If a painter should wish to unite a horse’s neck to a human head, and spread a variety of plumage over limbs [of different animals] taken from every part [of nature], so that what is a beautiful woman in the upper part terminates unsightly in an ugly fish below; could you, my friends, refrain from laughter, were you admitted to such a sight? Believe, ye Pisos, the book will be perfectly1 like such a picture, the ideas of which, like a sick man’s dreams, are all vain and fictitious2: so that neither head nor foot can correspond to any one form. “Poets and painters [you will say] have ever had equal authority for attempting any thing.” We are conscious of this, and this privilege we demand and allow in turn: but not to such a degree, that the tame should associate with the savage3; nor that serpents should be coupled with birds, lambs with tigers.
In pompous4 introductions, and such as promise a great deal, it generally happens that one or two verses of purple patch-work, that may make a great show, are tagged on; as when the grove5 and the altar of Diana and the meandering6 of a current hastening through pleasant fields, or the river Rhine, or the rainbow is described. But here there was no room for these [fine things]: perhaps, too, you know how to draw a cypress7: but what is that to the purpose, if he, whe is painted for the given price, is [to be represented as] swimming hopeless out of a shipwreck8? A large vase at first was designed: why, as the wheel revolves10, turns out a little pitcher11? In a word, be your subject what it will, let it be merely simple and uniform.
The great majority of us poets, father, and youths worthy13 such a father, are misled by the appearance of right. I labor14 to be concise15, I become obscure: nerves and spirit fail him, that aims at the easy: one, that pretends to be sublime16, proves bombastical: he who is too cautious and fearful of the storm, crawls along the ground: he who wants to vary his subject in a marvelous manner, paints the dolphin in the woods, the boar in the sea. The avoiding of an error leads to a fault, if it lack skill.
A statuary about the Aemilian school shall of himself, with singular skill, both express the nails, and imitate in brass17 the flexible hair; unhappy yet in the main, because he knows not how to finish a complete piece. I would no more choose to be such a one as this, had I a mind to compose any thing, than to live with a distorted nose, [though] remarkable18 for black eyes and jetty hair.
Ye who write, make choice of a subject suitable to your abilities; and revolve9 in your thoughts a considerable time what your strength declines, and what it is able to support. Neither elegance19 of style, nor a perspicuous disposition20, shall desert the man, by whom the subject matter is chosen judiciously21.
This, or I am mistaken, will constitute the merit and beauty of arrangement, that the poet just now say what ought just now to be said, put off most of his thoughts, and waive22 them for the present.
In the choice of his words, too, the author of the projected poem must be delicate and cautious, he must embrace one and reject another: you will express yourself eminently23 well, if a dexterous24 combination should give an air of novelty to a well-known word. If it happen to be necessary to explain some abstruse25 subjects by new invented terms; it will follow that you must frame words never heard of by the old-fashioned Cethegi: and the license26 will be granted, if modestly used: and the new and lately-formed words will have authority, if they descend27 from a Greek source, with a slight deviation28. But why should the Romans grant to Plutus and Caecilius a privilege denied to Virgil and Varius? Why should I be envied, if I have it in my power to acquire a few words, when the language of Cato and Ennius has enriched our native tongue, and produced new names of things? It has been, and ever will be, allowable to coin a word marked with the stamp in present request. As leaves in the woods are changed with the fleeting30 years; the earliest fall off first: in this manner words perish with old age, and those lately invented nourish and thrive, like men in the time of youth. We, and our works, are doomed31 to death: Whether Neptune32, admitted into the continent, defends our fleet from the north winds, a kingly work; or the lake, for a long time unfertile and fit for oars33, now maintains its neighboring cities and feels the heavy plow34; or the river, taught to run in a more convenient channel, has changed its course which was so destructive to the fruits. Mortal works must perish: much less can the honor and elegance of language be long-lived. Many words shall revive, which now have fallen off; and many which are now in esteem35 shall fall off, if it be the will of custom, in whose power is the decision and right and standard of language.
Homer has instructed us in what measure the achievements of kings, and chiefs, and direful war might be written.
Plaintive36 strains originally were appropriated to the unequal numbers [of the elegiac]: afterward37 [love and] successful desires were included. Yet what author first published humble38 elegies39, the critics dispute, and the controversy40 still waits the determination of a judge.
Rage armed Archilochus with the iambic of his own invention. The sock and the majestic41 buskin assumed this measure as adapted for dialogue, and to silence the noise of the populace, and calculated for action.
To celebrate gods, and the sons of gods, and the victorious42 wrestler43, and the steed foremost in the race, and the inclination44 of youths, and the free joys of wine, the muse45 has alotted to the lyre.
If I am incapable46 and unskilful to observe the distinction described, and the complexions47 of works [of genius], why am I accosted49 by the name of “Poet?” Why, out of false modesty50, do I prefer being ignorant to being learned?
