Dacier-Aristotle Preface (1705)

8/2/2019 Dacier-Aristotle Preface (1705)

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THE AUGUSTAN REPRINT SOCIETY

A. DACIERTHE PREFACE TO ARISTOTLE'S

ART OF POETRY(1705)

Puhllcation Number 76

William Andrews Clark Memorial LibraryUniversity of California .

Los Angeles1959


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GENERAL EDITORSRichard C. Boys, University. of Michigan

Ralph Cohen, U n ~ v e r s i t y of California, Lo s AngelesVinton A. Dearing, University of California, Los Angeles

Lawrence Clark Powell, Clark Memorial LibraryASSIST ANT EDITOR

w. Earl Britton, University of MichiganADVISORY EDITORS

Emmett L. Avery, State College of WashingtonBenjamin Boyce, Duke University

Louis Bredvold, University of MichiganJohn Butt, King's College, University of Durham

James L. Clifford, Columbia UniversityArthur Friedman, University of ChicagoL o u ~ s A. Landa, Princeton University

Samuel H. Monk, University of MinnesotaErnest C. Mossner, University of TexasJames Sutherland, Universiiy College, London

H. T. Swedenberg, Jr., University of California, Los AngelesCORRESPONDING SECRETARY

Edna C. Davis, Clark Memorial Library

INTRODUCTIONAnche Dacier's P ~ t i q u e d' Aristote Traduite en F r a n ~ o i s

avec des Remarques was published in Paris in 1692 . Hi stranslation of Horace with critical remarks (1681-1689) hadhelped to establish his reputation in both France.and England.Dryden, for example, borrowed from it extensively in his Dis-course Concerning the Original and Progress of Satire (1693).No doubt this earlier work assured a ready reception and aquick response to the commentary on Aristotle: how ready andhow quick is indicated by the fact that within a year of it spublication in France Congreve could count on an audience'srecognizing a reference to it. In the Double Dealer (II,ii)Brisk says to Lady .Froth: 1 presume your Iadyship has readBossu?" The repiy c o ~ e s with the. readiness of a cliche:o yes, and Rapine and Dacier upon Aristotle and Horace."A quarter of a century later Dacier' s reputation was still greatenough to allow Charles Gildon to eke out the second part ofhi s Complete Art of Poetry (1718) by translating long excerptsfrom the Preface to the admirable" Dacier's Aristotle.1Addison ridiculed the pedantry of Sir Timothy Tittle (a strictAristotelian ctitic) who rebuked his mistress for laughing at aplay: "But M a d a m ~ says h e ~ you ought not to have laughed;and I defie any one to show me a single rule that you could la tby .. .There are such people in the world as Rap in, Dacier,and several others, that ought to have spoiled your mirth." 2

. But the scorn is directed at the pupil, not.the master, whomAddison considered a true critic." 3 A work so much esteemecwas certain to be translated, and so in 1705 an English v ~ r s i o by an anooymous translator was published.

It cannot be claimed that Dacier's Aristotle introduced an 'new critical theories into England. Actually it provides material for little more than an extended footnote on the historyof criticism in the Augustan period. Dacier survived as an influence only so long as did a respect for the rules; and he isremembered today merely as one of the historically importantinterpreters--or misinterpreters--of the Poetics!' He was, however, the last Aristotelian formalist to affect English critical


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theory, for the course -of such speculation in the next centurywas largely determined by other influences. None the less hi spreface and h ~ s c o ~ e n t a r y are worth knowing because the;e x p ~ e s s certam.typtcally neo-classical ideas about poetry, es .pectally dramattc poetry, which were acceptable to many m e ~ 1n E ~ g ! a n . d and _France at the end of the seventeenth century.D ~ c . 1 e ~ s tmmediate and rather special influence on Englishcnt1c1sm may be observed in Thomas Rymer' s proposal to int r o ~ u c e the chorus into English tragedy and in the admirationwh1ch the moralistic critics at the turn of the century felt fh. h or1s t eones. ,

In the very year of it s publication Rymer read with obviousapprobation Dacier's Poitique d' Aristote. In the preface toA Short View of Tragedy (1692) he announced that we beginto u n d e r ~ t a n d the. E ~ i c k Poem by means of Bossu; and Tragedyby Mons1eur Dac1er. 5 That Rymer admired Dacier's strictf o ~ ~ a ! i s m is plain, but he was especially moved bythe Frenchcnttc s argument that the chorus is the essential part of truetragedy, since k is necessary both fo r vraisemblance and form o r ~ l instruction. 6 He therefore boldly proposed that Englishtragtc poets should henceforth use the chorus in the manner ofth e ancients, since it is che root and ort'g1na l and, . . . . . cer-tamly always the most necessary part of Tragedy.7 Moreoverhe praised (as had Dader) the example of Racine, who had intr9


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Form the Manners," a view that closely relates tragic fable toe p ~ c fable as interpreted byLe Bossu! 6 that modern tragedy,b e ~ n g concerned with individuals and their intrigues, cannot beumversal and is therefor-' necessarily defective that love is. ,an Improper subject for tragedy; that th e Aristotelian katharsisproposes as it s en d not the expulsion of passions from the soulbut :h e modera t i ~ n of excessive passions an d the inuring of the'audience to the mevitable calamities of l ife, and so on. Fi -nally, he is no


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Tragedies ofthe Last Age, 1678.11. W.P. Ker, Essays of John Dryden, Oxford, 1926, 11, 136.12. Ker, 11, 144 . Cf. Dennis's similar remark in Th e Impartial

Critick, Hooker, I, 31. Racine, in his preface to Esther,said nothing doctrinaire about the use of the chorus. Hemerely mentioned that it had occurred to him to introducethe chorus in order to imitate the ancients and to sing thepraises of the true God.

13. ] .E. Spingarn, Critical Essays of the Seventeenth Century,Oxford, 1908-09, ill, 227 and 240.14. Treatise of the Epick Poem, London, 1695, sig. [A 3 ]verso- A 4, recto.15. Jeremy Collier, "A Defence of the. Short View . . . Being a

Reply to Mr. Congreve's Amendments," A Short View ofthe Profaneness and Immorality of the English Stage, etc.,London, 1738, p. 251.

16. Traite du Poeme Epique, I, eh. vi and vii.

vi

- A R I S T O T L E ~ S

A R TOFp 0 ET R Y.Tranfiated fronl the. OriginalG r e e ~ , according et> .\ir. Theo-dore Gotilflon's Ed1ion.TOGETHER ,

With Mr. D'A c1ER "s Notes Tranflatedfrom the French.___ - Y e rD nomine ptZna

Mn Honw e f t . - . .Ovid Metam. l1b. 2.

L 0 N D 0 N :Printed for DAn. Br()'ltme at the Bllk Swanwithout Temple Bar; and Will. Turner at the.An.,.l at Lin,olnslnn Back Gate,. 1:70)

...

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THE

PRE FACEI F I tfJaJ to [peak here of Ariil:otie'J Mer1lonly; the t)tce/le.nc.e of his ~ o . eti.ck .Art, andthe reafons I had to P . 1 t b l ~ P 1 zt, I nec(l d3no 'IPiore thAn r ~ f e r the Reader to that Work,to Jhe111 the difordirs mto which the T h e ~ t t r e ii longfmce fallen, Alia to let him fee1 that M the In-.jH}Jice of Mm, gave occafion to the ma"Ring of"LAws ; fo thl decay of 4rts, And the FaultJ com.omittedinthem, oblig'd.ftrft to the m a ~ i n g Rules,And the renewing ther.n. But m order to p r e 1 1 _ e m ~ the ObjeCfioits of fome1 niho [corn to be b o ~ t i d . .f'lJ Rules, only t h ~ .of their:. ow1j fdncyi I t.hinkJt necejfary, to prwt; not only1 that P o ~ t r y u an.A.rt7 but that "tis ~ o w n , atJd its Rules fo ~ e r t a i n l j thofo t t ~ h i c _ h Ariftotle givrs "!2. that '* i m p ~ f f i b t i _ tp fo"eed any other w a y ~ "Jhis being prov'd1 1Jbll ixmini the two Confoquencts which mtturallj flo!Dfrom t h e n e ~ z lirft, tht the R ~ t ~ l e s alia wJu,;pleafes, are ntvlr contrary to one l i n o t h ~ r ; and tbatJOU. can. nrver o ~ t A i D the Lattrr without the for'f!Jtr,. S e c o n d ~ ] , Th11t Poefie being 11n Art , ~ e . n ne"'

