A DESCRIPTION OF THE ACADEMY OF THE Athenian Virtuosos: WITH A DISCOURSE held there in Vindication of Mr. Dryden's Conquest of Granada; Against the Author of the Censure of the ROTA. Tibi cor limante Mineruâ Acrius, & tenues finxerunt pectus Athenae. Nè valeam, si non multo sapit altius istud, Quod cum panticibus laxis, & cum pede grandi, Et rubro pulmone vetus, nasisque timendum, Omnia crudelis lanius per compita portat. Mart. LONDON, Printed for Maurice Atkins. 1673. A DESCRIPTION OF THE ACADEMY OF THE Athenian Virtuosos, WITH A Discourse held there in Vindication of Mr. Dryden's Conquest of Granada; Against the Author of the Censure of the ROTA. NO sooner does any person merit the bewitching name of a good Author, but he has the happiness to meet with envy; yet every one who will not spare the perishing paper deserves not this title, though he cares his Reader with those flattering Epithets of gentle, and candid, since even the Stationer sometimes circumvents your good opinion with the same appellatives. But such an Author who seems to command his fame rather than receive it from the world, he like moral virtue (which is placed between two opposites of excess and defect) shall be sure to find a Parallel opposition from two sorts of vicious Critics. I may justly style them so, the one a poor dwindled Critic, who is in that defect of wit and judgement, that his endeavour is only to be thought to have a small portion, by the detracting of them in another. The other is in that excess of conceit that he cannot forbear to discover by his own vanity his judgement to be illegitimate. Now no place abounds with more witty writers, and worse judges than this City of London, whilst true Critics are more moderate, being conscious of those peccadilloes, that every Writer as man must be subject to. They know that expert Homer sometimes may be took napping; therefore they willingly allow Poets with Painters to rove in a large field of fancy, often repeating, — hanc veniam petimusque damusque vicissim, and as wise men think themselves generally too green to ●all on and Criticise, remembering that Maxim of Longinus, a better judge sure than any of these dare ever aspire to be, 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, that Criticism must be the deliberation of much experience. But these bastard Critics without any examination convict any Author and presently suspend him: but who gave them this authority? I am sure they were never qualified for the place by Nature, or by Art; how then can any one expect the least justice from them, when their Justice only holds a sword in her hands without any scales, and may be accounted blind from her ignorance, and not from impartiality? Since than I am to speak to the Athenian Virtuosos, I hope it may be lawful to borrow two Greek words which will more emphatically denote them. There be some that damn a book 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, that is, not interpreting or understanding the Author, and these in our English tongue are called Fops, Persons whose judgement lies always in the ear never in the brain, who hear what others say, and then speak like them: they are just like an Echo, a reiterating voice, and nothing else: as Poets are painted licking up what old Homer let fall, so these lap up the Critical vomit which another has ejected. What judgement can they give of a book whose palate is solely Critical, and they were never at any time styled judges, unless when with the cusp of their tongue they could determine of the virtue or vice of a glass of Burgundy, and as one said well when he forbade any one to read his book with prejudice, or after dinner, these very persons, for these two reasons since their heads are always filled with prejudice, and the fumes of a full stomach, by all sober men are thought unfit to be of a Jury. The other sort are 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, or as they are called by others 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, persons which do not only interpret badly, which they do, but also do it wilfully. I can only fancy them a sort of vermin with very little eyes, but many teeth, and nails, who though they cannot do much harm, by reason of their weakness, yet strive to make up that want with their malice. These creatures for the most part live by gnawing of books, and never leave nibbling, till they can make some hole to discover some imperfection, whilst they deface the book of its native beauties, and expose those faults which themselves have made. Thus having showed you the malignity of these animals, being inclined by a strong habit to inhumanity, they are like butchers, not to be permitted to sit upon the life and death of an Author. Such as these who think themselves Critics, but are not so, have endeavoured to traduce the writings of Mr. Dryden, when true Critics, if they would, are ashamed to decry them, whilst others that are more modest than to be pretenders, justly admire them. As for myself, I never had the satisfaction of his acquaintance, which frees me from the suspicion of an officious vindication, yet I do know him, though far better in his Plays, and what has been my misfortune to want in the society of the father, has been some way made up in the ingenious and pleasant company of the children. Some weeks ago there came out the Dryden's Conquest of Granada, which I lightly read over, for it deserved little consideration. Indeed I was surprised at the indiscretion of the Author to venture his poor thinn Offspring to seek its Fortune in cold winter weather, but especially in such a dangerous time, when there was great need of waste Paper. Alas, how could he help his weak