figures, the sober retrenchments of his sense, which always leaves somewhat to gratify our imagination, on which it may enlarge at pleasure; but, above all, the elegance of his expressions, and the harmony of his numbers. For, as I have said in a former dissertation, the words are in poetry what the colors are in painting. If the design be good, and the draught be true, the coloring is the first beauty that strikes the eye. Spenser and Milton are the nearest, in English, to Virgil and Horace in the Latin; and I have endeavor'd to form my style by imitating their masters. I will farther own to you, my Lord, that my chief ambition is to please those readers who have discernment enough to prefer Virgil before any other poet in the Latin tongue. Such spirits as he desir'd to please, such would I choose for my judges, and would stand or fall by them alone. Segrais has distinguish'd 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 pleas'd.) In the lowest form he places those whom he calls les petits esprits; such things as are our uppergallery audience in a playhouse, 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 Parliamentmen, we know already who would carry it. But, tho' 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 naturaliz'd; who have not land of two pounds per annum in Parnassus, and therefore are not privileg'd to poll. 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; and when the torrent from the mountains falls no more, the swelling writer is reduc'd into his shallow bed, like the Mançanares at Madrid, with scarce water to moisten his own pebbles. There are a middle sort of readers, (as we hold there is a middle state of souls,)

such as have a farther insight than the former, yet have not the capacity of judging right; for I speak not of those who are brib'd by a party, and know better, if they were not corrupted; but I mean a company of warm young men, who are not yet arriv'd so far as to discern the difference betwixt fustian, or ostentatious sentences, and the true sublime. These are above liking Martial, or Owen's Epigrams, but they would certainly set Virgil below Statius or Lucan. I need not say their poets are of the same paste with their admirers. They affect greatness in all they write; but 't is a bladder'd greatness, like that of the vain man whom Seneca describes; an ill habit of body, full of humors, and swell'd with dropsy. Even these too desert their authors, as their judgment ripens. The young gentlemen themselves are commonly misled by their pædagogue at school, their tutor at the university, or their governor in their travels. And many of those three sorts are the most positive blockheads in the world. How many of those flatulent writers have I known who have sunk in their reputation after seven or eight editions of their works! for indeed they are poets only for young men. They had great success at their first appearance; but, not being of God, as a wit said formerly, they could not stand.

I have already nam'd two sorts of judges; but Virgil wrote for neither of them: and, by his example, I am not ambitious of pleasing the lowest or the middle form of readers.

He chose to please the most judicious, souls of the highest rank and truest understanding. These are few in number; but whoever is so happy as to gain their approbation can never lose it, because they never give it blindly. Then they have a certain magnetism in their judgment, which attracts others to their sense. Every day they gain some new proselyte, and in time become the Church. For this reason, a wellweigh'd judicious poem, which at its first appearance gains no more upon the world than to be just receiv'd, and rather not blam'd than much applauded, insinuates itself by insensible degrees into the liking of the reader: the more he studies it, the more it grows upon him; every time he takes it up, he discovers some new graces in it. And whereas poems which are produc'd by the vigor of imagination only,

have a gloss upon them at the first which time wears off, the works of judgment are like the diamond; the more they are polish'd, the more luster they receive. Such is the difference betwixt Virgil's Eneis and Marini's Adone. And, if I may be allow'd to change the metaphor, I would say that Virgil is like the Fame which he describes:

Mobilitate viget, viresque acquirit eundo.

Such a sort of reputation is my aim, tho' in a far inferior degree, according to my motto in the title-page: Sequiturque patrem non passibus æquis: and therefore I appeal to the highest court of judicature, like that of the peers, of which your Lordship is so great an ornament.

Without this ambition which I own, of desiring to please the judices natos, I could never have been able to have done anything at this age, when the fire of poetry is commonly extinguish'd in other men. Yet Virgil has given me the example of Entellus for my encouragement: when he was well heated, the younger champion could not stand before him. And we find the elder contended not for the gift, but for the honor: nec dona moror. For Dampier has inform'd us, in his Voyages, that the air of the country which produces gold is never wholesome.