A comic subject will not be handled in tragic51 verse: in like manner the banquet of Thyestes will not bear to be held in familiar verses, and such as almost suit the sock. Let each peculiar52 species [of writing] fill with decorum its proper place. Nevertheless sometimes even comedy exalts53 her voice, and passionate54 Chremes rails in a tumid strain: and a tragic writer generally expresses grief in a prosaic55 style. Telephus and Peleus, when they are both in poverty and exile, throw aside their rants56 and gigantic expressions if they have a mind to move the heart of the spectator with their complaint.
It is not enough that poems be beautiful; let them be tender and affecting, and bear away the soul of the auditor57 whithersoever they please. As the human countenance58 smiles on those that smile, so does it sympathize with those that weep. If you would have me weep you must first express the passion of grief yourself; then, Telephus or Peleus, your misfortunes hurt me: if you pronounce the parts assigned you ill, I shall either fall asleep or laugh.
Pathetic accents suit a melancholy59 countenance; words full of menace, an angry one; wanton expressions, a sportive look; and serious matter, an austere60 one. For nature forms us first within to every modification61 of circumstances; she delights or impels62 us to anger, or depresses us to the earth and afflicts63 us with heavy sorrow: then expresses those emotions of the mind by the tongue, its interpreter. If the words be discordant64 to the station of the speaker, the Roman knights65 and plebians will raise an immoderate laugh. It will make a wide difference, whether it be Davus that speaks, or a hero; a man well-stricken in years, or a hot young fellow in his bloom; and a matron of distinction, or an officious nurse; a roaming merchant, or the cultivator of a verdant66 little farm; a Colchian, or an Assyrian; one educated at Thebes, or one at Argos.
You, that write, either follow tradition, or invent such fables67 as are congruous to themselves. If as poet you have to represent the renowned68 Achilles; let him be indefatigable69, wrathful, inexorable, courageous70, let him deny that laws were made for him, let him arrogate71 every thing to force of arms. Let Medea be fierce and untractable, Ino an object of pity, Ixion perfidious72, Io wandering, Orestes in distress73.
If you offer to the stage any thing unattempted, and venture to form a new character; let it be preserved to the last such as it set out at the beginning, and be consistent with itself. It is difficult to write with propriety74 on subjects to which all writers have a common claim; and you with more prudence75 will reduce the Iliad into acts, than if you first introduce arguments unknown and never treated of before. A public story will become your own property, if you do not dwell upon the whole circle of events, which is paltry76 and open to every one; nor must you be so faithful a translator, as to take the pains of rendering77 [the original] word for word; nor by imitating throw yourself into straits, whence either shame or the rules of your work may forbid you to retreat.
Nor must you make such an exordium, as the Cyclic writer of old: “I will sing the fate of Priam, and the noble war.” What will this boaster produce worthy of all this gaping79? The mountains are in labor, a ridiculous mouse will be brought forth80. How much more to the purpose he, who attempts nothing improperly81? “Sing for me, my muse, the man who, after the time of the destruction of Troy, surveyed the manners and cities of many men.” He meditates82 not [to produce] smoke from a flash, but out of smoke to elicit83 fire, that he may thence bring forth his instances of the marvelous with beauty, [such as] Antiphates, Scylla, the Cyclops, and Charybdis. Nor does he date Diomede’s return from Meleager’s death, nor trace the rise of the Trojan war from [Leda’s] eggs: he always hastens on to the event; and hurries away his reader in the midst of interesting circumstances, no otherwise than as if they were [already] known; and what he despairs of, as to receiving a polish from his touch, he omits; and in such a manner forms his fictions, so intermingles the false with the true, that the middle is not inconsistent with the beginning, nor the end with the middle.
Do you attend to what I, and the public in my opinion, expect from you [as a dramatic writer]. If you are desirous of an applauding spectator, who will wait for [the falling of] the curtain, and till the chorus calls out “your plaudits;” the manners of every age must be marked by you, and a proper decorum assigned to men’s varying dispositions84 and years. The boy, who is just able to pronounce his words, and prints the ground with a firm tread, delights to play with his fellows, and contracts and lays aside anger without reason, and is subject to change every hour. The beardless youth, his guardian85 being at length discharged, joys in horses, and dogs, and the verdure of the sunny Campus Martius; pliable86 as wax to the bent87 of vice88, rough to advisers89, a slow provider of useful things, prodigal90 of his money, high-spirited, and amorous91, and hasty in deserting the objects of his passion. [After this,] our inclinations92 being changed, the age and spirit of manhood seeks after wealth, and [high] connections, is subservient93 to points of honor; and is cautious of committing any action, which he would subsequently be industrious94 to correct. Many inconviences encompass95 a man in years; either because he seeks [eagerly] for gain, and abstains96 from what he has gotten, and is afraid to make use of it; or because he transacts97 every thing in a timorous98 and dispassionate manner, dilatory99, slow in hope, remiss100, and greedy of futurity. Peevish101, querulous, a panegyrist of former times when he was a boy, a chastiser102 and censurer of his juniors. Our advancing years bring many advantages along with them. Many our declining ones take away. That the parts [therefore] belonging to age may not be given to youth, and those of a man to a boy, we must dwell upon those qualities which are joined and adapted to each person’s age.