j ~ ~ ~


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Tbe p R E F ACE.f'lJer' be prejudicial to Ma11kind and that 'twas in vmte,d i t ~ . ~ l d improv' d for their ;do amage o11!y.To follow_ t?is ~ ~ ~ h o d , 'tis necef!ary tracePoetry f ~ o m Jts O n g m ~ t l , to fl1ew that 'tWtll,dfelJ411ghter Religion, that At. length 'twas 'lliti4 -ted, "md debauch' d,, aud laflly, brought Httdcrthe R1tlcs of .Art, which affifled, in Co1reffitJ,! thedefaults of Nature. God touch'd with Compaffion for the Mifery ofMen, who. were obli'gedto toil and l ~ b o u r , orJ4in'dFeafls tgtzve them fome rejl; the o j f e ~ i ~ o f S M : r i .fices to hzmfolf, by w a ~ p f " T h A i j ~ i g i v i n g . ; ]orf!ii.fiJlleJ[inx-s the! had recewtilby hel" B o H l l t y ' : ~ T h i ~ ua 7ntth whzch the Heathens t b ~ m f e l v e s Ac/mowl e r { _ ~ e d ; they not only imitated theft F e ~ t j f s , biit[ p a . ~ e of them. as a Gift o,(the Gods, who hAvinggra;-ted ~ t i m e of Repofe, reqnir'd {ome to1ens oft.?etr g r a t ~ ( u l remembrance. . The ftrftFeafos of b.e Ancients rpere thus, They~ t . / J e m b l e J . at certam tzmes, efpectally in Amumn,~ " { t e r the gAthering_in their F ~ t t i t . r , for to 'rejojce,-.md to i;ffor the chozccfl of them to Goel and this'tis, whichfirfl gave bit:,th. to Poetry: 7Por Menrvl'Jo are natmafly_inclitied to ihe imitation of M H ~ fick, empltJy'd t ~ e 1 r Talent.rto.fi.n,t the praifes.. of theGod they rvorjhipped, 411d t o ~ cetcb.r4te his. mojl re-.markab!e A[fions. .. If hey had ~ t l w a , y s ~ e p t to ihd- P ~ i m i t i v e Si"!Pliczty, nit the Pocjie wefoould'hrjw.h.ltd; w o ~ t l d h11vebeen, otJry Than_ksgivitJ,gi_;;, fiirJt#.f,' a n d ~ Song-s, Mamongft the, Jews. !far i r f / l f ! ' . J ~ e r y J ~ l f o ; u l t orr a ~ h c r z:mp6J[zble, that 1f!if.dom; t ~ i t d ' ! ' ~ t r i t y , {h!utar e ~ g ~ J long m the H e a t h ~ . t l -tJ}fombltes; theyfoaNmmgfd tbe Praifes M e n ~ foiih thofe of thtirG o ~ s , and came at litfl, to the' Licentioufnifs off t l / t ~ i g ~ b r i r '/!own with biting Saryrs,.which they. fong

The P R E F4 C E.f ~ ~ > n g one Another l! t their d,runlwl .JJ!eetings)Thus Poetry 1Ms entirely Corrupted, and the preflntfcarce retains r ~ n y Ma.rf


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The P R. E F A C E.frpitatian, 14!Id principal Subje!f o/ his Trelni[t _~ l h h e Parts of 11n tpid Poem are c o m p r i ~ e d in }Tragedy. . Howcver jlzort this 11ecount may be.; it f o j j i c e ~ t o J e t - ~ ~ f e e that Poefte ~ a n Art, for ftnce it h41 ,f! c e r t ~ m kd, there muft vectjfarily be foml majro '""ve t i J e ~ l : No body doubts of this conftant:_ruth, that m all concerns. lfJhere you my be in t h ~ rzgh't, or', the wrong, there t-s an .Art and{tWe RuleJto lead yall to tht one, and diretf you, how to lfVoidthe other. '

Tht ~ ! t i f / ~ o ~ ~ then ~ - , whether the Rulet qf t h i ~ _ . A r ~ are lnow_n, and. whether they are tho/e whichAnftotl_e gzves us here"! This queftion ii na leftdo:tbtful; 'than the former, I mufl aifo confofs 'thatthu cannot be determined, hut by the unlearned iwho b e ~ a u f o they ~ r e _the _ g r e a t ~ r n ~ t m b e r , I foieltm ~ k e Exam:nattotz thm [AVoBr., TD do~ h z ~ Wtfh fome fort of M e t h o ~ , there. *'re_ ftJut>Thmg ' to be- confider'd, who gwes th.e R ~ t l e s . therime when he gives them ; the manner ;,_ wh.i;hgives them, ;md the effects they have in -diverst_ime,s wroltght op_ differetzt People : . For I belit1Jfrom th.eft four Cirtllmjlmzces, .1 can dr11J11 fochC ~ n c ~ u f o n r , that tbe moft obftinate ]hall not be ~ ~ ~ ble ,(ogdin[n)' !fe who gives thefe Rules, ~ n e the greateftP h ~ l o . ( o j h e r s fhaf ever was, hes Gemus: ~ a s l t ~ r g e ~ And of vaft -pxtent, the great Difco7Jeries-he madein al/'&:iences, and fllrticu/arly in the KnoiPletlgeof Man, arC; certaiii''Signs, that he had: 11 foffi,i1nt injight into our Pajfions,- to difoover the RuleJQj the Ar t of Poetry; .whi,h f o u r ~ d e d on ihem.But I ]halt fofpend my Judgment, alld pafs on totbe timt in whi,h be g ~ W e theft R11les.

.The PREfACE,1 tnd.that ht1Pas born in tbt .Age in whichf,edy : ~ f t app.eir'a; for he lived with the DifoipleJiJf ~ f ~ h y ~ n s , who , ~ r o u g h t it out. of Confufton. v1111d he hafl the {am1 Mafters D ~ t h Sophocles,~ ~ n d Euripides, who :carried it to its Htinofo Per:..feEl-ion: Beft_deThe.W4S witnefs of the Opinion themoft mce a u ~ k ~ o w m g ,P e p ~ l e of the !Yortd ~ a d ofthis Poem. Tu therefore 1mpol[tble.that Anftotlc;JboHld be ignorant of .thi Origine, Progrefs, Deftgn 11nd Effects of. this .Art ; andCfJnjequently

. 'i/.tn beforel-exAmme. theft Rides, I am w ~ / J a j f u r d-Hpn his accoUtit who gives them, that they have allrhe Certainty,.Arid Authority, tha_t R ~ J l e i r4n po ffibly,have. -But when I corne to ez11mine the Mamter itlohich Ariftotle delivers t h e m ~ - I find them fo evi:.Jent and co1J[tmnabl1 tfJ Nature, thtt.t I cannot heirbe fenfibte they are true.; for what-does A r j ~ o t l c ? p, uives not his R u l t - ~ il l Legifltors do their LttVJ.r,. f V i t ~ H t ; any- other reafon than their Wills pnly;he-ai/'Uance! nothing but whAtu accompank4 rpithReafo!i, dtit.wn from the common Sentimcn!, ofIJ.fankinJ, infomuch that the Men themfeives be7come the Rule and M e a f o r e , f J { : w h t ~ . t he pre[c1ibes.T1ms witho11t co1pdering thAt the Rules are of al,noft equal Date with 'the .Art they Te:e_ch, or anyprejudice, in favour of . t \ r i i l : o t l ~ s Name, (for~ t i ' s the IVork which ought to tnaki the Nqme va ..lued, andmt the Name the Work) I Am forced.to fobmit tD All hil Decifions, the Truth of which.1 Am convinc"d of n my{:tf, andwhoft ({r:rtaimyfdifcover by Reafon 11nd Experiencel wf3,cb ncve1yet deceiv'd an j b o d y ~ -To. this I p1alladd, rhe EjfeEts which ~ h e f o Rulesf"we prodHc'd.in All .Ages; tJn different fort of Pco-:flt , and I fee, thAt ttU they made the Beauty c:[. f .(! t tjamH !


