

MORAL, POLITICAL,

AND

LITERARY,

PART II*.

PUBLISHED IN 1752.

« ПредыдущаяПродолжить »