An action is either represented on the stage, or being done elsewhere is there related. The things which enter by the ear affect the mind more languidly, than such as are submitted to the faithful eyes, and what a spectator presents to himself. You must not, however, bring upon the stage things fit only to be acted behind the scenes: and you must take away from view many actions, which elegant description may soon after deliver in presence [of the spectators]. Let not Medea murder her sons before the people; nor the execrable Atreus openly dress human entrails: nor let Progue be metamorphosed into a bird, Cadmus into a serpent. Whatever you show to me in this manner, not able to give credit to, I detest104.
Let a play which would be inquired after, and though seen, represented anew, be neither shorter nor longer than the fifth act. Neither let a god interfere105, unless a difficulty worthy a god’s unraveling should happen; nor let a fourth person be officious to speak.
Let the chorus sustain the part and manly106 character of an actor: nor let them sing any thing between the acts which is not conducive107 to, and fitly coherent with, the main design. Let them both patronize the good, and give them friendly advice, and regulate the passionate, and love to appease108 those who swell109 [with rage]: let them praise the repast of a short meal, and salutary effects of justice, laws, and peace with her open gates; let them conceal110 what is told to them in confidence, and supplicate111 and implore112 the gods that prosperity may return to the wretched, and abandon the haughty113. The flute114, (not as now, begirt with brass and emulous of the trumpet115, but) slender and of simple form, with few stops, was of service to accompany and assist the chorus, and with its tone was sufficient to fill the rows that were not as yet too crowded, where an audience, easily numbered, as being small and sober, chaste116 and modest, met together. But when the victorious Romans began to extend their territories, and an ampler wall encompassed117 the city, and their genius was indulged on festivals by drinking wine in the day-time without censure103; a greater freedom arose both, to the numbers [of poetry], and the measure [of music]. For what taste could an unlettered clown and one just dismissed from labors118 have, when in company with the polite; the base, with the man of honor? Thus the musician added now movements and a luxuriance to the ancient art, and strutting120 backward and forward, drew a length of train over the stage; thus likewise new notes were added to the severity of the lyre, and precipitate121 eloquence122 produced an unusual language [in the theater]: and the sentiments [of the chorus, then] expert in teaching useful things and prescient of futurity, differ hardly from the oracular Delphi.
The poet, who first tried his skill in tragic verse for the paltry [prize of a] goat, soon after exposed to view wild satyrs naked, and attempted raillery with severity, still preserving the gravity [of tragedy]: because the spectator on festivals, when heated with wine and disorderly, was to be amused with captivating shows and agreeable novelty. But it will be expedient123 so to recommend the bantering124, so the rallying satyrs, so to turn earnest into jest; that none who shall be exhibited as a god, none who is introduced as a hero lately conspicuous125 in regal purple and gold, may deviate126 into the low style of obscure, mechanical shops; or, [on the contrary,] while he avoids the ground, effect cloudy mist and empty jargon127. Tragedy disdaining128 to prate129 forth trivial verses, like a matron commanded to dance on the festival days, will assume an air of modesty, even in the midst of wanton satyrs. As a writer of satire130, ye Pisos, I shall never be fond of unornamented and reigning131 terms: nor shall I labor to differ so widely from the complexion48 of tragedy, as to make no distinction, whether Davus be the speaker. And the bold Pythias, who gained a talent by gulling132 Simo; or Silenus, the guardian and attendant of his pupil-god [Bacchus]. I would so execute a fiction taken from a well-known story, that any body might entertain hopes of doing the same thing; but, on trial, should sweat and labor in vain. Such power has a just arrangement and connection of the parts: such grace may be added to subjects merely common. In my judgment133 the Fauns, that are brought out of the woods, should not be too gamesome with their tender strains, as if they were educated in the city, and almost at the bar; nor, on the other hand; should blunder out their obscene and scandalous speeches. For [at such stuff] all are offended, who have a horse, a father, or an estate: nor will they receive with approbation134, nor give the laurel crown, as the purchasers of parched135 peas and nuts are delighted with.
A long syllable136 put after a short one is termed an iambus, a lively measure, whence also it commanded the name of trimeters to be added to iambics, though it yielded six beats of time, being similar to itself from first to last. Not long ago, that it might come somewhat slower and with more majesty137 to the ear, it obligingly and contentedly138 admitted into its paternal139 heritage the steadfast140 spondees; agreeing however, by social league, that it was not to depart from the second and fourth place. But this [kind of measure] rarely makes its appearance in the notable trimeters of Accius, and brands the verse of Ennius brought upon the stage with a clumsy weight of spondees, with the imputation141 of being too precipitate and careless, or disgracefully accuses him of ignorance in his art.
It is not every judge that discerns inharmonious verses, and an undeserved indulgence is [in this case] granted to the Roman poets. But shall I on this account run riot and write licentiously142? Or should not I rather suppose, that all the world are to see my faults; secure, and cautious [never to err] but with hope of being pardoned? Though, perhaps, I have merited no praise, I have escaped censure.
Ye [who are desirous to excel,] turn over the Grecian models by night, turn them by day. But our ancestors commended both the numbers of Plautus, and his strokes of pleasantry; too tamely, I will not say foolishly, admiring each of them; if you and I but know how to distinguish a coarse joke from a smart repartee143, and understand the proper cadence144, by [using] our fingers and ears.