book, though it made sad moan, crying out Deferor in vicum vendentem thus & odores. Poor Author he imagined no harm, he only made use of the Saturnalia, as servants used to do, make bold with his betters, and so forth. Thus much I did then argue for his simplicity, finding him to be so obliging to Mr. Dryden as to pick excellencies out of his Play, on purpose to affront him, that many Readers believed, it designed by one of his best friends for a compliment to show the world, that if any one attempted to wound his honour, the Archers vanity did not so much lie in abusing his time to split an hair, as to hit a thing out of his reach. The Author of the Rota — & est mihi saepe vocandus Ad parts, has showed in his censure so little conversation with Greek and Latin, nay English Poets, as I shall prove by and by, that it is disputed by some, whether it was simplicity or madness provoked him to paint himself in colours so ridiculous. In all reason Mr. Dryden will give me little thanks, since the goodness of an ominous cause may lose much of its lustre by the badness of the Orator; yet let Mr. Dryden look on with some diversion, since he would not be himself should he seem at the least concerned, whilst his laurel which he deservedly wears has sufficient virtue to defend itself from the bruta fulmina of any loose tongue. Now give me leave to tell you, that having read the Censure, I had a great desire to find out the place where this Cabal sat: so one day meeting with one of my acquaintance, I asked him if he had read such a Pamphlet, he told me, he had lost so much time as to read it, and if I would go with him he would bring me to their Academy which was a large room in a Coffee-house kept for them, where thrice a week they met retired from company, but of late since the Printing of the Censure, they find none so hardy as to Answerer it, they have admitted a free access, with design, I believe, that they telling the threats of the Virtuosos, and with what severity the answer is sure to be handled, might deter the Writer from any further proceeding, and make him consult his safety in the throwing away of his pen▪ I very gladly embraced this news, and bid him lead the way. We came soon to the place, and somewhat too soon, for the Athenian Virtuosos, to give them their beloved title, were not yet come, and the doorkeeper said he durst not let any in, before the Virtuosos came, lest the room should be crowded, and several curiosities by handling be misplaced; but I knew what the Fellow drove at, so gently tickling him in the hand, he let us in, where we proved him a liar, by finding some company expecting, and one man with a goose-quill in his ear very busily marshalling books, paper, and pens: Ask one of the company who he was, I was answered he was Secretary to the Society; a worthy employment, thought I; and without doubt a worthy person; I presently made my address to him, desiring to know how long it would be before the Athenian Virtuosos met? The clean beast, after much chewing of the cud, answered, it would be Thirty minutes. I admired at the periphrasis of th● Secretary of the Critics, but I l●ft him, fearing to disgust the man, having more mind to view the Academy. The first thing I beheld, was o'er the chimney instead of a chimney-peice a Label held up in the beaks of two Owls, and in it these words written, The Coffee-Academy of the Athenian Virtuosos instituted by Apollo for the advancement of Gazet-Philosophy, mercury's Diurnals, etc. and underneath these words written, 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉. Having read the Label I told my Friend the design of the Owls was very natural, because they were birds sacred to Minerva, and the Virtuosos went under the notion of Athenians; but that their Academy should be under the patronage of Apollo, I thought was not regular to the traditions of poetry, nor any way agreeing with history; and I wondered that these Critics in poetry should be so over-seen. My Friend told me he admired at the absurdity, but who must judge the Critics? He proceeded with the belief, that those were not Owls, but two of the Virtuosos, since they resembled the nature of those birds, being afraid to come abroad and spy faults fairly by the light of reason, lest they should be pecked at by every puny writer, and prosecuted with all the scorn, and derision imaginable, but love to flutter about in the dark, and make a noise in the twilight of prejudice. I than asked him, why the Academy thought it fit, to place itself in a Coffee-house, since it was instituted by Apollo; it had been more agreeable to have been in a Tavern; O, said he, that may be for many reasons, first, as well to hinder expenses, as to vindicate the sober inclinations of the persons; since they intended to tax the manners of a poet as well as his writings, it was convenient at least to be hypocrites, and to disguise their own; and Coffee being esteemed by its admirers a suppresser of fumes, and a great friend to the memory, they might be so simple to hope, it would put ideas into their heads, that were never there before: he added that they were inventing a drink for their own use of Hellebore, and other ingredients, which will so refine their gross conceptions, that at length they should be rendered so acute as to make faults in the writings of any man. Or perhaps another reason is for the better divulging the fame of the Virtuosos, since persons of all qualities from all parts resorted to such places. I told him that could be no great reason, for they might hire a poor fellow for a small matter who would soon call the multitude together with a trumpet, or they might steal the Tablet from the Scrivener's shops, wherein