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I ' e P R. E F. A C E.- , .H o m e r ~ s Sophocles, .end u r i p i d e ~ P.01nu ii lGreece, from which thej trere ~ r A f l J n l fo four: Drf i v ~ Hundred rear.s t ~ f t i r , they 11tltrtna he P o e ~ of Virgjl andDthrr famous lAin Poets, f!.fiJ t h ~ ~ o f f ) after 'fwo '11101tfan1 T e a ~ s they malt t h ~ . btft Tragedies w ~ h a v e , m whzch all that plell{eJ,~ 1 1 l J 'does [o; M tis c o n f o r m ~ b l e to thefo Rules;(and that too w i t h o ~ ~ - our b.eing.awart of it,) 11nd_rvhitet udifpleafritg, is foch, becaufo it. u co1Jt7'ArJ. t h e ~ ~ [ ~ r ~ o o d Stnft, 'a114 right Re'fon, is. OfflU County,es andPlaces, the flnne SHbJetfs w h ~ e h c11uJ'dfo. m t ~ 1 ! J Te1-rs to be foed ip the RomanTheAtre, produce the fame Ejfetfsi_n ours, and'thofo Tkiings iPhich"gave diftafte then.; do the fomr:

1t1JW, {ro,m whence .I am convinced, : that nwet~ t n y L41Ps had either fo much F o r ~ e , .AHthor#y,6r Might: Huma11e Laws ~ ~ ~ i r e or C h t ~ g e .I J [ ~ e n t ~ t f t e r the Deaths of ther A u t ~ o r s , -becafo~ ~ r c u m f t n n c e s Change, and th i lnttrefts of Mm ,whom they are m a d ~ to ftrve? are Jifforent ; bstrheji fti/1 take new ' ~ ~ o r ? brcaufo t ~ ! } ' "" ' th.t:'LttTDs of NatHre, who always aEts uniformly, r e ~ 11ews t h ~ " ! . inceJ/kntly., .andgives them 11 perpitulltExiftenu.. ' . . .I fr?qn't pretend n e v e r t h ~ l e j i , ~ h a t the Rules 'I[!his .Art, are fo firmly eftablijbcd, that 'tis im-poffible add ttny t,hing ~ h e m , for tho' T ~ a g e d y 1 ? 1 1 ~ all ''ts proper Parts, t1s prtJbable one ofthofomay y e ~ arr#ie to g r ~ 1 1 t e r Per[etfin. 1 am perfwaded,' thttt tho' we h t t v ~ b e e ~ aple 'to ii,aa nothingto the Subje1.; or ~ a f ; s , yet Till ha.ve iiJJeJfome-~ h i n g ~ o . ~ ~ ~ f i ~ ~ n ~ r ? . iS y ~ u ' l fin_d in. the R e ~ marlu, ttnd '4/l ihe. niTD Difoover1es a r ~ fo. far.from deftroyi.lig this Eftabli.fhment,_ thllt thiy Jof!othing more thlln 'co11jirm.it; for_NMNrl u wer. fontrArY; to herftlf, 1111d ' o n ~ may Apply to the . : A ~ [


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The PIt EFA C E.:/ ~ t J i U I I c t , i.t.in. n ~ . t ~ i , f o . ~ r a . ~ e d y '.',..A T , r , a g ~ ; 1 ~ o t fobPJl 111tho11t A ~ ~ ~ q l ' t . / (_a} :'JtltlfJ l l el/"erPherr.. We C D T / 1 ~ ~ t i ' ~ . . Z ~ ~ h ~ fJ.7JI Ca1ifetjilt11et, - . T n d [ i i i . i i ~ drA'tP, frOf'J , ~ ~ - ~ ; 'ID_I htnJt BftAblljh,''J, A t i J ! ] I J 4 ~ l n d e ~ t J o H r to p ~ ~ v i , ~ h A t DH'- Ltf'tl.l,.iut(J.ifht p.!tliJJ.fif, Cll"' ~ h i 4 J " , be opprl{iu, ftnke :the l . ~ e l i i l ~ ~ i t J " ' i ! 7nsed.Dnlyfs_r 'fl!htet ple"fis; , r n r ! _ t e i t ~ J ~ n l y ' ~ 6 ; ] l l ~ ; .the TDIIJ. yau YJ!UJI ~ 4 l k m,. to i l t ~ , fo;:::By t'b1f!1jjfolt.ll dlflroy_ ~ h ~ ftcl{e J t l J ~ : d J 1 ' ; , _ 'T/16, a l l . ' . ~ h ! ' f ~ l e a f e s . : ~ s g o . ~ d j 4n'(l a/fert t h 1 1 ~ tie ought o i j ' ) r f j ~ tontr41'J'tD,foy; 'lnat, a l l ~ h a t IS g o o ~ p l ~ F e $ - ' i ' or ongbt .to. plea. re. 'For. ~ h e g;,:,Jjtiji ; r : ~ J ' , J ! i ' ~ k - m ~ t t . t f o t 1 1 e r , - d1U1t_Dt p , r o ~ ~ e t l f r o . m t+it, t!ltJf'tgwerltf pleiJfore.; b ~ t the plefUrt th-4'! 1#;. :IJAfli:prticettls from i t s ~ o a t l ? e f s ~ ~ n l e f s OIIJ7 d e l ~ ~ ~ - : p , ~ . i : "ml c o r r ~ t 111Jagt?Mttons mij!.e4dlls1for thAt "l;;;;{t:~ 1 1 1 1 f e s fJUr ~ i f f A ~ I J , il mt," 'Wh1re il , biiftr:i!;litfit/ 'll9to I . ; ' '' . . . ' . . .- . ~ . , : ' - ~ :,:: .

I f the Ruler;, and wh.1t ple'ffod; t ~ e r i t b t n g . J ; p ~ '-'_fife, you. ~ o u l t l ~ e v e r itr. r ~ v ~ ~ - tJH. g i v i u g : ; ; ~ _foreJ but by_ m:er c ~ ~ t n c e ; ' _ . r P ' " ~ ~ h - ~ ~ # ! ' r ~ : r f ' h . ~ r # mUJ&' for t h 4 ~ reAfon. be" certaen 1J1Ay, w h ~ r h le;;t/.t.thither, and that WAJ u t ~ R u ! ~ ~ 5 i c h - g ~ l oughtlearn; b u ~ w b ~ t i j thAt :Rule 1: ''ri.t A P r e c e p _ t . ~ whir;h being dr41Pa from 'the Pleaunt 4ml. Profi-table,) leads us to their {ource.' NnP T D h A ~ i-s t h ~ . ,learant 11nd frofitable ? ''hs that w h i r : ~ p l ~ A j l l .? t ~ t u r a ! l y , in ~ l l A r t ~ 'tiJ tkii. c'onfo!t, ' t ~ :- t h ~ m,P ure find per{eff Midel we ci:4n ltnitate in it.211e firzd perfect Vai.ty ~ n d Oider, for it fol/it O.r, .Jer, r to.fpeak rn'".' pr8perly, 'the ~ f f e t f of. ()r,der*'~ t n d the Rule whtch c o n d t t ~ s 111' tb,ther.-; the'ltl ILPut o_ne i P ~ J tofin4 Order; bl "greAt mMJ 11f t ~ ! l JIJtfJ Collfufia,n. .