Thespis is said to have invented a new kind of tragedy, and to have carried his pieces about in carts, which [certain strollers], who had their faces besmeared with lees of wine, sang and acted. After him Aeschylus, the inventor of the vizard mask and decent robe, laid the stage over with boards of a tolerable size, and taught to speak in lofty tone, and strut119 in the buskin. To these succeeded the old comedy, not without considerable praise: but its personal freedom degenerated145 into excess and violence, worthy to be regulated by law; a law was made accordingly, and the chorus, the right of abusing being taken away, disgracefully became silent.
Our poets have left no species [of the art] unattempted; nor have those of them merited the least honor, who dared to forsake146 the footsteps of the Greeks, and celebrate domestic facts; whether they have instructed us in tragedy, of comedy. Nor would Italy be raised higher by valor147 and feats148 of arms, than by its language, did not the fatigue149 and tediousness of using the file disgust every one of our poets. Do you, the decendants of Pompilius, reject that poem, which many days and many a blot150 have not ten times subdued151 to the most perfect accuracy. Because Democritus believes that genius is more successful than wretched art, and excludes from Helicon all poets who are in their senses, a great number do not care to part with their nails or beard, frequent places of solitude152, shun153 the baths. For he will acquire, [he thinks,] the esteem and title of a poet, if he neither submits his head, which is not to be cured by even three Anticyras, to Licinius the barber. What an unlucky fellow am I, who am purged154 for the bile in spring-time! Else nobody would compose better poems; but the purchase is not worth the expense. Therefore I will serve instead of a whetstone, which though not able of itself to cut, can make steel sharp: so I, who can write no poetry myself, will teach the duty and business [of an author]; whence he may be stocked with rich materials; what nourishes and forms the poet; what gives grace, what not; what is the tendency of excellence155, what that of error.
To have good sense, is the first principle and fountain of writing well. The Socratic papers will direct you in the choice of your subjects; and words will spontaneously accompany the subject, when it is well conceived. He who has learned what he owes to his country, and what to his friends; with what affection a parent, a brother, and a stranger, are to be loved; what is the duty of a senator, what of a judge; what the duties of a general sent out to war; he, [I say,] certainly knows how to give suitable attributes to every character. I should direct the learned imitator to have a regard to the mode of nature and manners, and thence draw his expressions to the life. Sometimes a play, that is showy with common-places, and where the manners are well marked, though of no elegance, without force or art, gives the people much higher delight and more effectually commands their attention, than verse void of matter, and tuneful trifles.
To the Greeks, covetous156 of nothing but praise, the muse gave genius; to the Greeks the power of expressing themselves in round periods. The Roman youth learn by long computation to subdivide157 a pound into an hundred parts. Let the son of Albinus tell me, if from five ounces one be subtracted, what remains158? He would have said the third of a pound. — Bravely done! you will be able to take care of your own affairs. An ounce is added: what will that be? Half a pound. When this sordid159 rust160 and hankering after wealth has once tainted161 their minds, can we expect that such verses should be made as are worthy of being anointed with the oil of cedar162, and kept in the well-polished cypress?
Poets wish either to profit or to delight; or to deliver at once both the pleasures and the necessaries of life. Whatever precepts163 you give, be concise; that docile164 minds may soon comprehend what is said, and faithfully retain it. All superfluous165 instructions flow from the too full memory. Let what ever is imagined for the sake of entertainment, have as much likeness166 to truth as possible; let not your play demand belief for whatever [absurdities] it is inclinable [to exhibit]: nor take out of a witch’s belly167 a living child that she had dined upon. The tribes of the seniors rail against every thing that is void of edification: the exalted168 knights disregard poems which are austere. He who joins the instructive with the agreeable, carries off every vote, by delighting and at the same time admonishing169 the reader. This book gains money for the Sosii; this crosses the sea, and continues to its renowned author a lasting170 duration.
Yet there are faults, which we should be ready to pardon: for neither does the string [always] form the sound which the hand and conception [of the performer] intends, but very often returns a sharp note when he demands a flat; nor will the bow always hit whatever mark it threatens. But when there is a great majority of beauties in a poem, I will not be offended with a few blemishes171, which either inattention has dropped, or human nature has not sufficiently172 provided against. What therefore [is to be determined173 in this matter]? As a transcriber174, if he still commits the same fault though he has been reproved, is without excuse; and the harper who always blunders on the same string, is sure to be laughed at; so he who is excessively deficient175 becomes another Choerilus; whom, when I find him tolerable in two or three places, I wonder at with laughter; and at the same time am I grieved whenever honest Homer grows drowsy176? But it is allowable, that sleep should steal upon [the progress of] a king work.
As is painting, so is poetry: some pieces will strike you more if you stand near, and some, if you are at a greater distance: one loves the dark; another, which is not afraid of the critic’s subtle judgment, chooses to be seen in the light; the one has pleased once, the other will give pleasure if ten times repeated.