I had long since consider'd that the way to please the best judges is not to translate a poet literally, and Virgil least of any other. For, his peculiar beauty lying in the choice of words, I am excluded from it by the narrow compass of our heroic verse, unless I would make use of monosyllables only, and those clogg'd with consonants, which are the dead weight of our mother tongue. 'Tis possible, I confess, tho' it rarely happens, that a verse of monosyllables may sound harmoniously; and some examples of it I have seen. My first line of the Eneis is not harsh:

Arms, and the man I sing, who, forc'd by fate, &c.

But a much better instance may be given from the last line of Manilius, made English by our learned and judicious Mr. Creech:

Nor could the world have borne so fierce a flame

where the many liquid consonants are plac'd so artfully that they give a pleasing sound to the words, tho' they are all of one syllable.

'T is true, I have been sometimes forc'd upon it in other places of this work; but I never did it out of choice: I was either in haste, or Virgil gave me no occasion for the ornament of words; for it seldom happens but a monosyllable line turns verse to prose; and even that prose is rugged and unharmonious. Philarchus, I remember, taxes Balzac for placing twenty monosyllables in file, without one dissyllable betwixt them. The way I have taken is not so strait as metaphrase, nor so loose as paraphrase: some things too I have omitted, and sometimes have added of my own. Yet the omissions, I hope, are but of circumstances, and such as would have no grace in English; and the additions, I also hope, are easily deduc'd from Virgil's sense. They will seem (at least I have the vanity to think so) not stuck into him, but growing out of him. He studies brevity more than any other poet; but he had the advantage of a language wherein much may be comprehended in a little space. We, and all the modern tongues, have more articles and pronouns, besides signs of tenses and cases, and other barbarities on which our speech is built by the faults of our forefathers. The Romans founded theirs upon the Greek: and the Greeks, we know, were laboring many hundred years upon their language before they brought it to perfection. They rejected all those signs, and cut off as many articles as they could spare; comprehending in one word what we are constrain'd to express in two; which is one reason why we cannot write so concisely as they have done. The word pater, for example, signifies not only a father, but your father, my father, his or her father, all included in a word.

This inconvenience is common to all modern tongues; and this alone constrains us to employ more words than the ancients needed. But having before observ'd that Virgil endeavors to be short, and at the same time elegant, I pursue the excellence and forsake the brevity. For there he is like ambergris, a rich perfume, but of so close and glutinous a body that it must be open'd with inferior scents of musk or

civet, or the sweetness will not be drawn out into another language.

On the whole matter, I thought fit to steer betwixt the two extremes of paraphrase and literal translation; to keep as near my author as I could, without losing all his graces, the most eminent of which are in the beauty of his words; and those words, I must add, are always figurative. Such of these as would retain their elegance in our tongue, I have endeavor'd to graff on it; but most of them are of necessity to be lost, because they will not shine in any way but their own. Virgil has sometimes two of them in a line; but the scantiness of our heroic verse is not capable of receiving more than one; and that too must expiate for many others which have none. Such is the difference of the languages, or such my want of skill in choosing words. Yet I may presume to say, and I hope with as much reason as the French translator, that, taking all the materials of this divine author, I have endeavor'd to make Virgil speak such English as he would himself have spoken, if he had been born in England, and in this present age. I acknowledge, with Segrais, that I have not succeeded in this attempt according to my desire; yet I shall not be wholly without praise, if in some sort I may be allow'd to have copied the clearness, the purity, the easiness, and the magnificence of his style. But I shall have occasion to speak farther on this subject before I end the preface.

When I mention'd the Pindaric line, I should have added that I take another license in my verses; for I frequently make use of triplet rhymes, and for the same reason, because they bound the sense. And therefore I generally join these two licenses together, and make the last verse of the triplet a Pindaric: for, besides the majesty which it gives, it confines the sense within the barriers of three lines, which would languish if it were lengthen'd into four. Spenser is my example for both these privileges of English verses; and Chapman has follow'd him in his translation of Homer. Mr. Cowley has given in to them after both; and all succeeding writers after him. I regard them now as the Magna Charta of heroic poetry, and am too much an Englishman to lose what my ancestors have gain'd for me. Let the French and Italians value themselves on their regularity; strength and