is written, The Office of Intelligence, and hang it at their street door, where when any poet shall come in he may be certified whether any longer he shall have fame or no fame, whether that shall live or die alter death, whether poetry should be to him a rich wife or a poor wife, or whether he should have many children by her, and all this, without the help of judicial Astrology: And I further told him, I should rather call this place a Lottery than an Academy, since that was more usual in a Coffee-house, and a good poet in this place might draw twenty blanks before one prize; and I wished that speaking of false wit, as well as false news, had been liable to the punishment of the proclamation. Having paraphrased a little upon this inscription, we looked about, and beheld that on one side of the room were set up the heads of many Grammarians, and Critics, and on the other side the heads of Greek and Latin and some English poets, amongst whom I wondered at these mighty three, Hopkins, Sternhold, and Wild, D D, but I was soon pacified when I found Chaerilus amongst the Greeks, and Bathyllus amongst the Latins; and why should any good Author repine, that he is excluded, may not the Virtuosos set up whom they please, may they not set up their own heads, nay upon poles, if they please, in their own room? But I asked my Friend why Dr. Wild wore a different wreath from all the rest, when every one else had one of Bays, he had one of Herrings? My Friend told me he heard the reason of a Gentleman that was here the other night. The Author of the Censure of the Rota, you must know, is very intimate with Dr. Wild, and was with him eating of Herrings, when his Spouse run out with a herrings tail bobbing in her mouth, to receive the Letter from the Post which brought the joyful news of his Majesty's toleration. Now this Academy being instituted, and several poets heads being to be set up, a Letter was dispatched to Dr. Wild to invite him to be Prolocutor to the Virtuosos, (since it is well known, he writes as maliciously and as poorly as any of them) but in the close they asked him, since 'twas the honour the Academy intended him, whether his head should be set amongst the Critics, or the Poets, (and indeed he might very well be either) he returned them great thanks for the great honour they designed him, but as for that weighty place to be Prolocutor, he begged some time to consider on it: As to the other favour of being set up, either as Poet or Critic, he told them plainly, he was ambitious of both, and did not much care if his head was divided, and half set amongst the Poets, and half amongst the Critics; but on second thoughts, he referred all to their better judgements, with this proviso, if they should set him amongst the Poets, he might wear a wreath of Herrings, since they always brought him good luck, when he had any thing to do with them, wondering why Will. Lily could never find good omens hoarded up for him in the house of Pisces. So in fine he kissed their hands with this resolution, that he did not doubt but they would become him better than his Bays. For this reason you see him thus adorned, and I was told last night that the Academy finds him more pliant than ever, and are in great hopes of obtaining that malicious person to strengthen their party. Since he hates innocent ceremonies, and beauty in the Church, why may he not abhor them in any thing? Having wearied our eyes with these objects, we turned about, and at the end of the room were three presses, without any books in them, with Optimi written upon the first, Mediocres upon the second, and Mali upon the third, which presses I soon imagined to be the Thecae for books, as they were esteemed of by the Virtuosos. I laughing asked my Friend which he thought the worst (with leave from the Critics) either Mediocres, or Mali? But he told me it were better to let this paradox alone now, and pass on, lest we should be prevented by their coming. So walking up the room we found whole rows of teeth, and many nails sowed upon cloth, and pinned to the hanging; and looking more earnestly, I perceived that most of them were such as we call dogs teeth. I could not imagine at present that these were meant to make good my simile, I applied to them; nor did I think that the Virtuosos were Toothdrawers. Yet they would be glad that their adversaries teeth and nails were drawn, for even then a lion would be an innocent beast. But a little further we beheld many engines of torture: here indeed was the scene of death, here was one book suspended, another torn upon a tenterhook, a third dead from a stab received from a cruel Penknife; drawing nearer I found them all belonging to Mr. Dryden. Here lay Almanzor stretched upon the rack, that pain might force out words far distant from his thoughts; here the Maiden Queen lay deflowered, and there the Indian Emperor was defaced which the scratches of a barbarous stile. Whilst my Friend and I were finding a name fit to decry these most unjust proceedings, we heard the door unlock, and the doorkeeper cry out, Make room there for Aristarchus, Scribonius, and Opilius, make room I say for Hyginus, Palaemon, and Orbilius. I was amazed at these thundering names, considering whether or no, the Academy designed this for an exemplary distich; at last I remembered these were great Critics, and Grammarians, and that Orbilius was Horace's Schoolmaster, and had whipped him often for not learning his lesson in old Livius Andronicus, wherefore he was styled by him Plagosus. Now thought I, these Virtuosos imitate the Popes, As they assume the gentle names of Innocent, Clement, and Pius, when they are bloody, unmerciful, and irreligious, so these wear the