O ye elder of the youths, though you are framed to a right judgment by your father’s instructions, and are wise in yourself, yet take this truth along with you, [and] remember it; that in certain things a medium and tolerable degree of eminence177 may be admitted: a counselor178 and pleader at the bar of the middle rate is far removed from the merit of eloquent179 Messala, nor has so much knowledge of the law as Casselius Aulus, but yet he is in request; [but] a mediocrity in poets neither gods, nor men, nor [even] the booksellers’ shops have endured. As at an agreeable entertainment discordant music, and muddy perfume, and poppies mixed with Sardinian honey give offense180, because the supper might have passed without them; so poetry, created and invented for the delight of our souls, if it comes short ever so little of the summit, sinks to the bottom.
He who does not understand the game, abstains from the weapons of the Campus Martius: and the unskillful in the tennis-ball, the quoit, and the troques keeps himself quiet; lest the crowded ring should raise a laugh at his expense: notwithstanding this, he who knows nothing of verses presumes to compose. Why not! He is free-born, and of a good family; above all, he is registered at an equestrian181 sum of moneys, and clear from every vice. You, [I am persuaded,] will neither say nor do any thing in opposition182 to Minerva: such is your judgment, such your disposition. But if ever you shall write anything, let it be submitted to the ears of Metius [Tarpa], who is a judge, and your father’s, and mine; and let it be suppressed till the ninth year, your papers being held up within your own custody183. You will have it in your power to blot out what you have not made public: a word ice sent abroad can never return.
Orpheus, the priest and Interpreter of the gods, deterred184 the savage race of men from slaughters185 and inhuman186 diet; once said to tame tigers and furious lions: Amphion too, the builder of the Theban wall, was said to give the stones moon with the sound of his lyre, and to lead them whithersover he would, by engaging persuasion187. This was deemed wisdom of yore, to distinguish the public from private weal; things sacred from things profane188; to prohibit a promiscuous189 commerce between the sexes; to give laws to married people; to plan out cities; to engrave190 laws on [tables of] wood. Thus honor accrued191 to divine poets, and their songs. After these, excellent Homer and Tyrtaeus animated192 the manly mind to martial193 achievements with their verses. Oracles194 were delivered in poetry, and the economy of life pointed195 out, and the favor of sovereign princes was solicited196 by Pierian drains, games were instituted, and a [cheerful] period put to the tedious labors of the day; [this I remind you of,] lest haply you should be ashamed of the lyric198 muse, and Apollo the god of song.
It has been made a question, whether good poetry be derived199 from nature or from art. For my part, I can neither conceive what study can do without a rich [natural] vein200, nor what rude genius can avail of itself: so much does the one require the assistance of the other, and so amicably201 do they conspire202 [to produce the same effect]. He who is industrious to reach the wished-for goal, has done and suffered much when a boy; he has sweated and shivered with cold; he has abstained203 from love and wine; he who sings the Pythian strains, was a learner first, and in awe204 of a master. But [in poetry] it is now enough for a man to say of himself: “I make admirable verses: a murrain seize the hindmost: it is scandalous for me to be outstripped205, and fairly to Acknowledge that I am ignorant of that which I never learned.”
As a crier who collects the crowd together to buy his goods, so a poet rich in land, rich in money put out at interest, invites flatterers to come [and praise his works] for a reward. But if he be one who is well able to set out an elegant table, and give security for a poor man, and relieve when entangled206 in glaomy law-suits; I shall wonder if with his wealth he can distinguish a true friend from false one. You, whether you have made, or intend to make, a present to any one, do not bring him full of joy directly to your finished verses: for then he will cry out, “Charming, excellent, judicious,” he will turn pale; at some parts he will even distill207 the dew from his friendly eyes; he will jump about; he will beat the ground [with ecstasy]. As those who mourn at funerals for pay, do and say more than those that are afflicted208 from their hearts; so the sham78 admirer is more moved than he that praises with sincerity209. Certain kings are said to ply197 with frequent bumpers210, and by wine make trial of a man whom they are sedulous211 to know whether he be worthy of their friendship or not. Thus, if you compose verses, let not the fox’s concealed212 intentions impose upon you.
If you had recited any thing to Quintilius, he would say, “Alter, I pray, this and this:” if you replied, you could do it no better, having made the experiment twice or thrice in vain; he would order you to blot out, and once more apply to the anvil213 your ill-formed verses: if you choose rather to defend than correct a fault, he spent not a word more nor fruitless labor, but you alone might be fond of yourself and your own works, without a rival. A good and sensible man will censure spiritless verses, he will condemn214 the rugged215, on the incorrect he will draw across a black stroke with his pen; he will lop off ambitious [and redundant] ornaments216; he will make him throw light on the parts that are not perspicuous; he will arraign217 what is expressed ambiguously; he will mark what should be altered; [in short,] he will be an Aristarchus: he will not say, “Why should I give my friend offense about mere12 trifles?” These trifles will lead into mischiefs218 of serious consequence, when once made an object of ridicule219, and used in a sinister220 manner.