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f"a \ r.r. . u, R,., ) ~ ') .. ! l ! . ! ! ! ! ~ - ~

The PB. E F A CE.' j I e

~ t f J t ' f Y . qmtgerous Poifon! . I r ; / e c l ~ t r t t ~ ~ , . t . h , ~ t ! ! J o ~ : t 'jp111l of urrupted Tragedy, for hS. n o t . ~ * t J z t _ ~ ..1, 1 Aiul deprAved Works; thAt 'We m ~ ~ f t frJr ' ] l e ~ & f o n , ~ e n d the- intent of N A t ~ r e , bitt in thofe'ilbith are [fund a n ~ zer[eff ; 1{ptll! of(Jncien!Tragedy, thAt w}li_c .u conform to A,nftotlesRules, .and I dAre fo.y, 'tis the mo.ftpofoAbte,. andnec_ej{Ary of a l ~ Di'Vtrftot?S . . ' . .. . .. . If 'tWitS poffible to obl.ge Men ,o ~ l l o ' l > tht P r ~ e;pts.of the Gofpel, nothing could be more IIAfpj;they_ lPould fi1Za. there t r ~ e PeAce,_J!!lid P l ~ l l j l l ' i ' t ;ma a Remtdy for all tlmt l n f i r r m t ~ t s , and would.look .on Tragedy 114 ufelefs Aful. helotP them. .HD'ivcould . hey Jo otherwi(e thAn hiWe this opinion 1fin.". ~ h o f t P ~ g a n s wh.tJ.. Apply;d. !hem.ftlves ..to .tlieStutly W.ifdome,. c ~ ~ f t d e r J tt . m.th the. fam.eGinius. They themfelve.s own, t h A ~ could the J ! J ~ ple be alwllySbrought up in the foliaTrHths of Phi-lofophy; the Philofophrrs med.have 'no r ~ c o u r f e . t' lFables, . give their Inftruchons: B u t ~ fo .muchCorruJtion was inconftftent 'fJ'ith foch Wifdom; they' were ]ore'd feek for. A Remedy 'to. the Dlfot-.Jers of their Pleafures; they; then in'tit7!ttd . T r a ~ gedy and infpir'd thtm . Riith it , not at the. btft.Employment Men could take p, but M .a means.,'111hkh 'INS Able to .corre1 the excefs, into whichr h ~ : plunt'd themftlves t their Feafts, ~ t n d tflrender thofe amufements profitable, wbitb.CufomA ~ t a their Infirmities hael made fle&ef{ary, ati,d t ~ e i r eo.rruption v'ery'd#Jgerous. . .. ,Men 11re the.fome 1 ' / t J W ~ they ~ e t t lhen,. tbtJb..ve the [11me P a f f i o n ~ ~ ~ t n d r u n with thefome ti"'gtrnefi 4fter Pleafores. . To tndtwour tfJ rerlaimthtm from that Stau, by, thtftvtrity of J;re .. eptt, . u A t ~ e m p t i n g trJ pit 4 Br.idlt . 'n An unr ulJ] ; { P 1 ~ . i ~ , t/1r l l l i d d l e ' ~ j ' # i ~ " ( r . i i ~ , in rh1 m ~ ~ ~


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The PR E F A C :b.\ ' . ., " .. ' ~ h { ! e ; there uno Merlinm, ;tl,rej tuu int.o t,bl i11Jcrimini!tl e ~ c e ( s , unlefs you \afford th-em . regul.t.'lAnd }ober PleaforN. 'Tis a g r e t ~ t t Happinefi tiMt their r e m ~ J t i n i n g Rea(on incline.s them tl! l o v ~ . l ~ ~ .ver(so,s, -wherethere j.s Order; a11d Shams.,. ~ ~ { e r e ; V"uth it. to be found, .and r , p e r f i - , a d ~ 4 ! J .l!l?flt.Ch'aritfo'blige's us; to t t ! k c l f 4 ~ a g e . of t h i ~ t ~ d not to . 4 / J ~ ' K J too much t i m f f q ~ , t ! ' # f ~ U C ~ ~ J . ; 1r1b1cht r y ~ u ~ ~ . ~ # i i ~ g ~ f j h ,t_hat Spark of. J ! . ~ a f o n ; whfch, :?(t J!1i*s ~ h t . 1 1 , 1 ,Tbo[e J;epp,le, fYe d:fterttper '!11; i'Jd. T r a ~ e ~ y .# . ~ l t . t . ~ ~ R ~ m r , 4 Y . they. e. , _ l i ' e t M i i l ~ i!i''feCCI1Ji1'!g an.y 14d1Jant.a.Je j r o ~ ; fo/' Zfr'f{ ~ b , e o n / , J . .Rec'(et{tiorJ in whir;h th.ey caHjind- the t t g r ~ M b l ~ 411dP r o f i t a ~ l - ~ ~ . . . . . . . . . . .. . Tragea.Y. ;does (lot ~ n l y r ~ p r ~ f e n t : hf Punifh#ienfs, whtef( ,voilt'!tary, .Crime, always 4 r ~ t ' f ! ' 011their .A14tha:xs1 th'e[e. are tQIJ common, ,'d.rid, "elllmorrm 1'rnths, iud leave to l much liberty, t.P _our ,Pajflans.; this ii.the 111eaneft fort ~ f . T r ~ g e d y . : but 'it{ets forth the m_isforturtcr whtch - ~ l P . , -.nizJoluntttryCrime') an.d thafo committe.d fr! !'.~ p r u ~ :denct; draw on juch M we au1 ~ n d thu, tJ" perfeffTragedy. It irtftruCls if,staft.and on our t_ll'ffY;t},to refine a ~ 1 moderate. o ~ t r J'q.Jfiom, WF, a_ j~ o n e - o ~ c a f i o n d the lofs .af thofc , u n f o r . t l f . n ~ ~ e . i t ! . ' ~ Thus the afpiring may ieam t.a.gi'Vt boundr: t ? : . . , h ~ s .Ambitia71 ; the Prophane to. fettr GfJd;. th,e- .Mf4f. ..tiouito forget his Wrongs; ~ h e Pajfionate tB - r ~ - : ' !train his Anger i the T y r ~ n t .. f o r f ~ e .JiiJ iViolence. '!nd lnjuftice., &G. Thaft tdle and m f i ! ~ Men who are not able to bear the Yoak of.R_e/t.gfo n ~ . :nd have need of l f g ~ d f / e r fort of l n f t r ~ E l i o ~ ; whichfalls under tbe Senfes1 c:an. ntvtr h;r,ve.- m.ore ;p r o . f i t a k ~ e a m u f e m e n t ~ ; .~ m e r e to wijh'd, thdt they w/ild, rewutic_e_ ~ r l _ l . other. Plc.tjur.e.r,- anrJ lo1.1e ,tJJii oillj" If 11n] jlMil nolP E."Oltdtmn Tragedy,.

~ J I

The P R E FAC ; E ~ . .' j , ~ . muO at/a. condemn ~ i h e ufe' of F a b l e i ~ } t ~ f ? h ,the mofl Roly Pfen h ~ - r - e cmploy,J, aud ( i _ o ~ h ~ 1 J l . filf has tJoHchfaf t to make Hfe of: fo.r T r a g e ~ y . ~ n l y a Fable,. tmd -wtts i r r v m t ( ~ iu. 4. F a ~ l ; _ , . o ,:form the MAnners' hy< I n P ~ . ~ ! ~ t o p s . , , a i f i f l ! _ ~ a ,;r,aer th( .Allegory of an .. , . . s ' E t t ~ n . He r r l u ] ! , . ~ , Y . , f o . tmdemn Hiftory ; fer Hiflory ts m H c ~ lefi ~ r ~ 1 . 1 e . t ~ n d . M o r ~ t l t h ~ ~ F a b l e , J n f i . f ! l u c ~ fU.. ~ t ~ ~ ~ a r ~ t ~ H f a r , ,Vheil a Fable u more g c ~ n a l , _ JnJ .'iliizf:er[;zt.,, ~ n j l . I?) confe'1utnce more p r o f i t f l b l e ~ . .. :. .,, . ., . \'-.We may fay 1oo, that t . h ~ ~ . only 1 f ~ tJf t . r ~ t p0[iticlu, u q Jrootre to rhe 1 ' e d p l ~ Y z ~ t H e , , ' P ~ ! i f . ' ~ n d 'flett[Jtre, thif Dejign car:not. be ~ - o ~ r a r y tt 1~ e l i g i o n , becaufe we 'chiifo..inone of thofe P l e ~ f o r ~ $ ~ h i c h deflroy Virtue, P e ~ t c e . ';(ragedy ~ s . f a r f r o ~ it , and e n t l ~ a v o u r s only ~ ~ e t r .Pr.efer'VatJ:on.;for 'tis the only P l e a f ~ ~ r e ; whzeh di]pofes.ljfen_ toendure their P a j f i o t r s ~ .to a perfeU ? ' J ~ J . z o . c r z t y , which contributes more to the ~ t n t l i z m n g PeAce, 11nd acquijitio'n of YirtHe, ~ n any thin_gelfo ; I 11/fo, bet.e'Ve th11t f r ~ m this Trmh,. - w ~ might. dr11-w. a fore Rule t ~ ; u d g e of thofo 1 1 ~ 4 -fitres whi,h mtght be. petmtttcd,__ .ll?Jd rho[! wh1Fh41ught to he fQrbidden. / . . _ . .Tou m ~ t y 'fay, ~ r a ~ ~ d y u ~ a ~ g e r : o ~ s , by_ r e ~ fon of the i i b ~ t f e s ithtch creep nto tt . . 'VeryT.hillg is d;mgercus, ltna mlly be r:ondemn'd 11t this rate, for there is nothing fo. t;tceJlent n:hetl.Abufos mtty not be commhted, ~ t n d of 'Wbzch abad, or good ufe may not be made. We mu_jf ~ ~ ~ member this 7rJtth, that All ..Arts and &tences,by tbe Ignorllme and Corneptio11 of Men,. ordi.,.tJArily_ prQdJtct falfe ,/lrts, 11.nd faife Sczences;. hut theft flllfo .Arts and falfe ~ c i e n c e s , are m ~ r ~ 'fpojitt to wh11.t ,they CoH'tlterfezt thlln any-thmgtiji.des ; fi r there is nuthinJ mort oppofiu f9