names of great Grammarians, whilst they all deserve with naked posteriors to tremble under the falling rod of the fierce Orbilius. They had scarce placed themselves, when more came in, but were Anonymous, 'twas no matter, I could tell who and what they were, by this gleek of circumstances, the shrug, the shaking of the head, and tossing back the peruke with indignation: they had just reached the table, when the doorkeeper with a great deal of breath cried out, Make room for Cassus the Author of the Censure of the Rota; bless me, said I to my Friend, why is he called Cassus? Why, said he, I will tell you, he affects that name being delighted with the story of a certain poet called Cassus, who writ so much, that his very papers sufficed to burn him when he was dead; he has vowed to scribble so much if he lives. Alas, he values not the quality, so there be quantity, he is resolved to keep his vow, and to write any thing against any body: he has many general Pamphlets ready, that as soon as any new book is out with a little alteration, whip he carries them to the bookseller, he is a perfect Stubbist, who though he must for ever despair to have those parts, and that learning, yet has attained to that likeness in his will to contradict every one. I smiled at the strangeness of his humour, and whilst he was held in some serious discourse, by one as he was coming on, I wondered at the elocution of his gestures, he would so knit his brows, and work the muscles of his mouth. I assured myself he was in labour, and used that midwifery to bring his imaginations to the birth: when he was delivered, he was a great enemy to the man's buttons, and would so stare in his face, forcing him to a smile, which he took for approbation, when the poor man did it only to be rid of him. Being sat down he bid the Secretary bring the teeth and the nails; at this I concluded that these Critics really used them in biting, and tearing other men's works; and I was confirmed in this opinion, when I perceived every one busy, but most of all Cassus, setting some of the sharpest of them into his upper jaw, where I presume he had lately broke some of them out in meddling with some piece of Mr. Dryden's Conquest of Granada, that proved too hard for his teeth. Now every one having fitted himself with tusks, and talons, Aristarchus rose up, and made a short speech. It was an Encomium upon the Virtuosos, and the happiness of this age, wherein such judicious persons had taken the great trouble, for the benefit of mankind, to give each Poet that desert which their examination should allow him. After this Scribonius told them, that Mr. Dryden derided their Censure, and held the Virtuosos in that contempt, as if they were not; Does he so, says Cassus, does Almanzor despise those that would reclaim his rage? I would Mr. Dryden were here, or any of his admirers to speak for him▪ Secretary, bring hither his Conquest of Granada, and there I could show him innumerable Erratas; which that he opened the Play, and scratching the leaves very carelessly, cried out, here's a fault, and there's a fault, where is there not a fault, if we will make them so, dares he, or any one deny it? At this dull impertinency, I could not forbear smiling; which Cassus perceiving, asked me, if I would be so bold as to defend him? I told him, if he would draw up Mr. Dryden's faults under some heads that I might make my plea, I would endeavour to take off his objections. Why then, said he, if you have prepended my Censure, as I cogitate you have, you may there animadvert, that the Author Scholastically prosecutes Mr. Dryden dupliciter. Primò▪ for the irrationality of the transcendentality of his Idaea's. Secundò, for his superbosity, in prostrating the fame of defunct, and breathing Authors. I was so startled to hear Cassus alter his stile, that turning about to ask what tongue he spoke in, my Friend imagining my surprise told me in my ear, that Cassus was a great Term-driver, and had two ways of speaking, the one more moderate, as I had heard, and this last was in use, when he would stupify a shopkeeper, confound a chambermaid, or puzzle his antagonist. Having now considered the meaning, I told him, if I might obtain a patient ear, I would make some answer. At this, Cassus called for his breastplate, on which was writ, The Author of the Censure of the Rota: is served both for pride and for defence, I wish he would wear it always in the streets, for than if he should chance to lose his way, he would never be lost, but be sent home by a Beadle safe to the Academy. Having armed himself, Eja age, said he, if you will act in any Hypothesis dissentaneous to this famous Circle, I myself provocate to a contrary ratiocination, and Cassi gratiâ the Virtuosos will give you auscultation. After I had blowed my nose, I thus began. Your first objection (O Virtuosos Athenian) is in the language of Cassus against the irrationality of the transcendentality of Mr. Dryden's Ideas, which for my countrymen take, I thus faithfully render into English, against the unreasonable extravagance of Mr. Dryden's conceptions, which ye have striven with much labour to find in his Conquest of Granada: so whilst I am defending that, I shall all the while vindicate an Heroic Poem, which must be by showing you, what the Masters of Poetry esteem to be its latitude, in what consists its grandeur, and what renders it uncapable of that title. As for its latitude, I must lay down before you the definition of its subject, which is Heroic virtue. By Aristotle it is called divine, not because it was peculiar to the Gods, but when a man was endued with this virtue, it elevated him above mankind, and as much as humane nature could bear, it