« AnteriorContinuar »
some strokes of it in the little poem ascribed to Musæus, which by that, as well as many other marks, betrays itself to be a modern composition. If we look into the Latin writers, we find none of this mixt wit in Virgil, Lucretius, or Catullus; very little in Horace; but a great deal of it in Ovid; and scarce anything else in Martial.
Out of the innumerable branches of mixt wit, I shall choose one instance which may be met with in all the writers of this class. The passion of love in its nature has been thought to resemble fire; for which reason the words fire and flame are made use of to signify love. The witty poets, therefore, have taken an advantage from the doubtful meaning of the word fire, to make an infinite number of witticisms. Cowley observing the cold regard of his mistress's eyes, and at the same time their power of producing love in him, considers them as burning-glasses made of ice; and finding himself able to live in the greatest extremities of love, concludes the torrid zone to be habitable. When his mistress has read his letter written in juice of lemon by holding it to the fire, he desires her to read it over a second time by love's flames. When she weeps, he wishes it were inward heat that distilled those drops from the limbec. When she is absent, he is beyond eighty; that is, thirty degrees nearer the pole than when she is with him. His ambitious love is a fire that naturally mounts upwards; his happy love is the beams of heaven, and his unhappy love flames of hell. When it does not let him sleep, it is a flame that sends up no smoke; when it is opposed by counsel and advice, it is a fire that rages the more by the wind's blowing upon it. Upon the dying of a tree in which he had cut his loves, he observes that his written flames had burnt up and withered the tree. When he resolves to give over his passion, he tells us that one burnt like him for ever dreads the fire. His heart is an Etna, that instead of Vulcan's shop, encloses Cupid's forge in it. His endeavouring to drown his love in wine, is throwing oil upon the fire. He would insinuate to his mistress, that the fire of love, like that of the sun, (which produces so many living creatures,) should not only warm but beget. Love in another place cooks pleasure at his fire. Sometimes the poet's heart is frozen in every breast, and sometimes scorched in every eye. Sometimes he is drowned in tears, and burnt in love, like a ship set on fire in the middle of the sea.
The reader may observe in every one of these instances, that the poet mixes the qualities of fire with those of love; and in the same sentence, speaking of it both as a passion and as real fire, surprises the reader with those seeming resemblances or contradictions that make up all the wit in this kind of writing. Mixt wit, therefore, is a composition of pun and true wit, and is more or less perfect as the resemblance lies in the ideas, or in the words: its foundations are laid partly in falsehood, and partly in truth: reason puts in her claim for one half of it, and extravagance for the other. The only province, therefore, for this kind of wit, is epigram, or those little occasional poems, that in their own nature are nothing else but a tissue of epigrams. I cannot conclude this head of mixt wit, without owning that the admirable poet out of whom I have taken the examples of it, had as much true wit as any author that ever writ; and, indeed, all other talents of an extraordinary genius.
It may be expected, since I am upon this subject, that I should take notice of Mr. Dryden's definition of wit; which, with all the deference that is due to the judgment of so great a man, is not so properly a definition of wit, as of good writing in general. Wit, as he defines it, is "a propriety of words and thoughts adapted to the subject." If this be a true definition of wit, I am apt to think that Euclid was the greatest wit that ever set pen to paper: it is certain there never was a greater propriety of words and thoughts adapted to the subject, than what that author has made use of in his Elements. I shall only appeal to my reader, if this definition agrees with If it be a true one, I notion he has of wit. any am sure Mr. Dryden was not only a better poet, but a greater wit, than Mr. Cowley; and Virgil a much more facetious man than either Ovid or Martial.
Bouhours, whom I look upon to be the most penetrating of all the French critics, has taken pains to show, that it is impossible for any thought to be beautiful which is not just, and has not its foundation in the nature of things; that the basis of all wit is truth; and that no thought can be valuable, of which good sense is not the ground-work. Boileau has endeavoured to inculcate the same notion in several parts of his writings, both in prose and verse. This is that natural way of writing, that beautiful simplicity, which we so much admire in the compositions of the ancients; and which no
body deviates from, but those who want strength of genius to make a thought shine in its own natural beauties. Poets who want this strength of genius to give that majestic simplicity to nature, which we so much admire in the works of the ancients, are forced to hunt after foreign ornaments, and not to let any piece of wit, of what kind soever, escape them. I look upon these writers as Goths in poetry, who, like those in architecture, not being able to come up to the beautiful simplicity of the old Greeks and Romans, have endeavoured to supply its place with all the extravagancies of an irregular fancy. Mr. Dryden makes a very handsome observation on Ovid's writing a letter from Dido to Eneas, in the following words: "Ovid (says he, speaking of Virgil's fiction of Dido and Æneas) takes it up after him, even in the same age, and makes an ancient heroine of Virgil's new-created Dido; dictates a letter for her, just before her death, to the ungrateful fugitive; and, very unluckily for himself, is for measuring a sword with a man so much superior in force to him on the same subject. I think I may be judge of this, because I have translated both. The famous author of the Art of Love has nothing of his own; he borrows all from a greater master in his own profession, and, which is worse, improves nothing which he finds: nature fails him, and being forced to his old shift, he has recourse to witticism. This passes, indeed, with his soft admirers, and gives him the preference to Virgil in their esteem."