Like one whom an odious221 plague or jaundice, fanatic222 phrensy or lunacy, distresses223; those who are wise avoid a mad poet, and are afraid to touch him; the boys jostle him, and the incautious pursue him. If, like a fowler intent upon his game, he should fall into a well or a ditch while he belches224 out his fustian225 verses and roams about, though he should cry out for a long time, “Come to my assistance, O my countrymen;” not one would give himself the trouble of taking him up. Were any one to take pains to give him aid, and let down a rope; “How do you know, but he threw himself in hither on purpose?” I shall say: and will relate the death of the Sicilian poet. Empedocles, while he was ambitious of being esteemed226 an immortal227 god, in cold blood leaped into burning Aetna. Let poets have the privilege and license to die [as they please]. He who saves a man against his will, does the same with him who kills him [against his will]. Neither is it the first time that he has behaved in this manner; nor, were he to be forced from his purposes, would he now become a man, and lay aside his desire of such a famous death. Neither does it appear sufficiently, why he makes verses: whether he has defiled228 his father’s ashes, or sacrilegiously removed the sad enclosure of the vindictive229 thunder: it is evident that he is mad, and like a bear that has burst through the gates closing his den29, this unmerciful rehearser chases the learned and unlearned. And whomsoever he seizes, he fastens on and assassinates230 with recitation: a leech231 that will not quit the skin, till satiated with blood.
The End
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perfectly
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| adv.完美地，无可非议地，彻底地 | |
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fictitious
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| adj.虚构的，假设的；空头的 | |
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savage
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| adj.野蛮的；凶恶的，残暴的；n.未开化的人 | |
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pompous
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grove
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meandering
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| 蜿蜒的河流，漫步，聊天 | |
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cypress
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shipwreck
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| n.船舶失事，海难 | |
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9
revolve
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| vi.(使)旋转；循环出现 | |
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10
revolves
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| v.（使）旋转( revolve的第三人称单数 )；细想 | |
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11
pitcher
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| n.(有嘴和柄的)大水罐；(棒球)投手 | |
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12
mere
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| adj.纯粹的；仅仅，只不过 | |
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13
worthy
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| adj.(of)值得的，配得上的；有价值的 | |
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14
labor
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| n.劳动，努力，工作，劳工；分娩；vi.劳动，努力，苦干；vt.详细分析；麻烦 | |
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15
concise
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| adj.简洁的，简明的 | |
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16
sublime
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| adj.崇高的，伟大的；极度的，不顾后果的 | |
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17
brass
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| n.黄铜；黄铜器，铜管乐器 | |
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18
remarkable
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| adj.显著的，异常的，非凡的，值得注意的 | |
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19
elegance
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| n.优雅；优美，雅致；精致，巧妙 | |
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20
disposition
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| n.性情，性格；意向，倾向；排列，部署 | |
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21
judiciously
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| adv.明断地，明智而审慎地 | |
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22
waive
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| vt.放弃，不坚持(规定、要求、权力等) | |
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23
eminently
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| adv.突出地；显著地；不寻常地 | |
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24
dexterous
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| adj.灵敏的；灵巧的 | |
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25
abstruse
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| adj.深奥的，难解的 | |
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26
license
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| n.执照，许可证，特许；v.许可，特许 | |
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27
descend
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| vt./vi.传下来，下来，下降 | |
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28
deviation
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| n.背离，偏离；偏差，偏向；离题 | |
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29
den
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| n.兽穴；秘密地方；安静的小房间，私室 | |
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30
fleeting
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| adj.短暂的，飞逝的 | |
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31
doomed
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| 命定的 | |
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32
Neptune
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| n.海王星 | |
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33
oars
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| n.桨，橹( oar的名词复数 )；划手v.划（行）( oar的第三人称单数 ) | |
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34
plow
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| n.犁，耕地，犁过的地；v.犁，费力地前进[英]plough | |
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35
esteem
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| n.尊敬，尊重；vt.尊重，敬重；把…看作 | |
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36
plaintive
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| adj.可怜的，伤心的 | |
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37
afterward
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| adv.后来；以后 | |
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38
humble
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|
| adj.谦卑的，恭顺的；地位低下的；v.降低，贬低 | |
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39
elegies
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| n.哀歌，挽歌( elegy的名词复数 ) | |
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40
controversy
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| n.争论，辩论，争吵 | |
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41
majestic
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| adj.雄伟的，壮丽的，庄严的，威严的，崇高的 | |
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42
victorious
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| adj.胜利的，得胜的 | |
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43
wrestler
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| n.摔角选手，扭 | |
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44
inclination
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| n.倾斜；点头；弯腰；斜坡；倾度；倾向；爱好 | |
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45
muse
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| n.缪斯（希腊神话中的女神），创作灵感 | |
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46
incapable
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| adj.无能力的，不能做某事的 | |
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47
complexions
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| 肤色( complexion的名词复数 )； 面色； 局面； 性质 | |
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48
complexion
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| n.肤色；情况，局面；气质，性格 | |
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49
accosted
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| v.走过去跟…讲话( accost的过去式和过去分词 )；跟…搭讪；（乞丐等）上前向…乞讨；（妓女等）勾搭 | |
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50
modesty
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| n.谦逊，虚心，端庄，稳重，羞怯，朴素 | |
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51