rendered him like a Deity; therefore it is defined by the best Moralists, a habit of mind not attained by humane industry, but inspired from above, to undergo great actions with an irresistible violence, and a most happy success, which other mortals were not able to perform. Without doubt Mr. Dryden made his Almanzor after this original, making him to do things above nature though not against it, placing in his soul humanity and fierceness mingled together, and him in a sphere rather nearer the Hero of Homer, than of Scudery. Not so much a Greek as to imitate Achilles in his freity, nor so Frenchified as to admire the stupidity of Oroondates in weeping at the feet of his Mistress. Since Mr. Dryden in this description has followed the precepts of Philosophy, all unprejudiced Men with reason must speak for Almanzor, that with Achilles' Mr. Dryden has rendered him invulnerable, unless his detractors by wounding him in the heel, will discover as much their fear as their baseness. I think there is no need to urge this clear point any further, but to pass on and to tell you, in what consists its grandeur. It is placed by all in a lofty stile, and in the rapture of a Poet. Look up (O Athenian Virtuosos) and see my witnesses! O Homer dost thou hear this illiterate Censure, Nec labra moves, cum mittere vocem Debueras, vel marmoreus vel aheneus? Were ye but acquainted with him he would tell ye, that he makes his Achilles speak 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 winged words. Ask but Pindar, he will assure you that he never adorns his Heroes but he must let fly expressions, which which he calls Olymp. 9 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 arrows, which do in another place 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 make a noise. Surely if we had not lost his paeans, his dithyrambicks, or his trag●●dies, we should have found in them far bolder flights. Yet the generous Thebans thought his numbers only lofty, never extravagant. The divinity of such well built lines crowned him even whilst he lived, and saved his house when he was dead. This mighty spirit of Poetry is admired in Alcaeus, and styled by Dion. Halicarnasseus in as mighty words, 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉. Consider the mighty spirit of Alcaeus, what sweetness there is even in its terror. This is that which Virgil aims at, when he says, — Paulo majora canamus. And Lucan when he says, Surgat mihi carminis ordo. This is that which Horace names serm. 10. lib. 1. Forte epos, a strong Heroic verse. For this, Martial praises Virgil calling him Cothurnatus, and his Heroic Poem lib. 5. Grande opus. juvenal describes such a Poet with the title of egregius, and with Sat. 7. qualem nequeo monstrare, & sentio tantùm, He knew not how to express him, this made him fancy Virgil like a fury, and tells us that if he had been poor, — caderent omnes à crinibus hydri. 'Twas in this the critic Longinus said juvenal excelled 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 a pompous expression, And this is that which the judicious Greeks called 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 with a resolution, and not superficially. My last design is to lay before you what renders an Heroic Poem uncapable of its title. Pindar will tell you Olymp. 9 that if he would delineate an Hero, he must abstain from 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, from words that are flat and creeping upon the earth. Virgil says in his sixth Eclog, that Apollo admonished him in his ear as unfit to sing of Kings and battles, having used himself in his Pastorals to a humble verse, — Pastorem Tityre pingues Pascere oportet oves, deductum dicere carmen. Horace is then exalted when he speaks Nil parvum, aut humili modo. lib. 3. Ode 25. And in his Arte Poetica laughs at that Poet for not continuing his heroic Poem with the same gallantry; and for his offence brands him with, Quid dignum tanto feret hic promissor hiatu? juvenal allows a flat verse no better name than Carmen triviale. Sat. 7. And Martial hates it, call it carmen supinum. lib. 2. and presently after, Mollem debilitate Galliambon. A languid verse fit only for the mouth of Cybele's effeminate Priests. Sure what the Epigrammatist thinks unfit for himself, an Heroic Poet must be ashamed to use. These few Testimonies out of a crowd, I have produced to compliment the Academy, but if I have spoke in an unknown tongue I wish I had been better informed of your ignorance, that I might not have given myself the trouble. Therefore to speak to your capacities, I will bring all these witnesses in one, I mean the immortal Cowley, than whom none knew better to make or judge a Poem. In praising of Sr. Wm. Davenants Gondibert, he seems to characterise Mr. Dryden's Conquest of Granada. Thy mortals do their Gods excel, Taught by thy Muse to fight, and love so well. So Godlike Poets do past things rehearse, Not change, but heighten Nature, by their verse. Thus I have with hasty touches drawn out the masculine beauty of an Heroic Poem; now if this censured play of Mr. Dryden's be of itself exact and true, if it is framed by the rules of art, and keeps itself strict to the laws and canons of ancient Poets, as many of his envious enemies acknowledge, if you tear off the title page, and represent it without any relation to him, than this impertinent Censure without any violence will of itself fall to the ground, being supported by so weak a foundation as prejudice. When Critics shall be found to be like foolish Parishioners, who in themselves commend what they hear, until they look up, than they mislike the man, and by their consequence the Sermon. Thus the Conquest of Granada, as