w h ~ t


13/21

The P R E F AC E.ft1hilt js good, th,ren w h ~ e t is baJ in the . f o m ~ KinJ. If that which is fal[e, e n g ~ t g e s us to coli.Jemn JPhltt is true, it has gttin'd its point, t h ~ ~ t ' s 'What it wuuld h4ve, and havi11g thus TriumpbJ over Truth, {oon p;tts its [elf J i l t ~ ! itJplace, than JPhich nothing cAn be more Pernicious.

Since Tragedy has no de(eEJ, but 'lDhM Atxternlll, it follows from tf3ence1 that 'tis goodin its {elf, And confequently pro ftttthle ; this cannot be contefted, and thofe who condemn it , con-Jemn, not only the moft noble Diverfion, butthe moft c ~ t . p a h l e to raife the Courage, ana formthe Genius0 ~ t n d the onlJ. one, which can refinethe Pafflons, and touch the moft vicious t ~ H t l obdurate Souls. I could give many examples Jbut jhtt!l co11tent my {elf with relating the Storyof Alexander (Jf ( a) Pherea : This b a r ! a ~ O I U l l ~ a n , having order'd the Hecuba, of Eunpulesto be .A[fed before him, found himfelf Jo f-ft!Jed, thAt he 'l1Jent out before the end of thefirft AtE-, jaying, That he .was afham'd to befeen to weep, at the Mtsfortunes of Hec.-btt and Polvxena, when he daily imbrud hisHands in the Blood of his Citltens ; heA./fr.a.d that his Jleart Jhould be- truf.y mollifj"4,t h ~ t the Spirit of TyrNJny tf)ould ttOtf) letWe. thepo.f{ejJi.on of his Breaff, Alia t h t ~ t he Jl.'ould co'!le4 private pe.r(olt o1st of th.:et Theatre 1uto wh,,hbe entera jl:if/er. The A1tJr '1fl_ho fo _ f t n f i ~ . l y tottch'd him, diffiwlrly e j c ~ p e J , Wttb _Jm Lif.e,but wasfec:.er'd by ~ m e ~ e m a m s of that ptty, wh1cbWAS the caufe of h s ~ Cmne.

The PREFACE.A wy grll'fle Eiftohan, tnait.r ref/edkiimuch to this purpoft, itnd tf)hzch ftemf m r ~ no indifferent .one in Politicks; in fpeakmt of

the People of.Jircad(a,. ht Jayi.. That thdt,Htimatuty; fweetnefs of. Tern pet:,, t ~ f p ~ l ' t Religion, in a word; : the l'urtty ot then.:Manners; and all their Virtues. troteeded,chiefly from the Love .they l i : ~ d to MuftckJwhich by it l Melody, correded thofe fm-'p r e f f i d n ~ ~ a thickaad_nn. \ . q . h o l e f o m ~ ~ i r , j o y n ' d . to ahattl; a n ~ labonous.way of hv1ng, m a d ~ on tHeir BQd1es and Mmds; . He Jays on thec : o n ' t r a ~ y , T o ~ a t the: c ~ ~ t h i . d l f J Jell into a l ~ fons bf Ctmtes and lmpteties, b e c ~ ~ e theydefpifed the wife I n f t i t ~ ~ i o n s of: t h ~ 1 r A i l ~ ceftors; and negled:ed tilts Art, whtth t T a ~ fo- much the more neceffary. fot them; a ~ f tbey liv'd in. the coldeft, a r t ~ . Viorft . P l a ~ ~ of . A r i ' a d i ~ e : There was f c a r ~ e l y any C1ty I llGreece, where w i C k e d n e ~ "!as fo 9 t e ~ t a n d ~ .frequenf as bere. If P o l y ~ m s ' fpea'ks _ehus.Mufid., liTid Actufes Ephdrns,., for havzn-$ foe.;len it ihing unwdrthy i>fhimfelf;, wi:Jm he [aif/j That twas -inventfd to decetve ~ a n k m c i ;;.iPhat tJught wr ihen to f.-zy of Tragedy,. cf~ h l e h J J ( l i f t t k it on_ly a f i . " Z . - i ~ l p d ~ t ; and whz.c/1'1& .as mstch ttbtr.Je' 1t1 as- te 'i'Po'l'd 11 above an tn;ekticulate $olind.; w.hicb. figniftes :tiothitJg;'fh# 1! what.; 4tcotai'ltg-to tny Opzmon; m..tybt truly {aid of-Tragedy, anfl ' t h ~ MMn mimght ta keep. But to the end ihzs . ~ ~ 4 ~ juJHj.faid, rhe Part1 mus1 co12[or.m. themfcl:vufr1trrlj to the RHleJ of Amie1Jt Tragedyj.th.et-. d


14/21

The P R E FAC E.!s to f a y ~ which endcavolirJ rather to lntfrn[fthan Pleafe, Altd reg.ard the .Agreeable, as 11means only to make the P r o f i t ~ t b / e more ta .king; they muff paint th e IJiforder; cf the Pafl.firns, and the ine'Vitable Mifchief s which arifof r ~ m thence. 'Twas for this the Greek T r a g c : ~ d1ans were fo much H o n o u ~ ' d :it thezr own.Agr, and effeem' d in thofe which follow' TheirTheatre was a School, where Vtrtu e w4s gepe ..rally better Taught., than in tk1e S(,hooJs oftheir Philofophers, and at this very Day thereading their Pieces will ltJfpire atJ Hatr:d tVice, and a Love to Yirtue. To Imitate themprofitably., we Jkordd re-effabi{!J the Chorus1rhioh eflabli.fhing the veri-Sil.nilitude of th ;Tragedy, giver an Opportunity to fe t forthto the People, thofe p.artiwhn Sentiments yolf,would ir;fpire the.m with, and to le t them know 1rhat is Vicious or Laudable, in the Charalfer;which are lntroduc'd. . M r ~ Racine Jaw thl.neceffity .o f this, and ~ a : n ~ o t be J!tfficiently praifed}for ha'l.hng brought ~ t , tnto hu two laf! PieceJwhich hav happily recom:il' d T r a g e ~ y to it ! .greauff Enemies. Thofe who I:Jave feen thJtlf[cets of thefe Chorus's, (tmnot but be fenfibJeof their Advantage, and by Confcquence, muf/;Confcnt to what I fay in my Remarks. .AfterEx.amples, and Authorities of this Nature ,1 have no Rcafon to fe,at my Arguments. Bl4tenough of this. A1attcr, tiJ time to come to whAtrefpeEts my [elf, 11nd to give fome Acorlllt o f,his Work.