Were not I supported by so great an authority as that of Mr. Dryden, I should not venture to observe, that the taste of most of our English poets, as well as readers, is extremely Gothic. He quotes Monsieur Segrais for a threefold distinction of the readers of poetry: in the first of which he comprehends the rabble of readers, whom he does not treat as such with regard to their quality, but to their numbers, and the coarseness of their taste. His words are as follow: Segrais has distinguished the readers of poetry, according to their capacity of judging, into three classes. (He might have said the same of writers too, if he had pleased.) In the lowest form he places those whom he calls Les Petits Esprits; such things as are our upper-gallery audience in a play-house; who like nothing but the husk and rind of wit; prefer a quibble, a conceit, an epigram, before solid sense and elegant expression: these are mob readers. If Virgil
and Martial stood for parliament-men, we know already who would carry it. But though they make the greatest appearance in the field, and cry the loudest, the best on't is, they are but a sort of French Huguenots, or Dutch boors, brought over in herds, but not naturalized; who have not lands of two pounds per annum in Parnassus, and therefore are not privileged to poli. Their authors are of the same level, fit to represent them on a mountebank's stage, or to be masters of the ceremonies in a bear-garden: yet these are they who have the most admirers. But it often happens, to their mortification, that as their readers improve their stock of sense, (as they may by reading better books, and by conversation with men of judgment,) they soon forsake them.
I must not dismiss this subject without observing, that as Mr. Locke, in the passage above-mentioned, has discovered the most fruitful source of wit, so there is another of a quite contrary nature to it, which does likewise branch itself out into several kinds. For not only the resemblance, but the opposition of ideas, does very often produce wit; as I could show in several little points, turns, and antitheses, that I may possibly enlarge upon in some future speculation.
No. 63. SATURDAY, MAY 12.
Humano capiti cervicem pictor equinam
Ir is very hard for the mind to disengage itself from a subject in which it has been long employed. The thoughts will be rising of themselves from time to time, though we give them no encouragement; as the tossings and fluctuations of the sea continue several hours after the winds are laid.
It is to this that I impute my last night's dream, or vision, which formed into one continued allegory the several schemes of wit, whether false, mixed, or true, that have been the subject of my late papers.
Methoughts I was transported into a country that was
filled with prodigies and enchantments, governed by the Goddess of Falsehood, and entitled the Region of False Wit. There was nothing in the fields, the woods, and the rivers, that appeared natural. Several of the trees blossomed in leaf-gold, some of them produced bone-lace, and some of them precious stones. The fountains bubbled in an opera tune, and were filled with stags, wild boars, and mermaids, that lived among the waters; at the same time that dolphins and several kinds of fish played upon the banks, or took their pastime in the meadows. The birds had many of them golden beaks and human voices. The flowers perfumed the air with smells of incense, anıbergrease, and pulvillos; and were so interwoven with one another, that they grew up in pieces of embroidery. The winds were filled with sighs and messages of distant lovers. As I was walking to and fro in this enchanted wilderness, I could not forbear breaking out into soliloquies upon the several wonders which lay before me, when, to my great surprise, I found there were artificial echoes in every walk, that by repetitions of certain words which I spoke, agreed with me, or contradicted me, in everything I said. In the midst of my conversation with these invisible companions, I discovered in the centre of a very dark grove, a monstrous fabric built after the Gothic manner, and covered with innumerable devices in that barbarous kind of sculpture. I immediately went up to it, and found it to be a kind of heathen temple consecrated to the God of Dulness. Upon my entrance I saw the deity of the place dressed in the habit of a monk, with a book in one hand and a rattle in the other. Upon his right hand was Industry, with a lamp burning before her; and on his left, Caprice, with a monkey sitting on her shoulder. Before his feet there stood an altar of a very odd make, which, as I afterwards found, was shaped in that manner to comply with the inscription that surrounded it. Upon the altar there lay several offerings of axes, wings, and eggs, cut in paper, and inscribed with verses. The temple was filled with votaries, who applied themselves to different diversions, as their fancies directed them. In one part of it I saw a regiment of Anagrams, who were continually in motion, turning to the right or to the left, facing about, doubling their ranks, shifting their stations, and throwing themselves into all the figures and countermarches of the most changeable and perplexed exercise.