Conquest of Granada, is a very good play, but as made by Mr. Dryden fit to be exploded, when all Poets from Homer down to Ben, were esteemed good, if their Judges could ascribe to them Cicero's commendation; Pro Archia Poeta mentis viribus excitari, & quasi divino quodam spiritu afflari.) But Mr. Dryden because he goes by his own name, must not have the essence of a Poet, that is fiction, nay he must lose the portion of a son, and with quiet render up, or else those goodly fields of fancy, the uninterrupted inheritance of his forefathers must be confiscated because he has offended this Committee. His Muse must turn Quaker, or else be accounted light, she must have nothing to do with that goodly pride of figures, conceits, raptures, and sentences, without which gaudy retinue Mr. Cowley's Muse never took the air. I know the sons of the Poets have far less revenues, than their forefathers enjoyed. The Greek Poets besides the other five, had a whole dialect appropriated to themselves, they might sound out 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 without offence. This made Martial complain in his time, that they could not renew the same lease, but had lost many of their privileges; yet it was very well with them, if we consider the inconveniencies of their children, whilst the barbarous Critics of these times are so whimseycal, and so unjust, as to allow some their own freedoms, and some none. If Mr. Dryden upon necessity uses Enallage numeri when Greek and Latin commanded it, and English Poets very often make use of it, since the idiom of our tongue will bear it in prose, but better in verse, it is put down for an unpardonable enormity. I will forbear quotations to prove this known point, lest I prove myself Pedantic, and you more absurd. If Mr. Dryden, as Persius styles it, librat in Antithetis, that is, use a seeming contradiction, which in all poets is and must be esteemed wit, shall nevertheless wilfully be damned by this Academy, as in your Censure. Thus in the triumphs of soft peace I reign, And from my walls, defy the powers of Spain. O the stupidity of the Virtuosos! it would puzzle any one to imagine what they aim at here: these Critics sure have picked them out for some default, so that I am forced to imagine this. Pray observe this kind of excellency in two of the best Poets, Virg. 11. speaking of Camilla. Orsilochum fugiens, magnumque agitata per orbem Eludit gyro interior, sequiturque sequentem. Mr. Cowley in his Dau. lib. 1. speaking of writing, and as it were prophesying what this Academy, and Cassus especially intends to do; And with her spurious brood loads now the press, Laborious effects of idleness. I will add no more, though these great Poet's delight much in them, yet be it spoken to your folly, that 'tis your unhappiness to light upon an accurate verse to vilify yourselves, not him, and since 'tis drawn out, may it be applied to you all, that there were more hopes of Triumphs by peace, than by this unsuccessful war. If Mr. Dryden applies an happy Epithet 'tis traduced, as in these excellent verses, speaking of Almanzor, A gloomy smile arose From his bend brows, and still the more he heard, A more severe, and sullen joy appeared▪ which I am certain is in imitation of Virgil, where fierce Mezentius stands, Olli subridens, mixta Mezentius ira, which Mr. Cowley renders finely, with half a smile, and half a frown, or as it is in Claudian IV Cons. Honorii. — Torva voluptas Frontis, and in many places of this Poet; but I shall hasten. If Mr. Dryden makes his verse run musically, or fills it with an argument, it is called tick-tack, as thus: Know that as Selin was not won by thee, Neither will I, by Selins daughter be. Would you your hand in Selins blood imbrue, Kill him unarmed, who armed shunned killing you. whilst you are ignorant he imitates Ovid's humour in these neat numbers, Met. lib. 10. Ex omnibus unum Eloge Myrrah virum, dum non sit in omnibus unus; and again in his 9 lib. Quam bene Caune tuo poteram nurus esse parenti, Quam bene Caune meo, poter as gener esse parenti; and in his Epistles, O jove digna viro, ni jove nata fores. The Original is esteemed by all good judges, and why do you condemn the true copy, but because you are bad? If Mr. Dryden heightens the sense with a simile, it is not like to pass, when all Poets ever use it, and an Heroick proclaims with Pindar Olymp. XI. he cannot be without it. 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 That in such cases as these, men must use the descriptions of winds, and waters etc. if they do labour to bring their work to a good effect. If Mr. Dryden illustrates his Poems, with spirits and immaterial beings, this cannot disgust any one, but the Sadduces of the age, who believe they have none, since as a Poet he may lawfully make use of them: for what Heroic Poet is there either Greek or Latin, that does not introduce very often 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉: yet as a philosopher he will be defended by the Pythagorical, and Platonical opinion, which held these regions of the air under the concave of the Moon to be inhabited by Daemons. If Mr. Dryden keeps the signification of words within their limits, you will venture to call him vagabond, though you declare yourselves absolutely unacquainted with authors, or grammar, as in this fragment of a verse, Thou treadest the abyss of light. You assert here that abyss is so inconsistent with light, that 'tis scarce bright enough for its shadow, whilst by proving the contrary let the world judge, if the darkness of your understanding, does not advantage the lustre of Mr. Dryden's glory. Abyss properly signifies extreme deep waters, quasi 