The P lt EFA CE,'] h ~ t v e e n d e a v o ~ t , r ' d to make the Tranjla .titJn as l # e r ~ t l as po!Jible, bcng p ~ r f w a d e d '

that I could not do better, than to flick clofoto the Words of a Man, who wrote with11Jonderful Exatfneft , and ptm in not>thing, blft wh'at is to the pmpofc. I h ~ v ' neverthelefs taken the Liberty fometimn 1 tQenlarge his Thoughts, for what was J t n d e r ~ flood in hu time, by half a lVord, wouldhardly be Intelligible now, ~ n l e f i Jome 1?ai711was t ~ ~ ~ e n to e ~ l 4 i t ! it .

.A fimple Tranjlation of Arifrotle, wouldbe clear .enough, and there would be no nee.t/of C o m m e n t a r i e s ~ we were well l n f f r ~ { f e d in thofe Poets , from whom he takes ~ i s ~ u l e s , but as almoft all the World u Ignorant of them, and 'tis mceffary to explain byExample, what is O b f c t ~ r e in the Rule, Thi,is what I ~ a v e e n . d e a v o , - t r ~ d to do in my'Remarks, which will feem jhort, if you corzfider the many large Volttmls whjch ha'PIbeen wrote on thif little T r e a t i f t ~ Of all the Latin. Commentators, V i d : q d ~

1lS feems to me the moft Wife, Knowing, midE x ; ~ E f , but his . A J J i f t t ~ . n c e is not fofficf.ent,to give us an Vnderjla11ding ctf Poefle, Th tltaliai;J. Caftelvetro, h.u 4 great deal ofWit, .and Knowledge, if we mqy pall t h a ~ Wit, 7Vhich is only Fancy, a11d beftow ,(}11much Ren,ding the n ~ m e of J ( n o w l e d g ~ . l f-p1e repDllet'J all the ~ a l i t i e s of a good fn:--1!TfT!.tfr? we jJJttll h ~ J v . e llf'l /dell juft .con .. ; l t ~ l


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..fhe P R E F AC E.trary to that of Caftelvetro. He !mewneitheJ the Theatre, the Paffirms , nor theCharaflers ; he undcrftood neirhn Arift.otlesReafvm, nor his Method, and Jlrove ratherto contradiEt, than explain hitn. On the otherhand he is fo Infatt-eated with tJJe Author'sof hi; own Co.untr)', that .he forgot how to C r i ~ i -cife well ; he talks Wtthout A1eafure, kk.eHomer's -Therfites, and declares !ar to t ~ l l that i.r fine. Indeed he h.-es fome good thingt,but 't;s not wortb while to JPend oar timein lookimr after them. The French .Artof Pr;erryu by Mefnardiet:e, may Pafs. for aComment/try on fame Craptcrs of Anftotle,but that Work is of httle. valJte; for be .fides that A ~ ~ t h n r s . ~ e i r ~ ; no g.ood Critick7and p ~ r p e t u a l l y dccew. d., he 1 d1-d ,n_ot peneaate mto . the M e a m n . . ~ ~ f tuc Pmlofopher. .The Prac1ice of the Theatre by the... 4bbotD'Aul:>ignac, is infini:dy bctt,cr 1 but is r ~ t ther a Sequel a ~ d SJtpplement, ~ h . - m an Ex-plication of Anil:otle ;. 011 whtch, a .perfectJnjlrufliott in the Ancw1t Rules, wdl enable ;ou to pafs a 1tu{vnent. The T_reatife of Epick Poem by Fatber Boffu, u a-bo-v-e all the Modems have done in thatKind, and is the b ~ f i Commentary E:xtant,on what Arifl:otle has wrote concernmg thatfort of Poem ; none ever penetrated d ~ e p c r i'nto t.he bottom of tlu:;t Art, and fot m 4better Light (acco1ding to Ariftotle s Rttles)Homer's and Virgil's Beauties, or the So .lidity a ~ d Eeanty of Ariftotle s Rule.r, bythe m ~ r ' l . ~ ! l o l t s Conduil of tho/e twu greatP..1ets. If he h ~ e d 'Treated of Tragedy, asthrougbfJ

The P R E F A C Ethroughly, as he has done of the Epopreia,he had left almoft nothin" for me to havedone (ljter him ; bttt rmforwnatel_y , hemitted the >-nofl diffiwlt , which he r:ouldhave Explaitl d much better than my [elf,had he had fpare .time. Hu Work howevei'l1as done me great Service. I have profited by the IToa:J, which others have Wrote,And muft ton/'ep, that their Faults havebeen ufeful to me. Bttt after all, the moftexc:e/lent Commentators on the Poeticlt. .Art,Are the A;zcicnt Poem.r, and as they gavethe hint to 'make Rules, ~ t h by them, thatthefe o1tght to be E x p l a i n ~ d . I hope, IhfWe not .follow'd fieth good B#ides invain. If , have wander'd, by followingthem, without a trueVnderftdnding, 1jhor-tl1pe very well pleafed to be put in the rigbtway, by any, wbo wo1t/d a d v ~ { e me of myfaults, or m ~ ~ e them publidly ktJorrw.

i . .

P e r ~ a p s fome may Reproach me, M- Mr;Corneille. did all the precedent C o m m c n t a ~ tors. They have Explain'd . 4 - ; ~ f t o t l e (.faysthat great Man) as GrammariaQ.s, or P.fii-l o f o p h ~ r ~ , and. not as Poets i becauftithey had more of the Study, and S p c ~ p1lation, than Experience of the Theatre. The Reading them inay m a ~ ~ usmore Learned, but ~ a n give us no f u r ~ 1:her . I ~ f i g h t , h O \ ~ may fucceeq. '(hisRepro"ch is founded on this generall'v1o1.xim._That every one ought to be heliev'd i.u.pis own ~ r t . 1t feems t h ~ ; 1 , . iJat rhofefo.Quld not pretend to explain the Rtdn of B . ( o e f i ~ t

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16/21

The P1t E F A C E.l'o.e/it.; ti7h6 ntvet je t mdde ,Poems. ThePrindple is true; but the Confequence i rnot {o1 for beforl that is dr.twn; we muftfee to whom the .Art of Poetry, and whatit produc'd, does p ~ o p e r l y belong. 'Tis notPoefte it [elf which is produced 7 for then itwould htive been,. b ~ ( o r e it was. Tis p/,i- .lofophy that brrmgkf it fir_P , nto play, andtonfequcntly, it belougJ to P?ilq(ophy, togive,i4ud expltttn its . k t t l e . J . ~ Th:s u fo true, thatAriftotle made not theft Rules ds a Poet,/JJtt 'as a Philofopher-: .And if he 1#r.tde them.- ~ Z i foch ' wby may they not be c : ~ : p l a i n ' J t/"Jat way too ? And as it TOlls not mce/Jaryto make Dramatick Poems, to give Rulesto th.tt .Art, _fo 'tis no more neceffary thatt ~ e y J h o ; ~ L d be m4de , to Explain thofeButtsi don't ~ ; t o w . irlt/eed; wheiher he who has1nade Piucs (or the The4tre; i4 fo proper to~ ~ " p l r t i ; i . the Rttle,s ~ f . thw .Art,. as thatnever did, for. 'two:eld he " MI.rade if onetvas not biafs'd bj fe/f.;Love, w,!:Jen t h ~ otheris 4 di{-:ntereHcd J ~ d g e ; who . h41 no .other

.lm than difcoverin,f the Tntth;, and .mll .lin11' ii- k t l o ~ , ~ ~ Jl,!r. Qotrteille/ himfelf may.b t , ~ n Euample ~ [ - - t h i s ~ . A!t tb'!t he 1PouldE f t . i b l ~ ~ ~ in his n ~ r v . Di{courfe of J:?rama-tick: Poetry, is lefi foutJded on Nature 7 thanhis ;own proper / l ' } t ~ r e i f . lt . t p p e ~ r s by hisbri?n. WofJs, t ~ : t t . t h ~ dr:(ign he had of .de.finding w b ~ t h: h4 i ~ e Y f t 1 4 r e ~ on tke. Staget 6blige.:.t him itJ fJt(.tke Anfrotle"s R;elc.r;~ # l t 6 Eifab!ij11 ,;eri> ones;' whir:h jlmel4 bt. . .