tragic
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| adj.悲剧的，悲剧性的，悲惨的 | |
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52
peculiar
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|
| adj.古怪的，异常的；特殊的，特有的 | |
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53
exalts
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| 赞扬( exalt的第三人称单数 )； 歌颂； 提升； 提拔 | |
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54
passionate
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|
| adj.热情的，热烈的，激昂的，易动情的，易怒的，性情暴躁的 | |
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55
prosaic
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| adj.单调的，无趣的 | |
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56
rants
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| n.夸夸其谈( rant的名词复数 )；大叫大嚷地以…说教；气愤地)大叫大嚷；不停地大声抱怨v.夸夸其谈( rant的第三人称单数 )；大叫大嚷地以…说教；气愤地)大叫大嚷；不停地大声抱怨 | |
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57
auditor
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| n.审计员，旁听着 | |
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58
countenance
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| n.脸色，面容；面部表情；vt.支持，赞同 | |
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59
melancholy
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| n.忧郁，愁思；adj.令人感伤（沮丧）的，忧郁的 | |
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60
austere
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| adj.艰苦的；朴素的，朴实无华的；严峻的 | |
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61
modification
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| n.修改，改进，缓和，减轻 | |
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62
impels
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| v.推动、推进或敦促某人做某事( impel的第三人称单数 ) | |
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63
afflicts
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| 使受痛苦，折磨( afflict的名词复数 ) | |
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64
discordant
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| adj.不调和的 | |
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65
knights
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| 骑士； （中古时代的）武士( knight的名词复数 )； 骑士； 爵士； （国际象棋中）马 | |
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66
verdant
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| adj.翠绿的，青翠的，生疏的，不老练的 | |
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67
fables
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| n.寓言( fable的名词复数 )；神话，传说 | |
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68
renowned
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|
| adj.著名的，有名望的，声誉鹊起的 | |
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69
indefatigable
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|
| adj.不知疲倦的，不屈不挠的 | |
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70
courageous
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|
| adj.勇敢的，有胆量的 | |
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71
arrogate
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|
| v.冒称具有...权利，霸占 | |
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72
perfidious
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|
| adj.不忠的，背信弃义的 | |
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73
distress
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|
| n.苦恼，痛苦，不舒适；不幸；vt.使悲痛 | |
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74
propriety
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| n.正当行为；正当；适当 | |
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75
prudence
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| n.谨慎，精明，节俭 | |
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76
paltry
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|
| adj.无价值的，微不足道的 | |
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77
rendering
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| n.表现，描写 | |
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78
sham
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|
| n./adj.假冒(的)，虚伪(的) | |
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79
gaping
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|
| adj.口的；张口的；敞口的；多洞穴的v.目瞪口呆地凝视( gape的现在分词 )；张开，张大 | |
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80
forth
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|
| adv.向前；向外，往外 | |
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81
improperly
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| 不正确地，不适当地 | |
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82
meditates
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| 深思，沉思，冥想( meditate的第三人称单数 )； 内心策划，考虑 | |
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83
elicit
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| v.引出,抽出,引起 | |
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84
dispositions
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| 安排( disposition的名词复数 )； 倾向； （财产、金钱的）处置； 气质 | |
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85
guardian
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| n.监护人；守卫者，保护者 | |
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86
pliable
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|
| adj.易受影响的；易弯的；柔顺的，易驾驭的 | |
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87
bent
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| n.爱好，癖好；adj.弯的；决心的，一心的 | |
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88
vice
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| n.坏事；恶习；[pl.]台钳，老虎钳；adj.副的 | |
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89
advisers
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| 顾问，劝告者( adviser的名词复数 )； （指导大学新生学科问题等的）指导教授 | |
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90
prodigal
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|
| adj.浪费的，挥霍的，放荡的 | |
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91
amorous
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| adj.多情的；有关爱情的 | |
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92
inclinations
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| 倾向( inclination的名词复数 )； 倾斜； 爱好； 斜坡 | |
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93
subservient
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|
| adj.卑屈的，阿谀的 | |
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94
industrious
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|
| adj.勤劳的，刻苦的，奋发的 | |
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95
encompass
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| vt.围绕，包围；包含，包括；完成 | |
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96
abstains
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| 戒（尤指酒），戒除( abstain的第三人称单数 )； 弃权（不投票） | |
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97
transacts
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| v.办理（业务等）( transact的第三人称单数 )；交易，谈判 | |
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98
timorous
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| adj.胆怯的，胆小的 | |
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99
dilatory
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| adj.迟缓的，不慌不忙的 | |
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100
remiss
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| adj.不小心的，马虎 | |
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101
peevish
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| adj.易怒的，坏脾气的 | |
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102
chastiser
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| n.惩罚者，儆戒者 | |
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103
censure
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| v./n.责备；非难；责难 | |
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104
detest
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| vt.痛恨，憎恶 | |
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105
interfere
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| v.(in)干涉，干预；(with)妨碍，打扰 | |
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106
manly
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| adj.有男子气概的；adv.男子般地，果断地 | |
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107
conducive
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| adj.有益的，有助的 | |
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108
appease
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| v.安抚，缓和，平息，满足 | |
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109
swell
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| vi.膨胀，肿胀；增长，增强 | |