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 an jonick word for 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉. This Favorinus and Hesychius, this Minshaeus and Vossius with others, account the truest etymology of the word, yet with Calepine grant, that it may be usurped, as it is by the Greeks, for an epithet to signify any thing that is endless, which is proved by several Synonymous expressions of Scripture, and from St. chrysostom who calls infinite labours 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉. This shall suffice O Cassus to prove thy ignorance, and little familiarity with classic authors, whilst this discovers thy malice, in making Porphyrius an Hermaphrodite by this verse, And Daughter, I will will give him you, for wife: Where as you please Porphyrius by misplacing the notional comma is either a man or a woman. Thus like the Devil you aequivocate in your oracles, but at last like him you are found a liar. I would willingly leave off defending Mr. Dryden, when he needs it not, was he not impeached with such animosity, for his strange flights, and that it may not be lawful for him to mount lest his wings be clipped, whilst Horace tells judicious Maecenas, he is turned into a Swan, and mounts and leaves these things blow. Whilst Virgil is sweetly Hyberbolical in many places, but especially in his description of Camilla, lib. 7. Illa vel intactae segetis per summa volaret Gramina, nec teneras cursu laesisset aristas. Vel mare per medium fluctu suspensa tumenti Ferret iter, celeres nec tingeret aequore plantas. And Claudian Raptu Proser. lib. 2. says that Pluto's horses ran, Torrentius amne Hyberno, tortaque ruunt pernicius hasta; Quantum non jaculum Parthi, non impetus Austri, Non leve sollicitae mentis discurrit acumen. I will mention but one verse more of this Poet (though he is very luxuriant) in the end of the first book speaking of the same horses, Aegra soporatis spumant oblivia linguis. Which I would beg the Academy if it can to translate handsomely into English. Yet julius Scaliger gives this censure of him. Foelix in eo calor, temperatum judicium, dictio candida, numeri non affectati. I have the rather taken these Testimonies because as Virgil followed Homer, so Mr. Cowley has thought it fit to imitate them all, Horace in his Ecstasy, Virgil and Claudian in his description of Asahel, Asahel Swifter than the Northern wind, Scarce could the nimble motions of his mind Outgo his feet; so strangely would be run, That Time itself perceived not what was done. Oft o'er the lawns, and meadows would he pass His weight unknown, and harmless to the grass; Oft o'er the Sands, and hollow dust would trace Yet no one Ato●ne trouble, or deface. I am in haste, and will forget Seneca's, Tragedies, historical Lucan and Statius, because Mr. Dryden is said to borrow many things from him, lest I should seem to produce him a witness for himself; let me only bring up the rear of my witnesses with one Testimony more of the much admired Mr. Cowley in his Pindaric called the Muse, he tells her, Whatever God did say Is all thy plain, and smooth uninterrupted way. Nay even beyond his works thy voyages are known, Thou hast thousand worlds too of thine own. Thou speakest great Queen, in the same stile as He, And a new world leaps forth when thou sayest, let it be. Sure he is more fit to set the bounds of Poetry than you, since all allow a Poet the same, what he allows to Mercury, wings at head, and heel. The Poet is permitted by all to be Commune profundis Et super is numen, qui fas per limen utrumque Solus habet, geminoque facit commerica mundo. Now who are ye (O Athenian Virtuosos) that dare set these narrow limits? must the Poet like Alexander repine there are no more worlds but this of yours to move in, where he shall soon lose his feet for want of exercise? If Mr. Dryden passes your little Rubicon, must he be proclaimed an enemy by this Senate, must his verses be like Pliny's Acephali, or rather resemble his judges, all feet, and excrement, and no head? I will stop here, ye have proved yourselves, I will not make you any more riduculous, only appealing to you whether or no this Academy does not represent an Hobbian state of nature, in presuming to have as great a share in wit and judgement as others. I am at last come to my second objection, which is Mr. Dryden's superbosity in prostrating the same of defunct, and breathing Authors, which I shall thus translate, Mr. Dryden's pride in contemning dead, and living Authors. To which I shall not speak much, because I am so great a stranger to him, therefore I can only produce his own words to vindicate their Master, and if he wrongs them no more in his thoughts than in his writings he may safely plead Not guilty. In his Essays and prefaces, as he pays veneration to the dead, so he pays submission to the living: though he cannot admire any of them blindly. And it is so unjust a calumny to urge that he labours to pluck leaves from the Bayss of Ben. johnson, when he adds to them by styling him incomparable, one to be admired for many excellencies. In his preface to Maximin, he does not pretend any thing of his own to be correct, but submits his faults to the mercy of the Reader, being as little apt to defend his own errors, as to find those of others. In his defence of his Epilogue, he ascribes to dead Authors their just praises in those things where they have excelled us; and in those where we contend with them for pre-eminence, he acknowledges the advantage to the age, and not to wit. There might be produced many places which do strongly pronounce his judicious modesty: if he discovers any faults in other Poets, 'tis because his are too severely handled by others, and the reason why he does disturb the dead, is only that they would rise, and plead for him, as he professes in his Epilogue to the Conquest of Granada. 