The PR.EF ACE,mtJrt {ll11ourablt to birnfol[; 'tlJt jiMll fie inthe R e m l l r ~ s , whether they Clllt bear the Teft.'Tis. thertfore no 'Ways nece./fary to hav6made Poems, to prefcribe Rules for Poejie,,tnd y_et much lefs . exp/llin them, I f it'Wils fo, I w o 1 1 ~ d fay t h e r ~ . were none, forof aU thofo wh"h ha-.e gzven llny, ,J lmmbut one that was a Poet; Horace him{elfnever made an Epick Poem Qr a Tragedy,but to preft!"ibe Rules for :Poifie, as al{o to.explain them ; it is fojflcient to /mow the 0rigin6j ~ t n d Scope of t h ~ .Art Trellted of;to have t"'lJmitl'd thofe Poems, whith ''-the B'afts llrtd Foundation, to hllue madeRtjletfions on what is dgreeable, ~ t n d di[agreeable-, a11d rightly to difcovcr theCmt{es .;this is the only necejf.-ry -Kmwledge J -h a v ~ endeavour'd to acquire, and fhilofophy alrmPf411 leild me thither.

l.fht.ill add once more, that i f we male AMan T{lore Learned, by t.'l.-plaini1tg the Rulesas' Phii.fo_Pher, 'tu Impoffibl? but muJ!attam 4 forer Knowledge, to jut:ceed m thtsArt., 'Tis true, we c ~ t , n ' t give a Genius,thllt's not done by Art, but we can Jlmvthe Path a Gei.liUs ougbt to Tread in-, m4. rl1at iJ the only Defzgn rif 411 Rulet,

I h4ve not made the. ..Apology of C o m < ~ " mentatorJ, to prlli(t my f i l f ~ for t ~ f t i J o u g h I am 110 Poet, d ~ e s . ~ o t follow thl't !Lar.rnot be 4 good Phi!ofopher I leavt it to thef u b l ~ r . : k , .and .. time,_ to 'Judg-e of' my l V o ~ k , forfwi!J ! l ~ i ~ ~ ~ r Cflurt, )UJr-jtight ihcir ,F4.,.'Y9Hrt, p 4 1


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The P R E F A C E.1 have fp"km very freely , in what I

h . ~ t v e pfifs'd my 'Jutlgment B1t , and in fodoing, Imitated tt;e ancient Criticks , whofpa1ed neither Detnofthenes, 11or Thucidides, nor Plato, nor any that was Great,o ~ . ~ c : J e r a b l e in Antiqttity. A flatteringCl'u;cifm would bt: a pleafant fort of oneJ'VhC!l we Jhould fcek to Applaud, and th:R e j p ~ E t due to ihe Name , Jhould check theC e n j ~ t r e dJtC to the F.utft. I am not (o (cra-pulous, and .zny one be offended, I jhallAnjiPcr him as Dionyfius Halicarnafirens an-ji-vcrcd Pompey the Clreat, who wrote to himto complain, t1lf7t h(l had tax'd Plato with. f ~ m c F,:lfdts. Th e Veneration you haveto r Ptato is Jufr, (Jays that t ~ c e ! l m t Critick,)bu t t h ~ Blame you lay on me, is no tfo. \\'hen any one writes on a Subject,to I h e v \ ~ what is Good or Bad in ithe ought to difcover, and mark veryq;acUy all its Virtues, and Vices, forthat is a furc way to find ou t the Truthwhich is more valuable than all thing;clfe whatever. If I had wriu:en againftPlato >vith a Defign to D e ~ r y his \VorksI fhnufd be as Impious as .( ~ ) Zoilt.u:but ? , : ~ . t h e ~ o n t l ' a r y , I would praife him,a i ~ d .n m domg fo I have Improved anyor hzs .Defects, I have done noth ing wor-thy ot C o m p l a i n t ~ ~ n d which was not

( Callecl I n i ~ i o u s , becaufe I ~ ~ n i t a g q i u ~ l l ~ m e r .

The P R E F A CE.n ~ e f f i l r y for my Defign. Norwithfland .t-ng .this, I ha1e put fome Bounds. t o ~ thisLiblrty, and.lf I htr"tJI difoo.verd fome.Faulti,I have conceal'# fo.me otherj, that feem'J tfime n{)t fo confiderahle. I had refpea in.t'hem,to the Approbation of many Perfons of Me:..rit, for I W()uld not knn Counter to anal-m9fl Vniverfal Cotf[ent, which alW4JS is ofgreat W e i g h t ~ and ought at leaft to B/Jli(TtJU$ .to . be f4Uttous. JJJ.tt that 1 might g l . ~ t to thgfe Perfons, ttn Opportunity of recoJleCfing themfelves, I have endeAvoured to ex .p l . ~ i n the IJ.ule, iv. fuch a manv-er, .that theymay p e r c e ~ v e th{e very F a ~ t l t s , if they willRead the Remarks with attentipn. As fortheref!, I had. no iefitn offend any Bo-d y ~ if there 11.re {ome thmgs which makethem u n e a j i ~ , tis i - m p ~ J l i b l e write atry! Y ~ r k of thu n4!11r, Wtthout d ~ J i u f t i n g f o m e . Tu alfo the Mark of good Crttic:ifm aswell as good Ph;lofophy. FYom hme& it 'pro-ceeded, t?at P ~ a t o rpa.r ilarm:d fQr .havingtamrht hn Phzlofophy 4 long time , withoutd i f p t e a j i n . _ ~ any one Perfon ; and they pre-t e n ~ e d by that, to f . : Y ~ that ezther his D o ~ ffrme was not good, or l.us Method .d ~ f e & i v e . ft_nce none had by Hearing . him hem mad;fcnfible of that Vnc.?frne[s, which People natUr ~ t l l y have, wbm they perceive tbemfclves tobe VttiMs.

. It wot-tld . be '"!njttjf to f i n ~ ~ ~ this Preface, Wtthou,r f-rymg fomething of Ariftotle's Life;that ttJoje wba read hi.r Work, nz.q,y lmorv .fomr..,


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The PREFACE/omethtng. Df him; He D1.a the $on Df Nt.;.comachys,. P h y f t c i ~ t n Df (a) Amyntas, ,,flJefomrleJ from Efculapius.. Nil Mothw'11141 the D ~ t ~ ~ g b t e r Df on1 uf the I:>efoentlllntst1[ thofo, :IPho ' T r M . f i l ~ ~ t ~ t e J 11 Colony, fromCbalcis ttJ Stagira, in Macedonia ; tbtttis to foy, Jbr '!PAs of Noble .Extrflion, t1bath jidrs. . He '!Pits born lit. Stagira, leboill{Drtr HtmtlreJ Te4rs, before o11r SavioTH..A/Eighteen Tears of .Age, he twnt:io A-thens, ,:,nil ~ t b o t l e w ~ t h Plato, f!e pa[s'Jt r ~ ~ t m y Tear1 in his School, linJ when hi4M t ~ f t e r WM Jeatl, he trJent tfJ Hermea:s theTyrmt of Atarna 7 a City of Myfia; _hefl)tnt from. thence . ~ y t e l e n e , f r ~ m whencehe 'ltJIII calfJ by Ph1hp, to be hes Son A-lexanders 'rutor ; he WJU eight Tears, withtbilt To,/ng- P r i ~ c e , and after Phitip' De4th,rctUY7'ttd to Athens, where he Taught, 'in theLyteurtt twelve Tears, till the Death d[Alexander. For Antipater hAVing carriedthe WAr into Greece, Arifl:otle, ruho f a n ~ cied, the Athenians fo(peEfed him, by rett"..(an of the ftriEf F r i ~ n d j h i p , which JfttSttveen him; and the Viceroy of Macedoma,retir' l to Calc;his , where he died foon itf-ter, by a Fit of Sickne{s in the Jixty thirdTear of his Age. He left one Son, and oneI,Jaughter, both l"oung, 1111d made Antipaterj..xecutor of his W i l l ~ ttn4 .AJmi11ijlrat'or