'Tis not to brand them that their faults are shown, But by their errors to excuse his own. If in the fever of his writing he has discovered any passion, the impertinency of the age is to be blamed for troubling him, otherwise he is more to be esteemed for his judgement than censured for his heat. If he tells us that johnson writ by art, Shakespeare by nature; that Beaumond had judgement, Fletcher wit, that Cowley was copious, Denham lofty, Waller smooth, he cannot be thought malicious, since he admires them, but rather skilful that he knows how to value them. Mr. Dryden shall answer in Horace's words, when he had offended many in meddling with Lucilius, Tu nihil in magno doctu● reprendis Home●●? Nil comis tragici mutat Lucilius Atti? Non ridet versus Enni gravitate minores, Quum de se loquitur, non ut majore repren●is? Martial makes a distich on Homer, for patching up his verses with 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, thought his was done grinning, yet any one may give his censure of another, so it produces nothing out candour, and judgement, as Persius gives his opinion of Horace, Omne vafer vitium ridenti Flaccus amico Tangit, & admissus circum praecordia ludit, Callidus excusso populum suspendere naso. But not like you (O Athenian Virtuosos) make 〈◊〉 where there are none. If the Fops of the age are stung, that they kick up dirt, no person can blame Mr. Dryden for lashing them, since it would grieve any one, nay it would raise the choler of any ingenious man to that degree against then, when such will be so inconsiderate, nay so absurd, to censure a Poet, whilst they themselves cannot write, and perhaps not read, with commendation. This stirred up many ancient Poets, and what Poet ever escaped such sinful examiners? It vexed Martial, that at last he told them his verses were bad, yet he challenged them to mend them, Haec mala sunt, sed tu non meliora facis. After this manner Mr. Dryden has provoked the miserable jury of this age, but much handsomer, You blame those faults, which you want wit to make. Mr. Dryden having rebated the edge of all objections that can be brought to defend your assertion, it would appear very inconsistent with modesty to allege his arguments for my own; since he has found so good, and I can find no better, and 'tis to himself he must give the thanks, that he stands armed cap-a-pee. I will no longer give my humanity the trouble, in reclaiming, if it were possible, your folly; but only acquaint you that Mr. Dryden salutes you in a Semistanza of your much honoured Hopkins. From all the sins that I have done, Lord quit me out of hand: And make me not a scorn to fools, That nothing understand. At this Cassus started up, and told me, I was saucy, not in observing that decorum, which the gravity of the place required. After some whispering the doorkeeper was commanded to clear the room, and to take special notice of me, that I might be let no more into the Academy, with the assurance that I should upon occasion be severely dealt with for this rudeness. My Friend and I departed much pleased with this scene of mirth: at his lodging we found a hypocritical pamphlet against Mr. Dryden left by his bookseller; after a short view I perceived the needy Author played the plagiary, having transcribed all those objections from Cassus, which Cassus had borrowed from the Rehearsal, whence 'tis easy to gather, that it is difficult to find fault with Mr. Dryden, when his enemies are forced to tautologize. Indeed the Burlesque way of writing is the most hopeful to abuse a good Author, since the fantastic dress tickles the Reader, and makes him laugh whether he will or no; and that the good old Axiom would hold here, corruptio optimi fit pessima. My Friend told me he was sorry we must part so soon, having appointed to meet some persons hard by, amongst whom he expected Mr. Dryden, promising me to find some other time, (if I thought it fit) to descant upon that book before us, and to divertise me with some beloved fancies of Cassus. At this I took my leave, desiring him to take his Horace with him, and to turn to serm. 10. lib. 1. where Mr. Dryden might read these verses out of his intimate acquaintance. Men' moveat cimex Pantilius? aut crucier quòd Vellicet absentem Demetrius? aut quòd ineptus Fannius Hermogenis laedat conviva Tigelli? Plotius, & Varius, Maecenas, Virgiliusque, Valgius, & probet haec Octavius optimus, atque Fuscus, & haec utinam Viscorum laudet uterque. FINIS. A Postscript. TWO things may here be enquired after, why Mr. Dryden is defended, since the unsavoury breath which proceeds from the fore-door of those windy Critics, is to be regarded no more than that of the backdoor, since they are both doomed to the same date, to live for a moment and then to expire; but if he is defended, why so late, when delay will argue heaviness, or fear; indeed I neither bit my nails nor scratched my head for this, nor will I conceit my Antagonist, like Hercules, a conqueror in his cradle, but rather, one of those Lapwing-writers, who venture to run with the shell on their backs, the conscience of which rashness has always so much deterred me, that this which was drawn up long ago for my own diversion, should have slept in quiet, if the compliance to some had not been a motive to the contrary. Yet in this skirmish, I hope his presumption may be sufficient to keep me from despair. Errata. Page 7. line 2. for Answerer, read answer, line 5. for answer, read Answerer. p. 17. line 16. r. provocate you, line 19 r. Athenian Virtuosos. p. 28. l. 8. for blow, r. below.