'The P R E F A C1j it/1 his Goods, 'tflhich were very r:onftderable if we may_ judge of them by A l e ~ a n d e r ' s Liberality, who g1t11e him eight H1mdredtr11lents; for hu Hiftory of .Animals , t ~ a t il ttccording to the lij{er Talent, one bun .tired aNd forty Thoufana Pou11dr Sterling,or accordipg to the greater , IJIJI. Hundredeighty fix ~ h o u f a n d , .Ji.x Hundred, Jixty fivePounds; thirteen Shzllings and four. P e n c ~ . The tnoff precious of hi& Moveables Will huLibrttry, which was l#fterroards SolrJ to Pto .1omy fhiladelphus, and which, En;rich'd with four Hundred _Yolu"!'_St. ofotPn rpaking. In thofe o.f h ~ H'tz.tmgs w h ~ e h now remAin And Are happzly a conjiderablsNumber, w: find A very difcernint Spitit;,..A folid 'Judgment, a wonderful M e t h ~ d , prodigious Knowledge, . a t l ~ An Eloquepte bothftrong a,:,J jweet. He himfelf foun4 But more.,thAn the moft KnDWing noTtJ , . ~ e a r n with great deal of Llthour and Pllms, And A4 for'thofe things which depended on. the P}-vacity of the Spirit no Man eve: , c ~ t r r z . e d his Knowledge further, or E f t ~ t b l ~ f l ! d "!oreJure -or t.ttenfi"'Je Primip!er. In Dz.alefflclu.,Logick, Rhetorick, Politicks, And Morality.,we have little but what he taught us.i . '1Jy making a proper ufo of hu lnforrJ_i.ttipns, there ha'Ve appear'4 Works. in f o m ~ oftheft Sciences, preferatJle to hu , b ~ t t hisR h c t ~ r i i : k is the moft Preferable we ai yetI111'Ve. Hu :Art . of Poetry u_ mort :to b111dmir,d, fior i r ~ his Rherorid, he- made ufo. . . . ' : f

,; .


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The PREFACE.of the Precepts of thofo, who "rrote beforehim. Bttt he io the firft that difcovered theGror.tnds, and Secrets of PfJejie, and mne jinc.e.have 1mdertaken to Write, )1ut in E ) . p l i . t a ~ tion his Thoughts, which have .fer'll d, anelwill always ferve as the R u l e ~ He aloneReviv'd .Tragedy m o r ~ than OliCe.

bt ejfea 4ter it was br.ought to its Perfection, 1mder the Reign of A l e x ~ n d e r , th fSon o f Amyntas, under the Reigns uf Per-.diccas, and Archelaus, ""and d e g e n e ~ a t e ~ . inthofe which follow'd, but under that OJ P ~ 1 h p,a11d Alexander, the Poets b e i ~ g Enco11rag d bythofe G l ~ r i o u s Princes, .And guided by A n ~ _1totle's Geniw, made it ftourifo as hefore.

.Aftrr t ? ~ DeAth of A l c ; x a n d ~ r , !t b e g . ~ n fo. Ltngm{h, and never r.ecover d 't ! e n t . ~ r e S t r e n ~ t h till the Reign of Auguftus, m whichthe R ~ l e s of_rhi& Philofopher were Re.viv' d. ~ ! . n e e theDeath of A'qgull:us, i.t h a ~ grown1-'eeble, for more tha_n {ixteen HJ4l1dredTears,till in this laff .Ao-e 't.was recover'4 out offt! lo!lg Decay," by M. Corneille, tu!d M ~ . Racme, wbo upheld themfelvcs by Anilotle ,.Rules. Sa true is i t , that Tirrze is the

Faithful G u a r d i a n ~ not only_ of G_rcat Mdt,as P.indan faith, hut alfo of the Ltbc((tl[ .Arts,which it revive-s as occafion ojforJ, and always..under the greateft Princes. For what a g_oodSoil and Air , ar:e to Seeds and F r t . ~ - e t s 1[m h is the (;loY'J , Gr411deur 1J/IIg'!ificel1Ct1and

The P R E F A C E.~ t n d Liberality of Primes, to Arts, and Sci ..eniu., which d, not fo much flourifh .under~ h e m , as by them ; ~ . m d we 1'(1ay very prop e r ~ y apply to this SubjeO the jrAiorving Verfeof Agathon.Art favours Fortune, Fortune favours Art.If Tragedy jlMil fome time l1ence fo.fferanyfort oj Edipje, 'twill h.e by the Laz..ineji,

and Hafle of thofo Poets, who J-rrite w i t h o ~ t r ' being rightiy Jnflruacd. Plato in hi.sPhedrusIntroduces a yolmg Poet fecking Sophocles andEuripides, and Accofting them thlfs. I canmake Verfes tokrably well ; and I knmvhow in 111Y Defcriptions to extend ameanSubject, and Contract a great one : I kno\vhow to exCite Terror, and Compaffion,and to make pitiful things appear Dreadfuland Menacing. I will therefore go, andwrite T r a g e ~ i e s . ScphtJdes and Euripide1anfwer'd him, Don't go fo faft, Trapedy isnot what you take it to be ; 'tis a"'Body,compofcd of many diffcrenr, and well.fi1ited Parts, of which you will. make aMonfter, 11nlefs you know how to adjuftthem; yon may know what is to be learn'd,before the Study of the Art of T r a ~ d y ;but you don't yet kuow that Art.

I f thtre are Poets now, whif:h dotlt knew .fom ~ t c h as the Tom'i Man, of whom Plato jjcakr.,tiJefe Rulu can: be of no Advantage to them ;but thofo wbo are like him, and in the [tmuGrcHmjl-ances, nud on'J J.eep to tiJejt ~ 1 ( v l u . ,

.11.-JJJL.11


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The PREFACE .which roill teach tbem what the)!_ are lgnor11111tof, and the fourth time reffore Tragedy to itsfirft Luftre anJ. Brightnt{s, This is the mollp r ~ { i t t ~ r b l e Pre.fmt, be made them,_ if byMeditation 111nd P r ~ ~ E f i c e they willtftdeavour tomake a rit.ht ufe of it_.; for Precepts alone arenot fitfficient to make us Learned, the Advan-taze, arld P r ~ f i t of any RHleJ, depend 9n ourLllbortr and Paim. If thefe Rules are not forthem, they will be agitinft them , 1111d th#1'Works fhall be


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Aristotle, was fairly common in France. La Mesnardiere, forinstance, was extremely hostile to him.Sig. [b 2 ] , verso, 1.13. "Mesnardiere. Jules de LaMesnardiere, La Poe' tique, Paris, 1693.Ibid., 1.20. "D' Aubignac. Aubignac (abbe Hedelin d'), LaPratique du Theatre, Paris, 1657. English translation, 1684.Ibid. 1.26. "Father Bossu." Traite du Poeme Epique, Paris,1675.Sig. [b 3] , recto, 1.22. "Corneille." "Discours de l'Utiliteet de s Parties du Poe'me Dramatique," Oeuvres (ed. Ch.Marty-Laveaux), Paris, 1862, I, 16.Sig. [b 4 ] , verso, 1. 12. "Dionysius of Halicarnassus." See"Epistola ad Cn. Pompeio de Platone," Dionysii Halicarnassensis, Opera Omnia, Lipsiae, 1774-1777, VI, 750-752. Sig. [b 6 ] , verso, 1. 27. "Pindar" Fragment 159, Odes (tr.Sit John Sandys, Loeb Classical Library) p. 600.Sig. [ b 7 ] , recto, 1. 5. "verse of Agathon" Ar s atque for-tuna invicem se diligunt. "Agatbones Fragmenta" 6, in Frag-menta Euripides (ed. F .G. Wagner), Paris, 1843-1846, II, 58.Ibid., 1.10. "Plato in hi s Phaedrus." "Phaedrus," 268,Dialogues {tr. B. Jowett) Third Edition, Oxford, 1892, I, 477.

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Dacier-Aristotle Preface (1705)

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