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110
conceal
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| v.隐藏，隐瞒，隐蔽 | |
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111
supplicate
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| v.恳求；adv.祈求地，哀求地，恳求地 | |
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112
implore
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| vt.乞求，恳求，哀求 | |
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113
haughty
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| adj.傲慢的，高傲的 | |
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114
flute
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| n.长笛；v.吹笛 | |
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115
trumpet
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| n.喇叭，喇叭声；v.吹喇叭，吹嘘 | |
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116
chaste
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| adj.贞洁的；有道德的；善良的；简朴的 | |
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117
encompassed
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| v.围绕( encompass的过去式和过去分词 )；包围；包含；包括 | |
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118
labors
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| v.努力争取(for)( labor的第三人称单数 )；苦干；详细分析；（指引擎）缓慢而困难地运转 | |
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119
strut
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| v.肿胀，鼓起；大摇大摆地走；炫耀；支撑；撑开；n.高视阔步；支柱，撑杆 | |
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120
strutting
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| 加固，支撑物 | |
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121
precipitate
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| adj.突如其来的；vt.使突然发生；n.沉淀物 | |
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122
eloquence
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| n.雄辩；口才，修辞 | |
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123
expedient
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| adj.有用的，有利的；n.紧急的办法，权宜之计 | |
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124
bantering
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|
| adj.嘲弄的v.开玩笑，说笑，逗乐( banter的现在分词 )；（善意地）取笑，逗弄 | |
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125
conspicuous
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| adj.明眼的，惹人注目的；炫耀的，摆阔气的 | |
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126
deviate
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| v.(from)背离，偏离 | |
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127
jargon
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| n.术语，行话 | |
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128
disdaining
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| 鄙视( disdain的现在分词 )； 不屑于做，不愿意做 | |
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129
prate
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| v.瞎扯，胡说 | |
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130
satire
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| n.讽刺，讽刺文学，讽刺作品 | |
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131
reigning
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| adj.统治的，起支配作用的 | |
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132
gulling
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| v.欺骗某人( gull的现在分词 ) | |
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133
judgment
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| n.审判；判断力，识别力，看法，意见 | |
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134
approbation
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| n.称赞；认可 | |
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135
parched
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| adj.焦干的；极渴的；v.（使）焦干 | |
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136
syllable
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| n.音节；vt.分音节 | |
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137
majesty
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| n.雄伟，壮丽，庄严，威严；最高权威，王权 | |
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138
contentedly
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| adv.心满意足地 | |
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139
paternal
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| adj.父亲的，像父亲的，父系的，父方的 | |
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140
steadfast
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| adj.固定的，不变的，不动摇的；忠实的；坚贞不移的 | |
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141
imputation
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| n.归罪，责难 | |
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142
licentiously
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| adv.licentious（放荡的）的变形 | |
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143
repartee
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| n.机敏的应答 | |
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144
cadence
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| n.（说话声调的）抑扬顿挫 | |
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145
degenerated
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| 衰退，堕落，退化( degenerate的过去式和过去分词 ) | |
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146
forsake
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| vt.遗弃，抛弃；舍弃，放弃 | |
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147
valor
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| n.勇气，英勇 | |
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148
feats
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| 功绩，伟业，技艺( feat的名词复数 ) | |
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149
fatigue
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| n.疲劳，劳累 | |
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150
blot
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| vt.弄脏（用吸墨纸）吸干；n.污点，污渍 | |
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151
subdued
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| adj. 屈服的，柔和的，减弱的 动词subdue的过去式和过去分词 | |
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152
solitude
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| n. 孤独; 独居,荒僻之地,幽静的地方 | |
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153
shun
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| vt.避开，回避，避免 | |
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154
purged
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| 清除（政敌等）( purge的过去式和过去分词 )； 涤除（罪恶等）； 净化（心灵、风气等）； 消除（错事等）的不良影响 | |
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155
excellence
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| n.优秀，杰出，(pl.)优点，美德 | |
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156
covetous
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| adj.贪婪的，贪心的 | |
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157
subdivide
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| vt.细分（细区分，再划分，重分，叠分，分小类） | |
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158
remains
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| n.剩余物，残留物；遗体，遗迹 | |
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159
sordid
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| adj.肮脏的，不干净的，卑鄙的，暗淡的 | |
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160
rust
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| n.锈；v.生锈；(脑子)衰退 | |
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161
tainted
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| adj.腐坏的；污染的；沾污的；感染的v.使变质( taint的过去式和过去分词 )；使污染；败坏；被污染，腐坏，败坏 | |
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162
cedar
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| n.雪松，香柏(木) | |
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163
precepts
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| n.规诫，戒律，箴言( precept的名词复数 ) | |
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164
docile
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| adj.驯服的，易控制的，容易教的 | |
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165
superfluous
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| adj.过多的，过剩的，多余的 | |
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166
likeness
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| n.相像，相似（之处） | |
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167
belly
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| n.肚子，腹部；(像肚子一样)鼓起的部分，膛 | |
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168
exalted
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| adj.(地位等)高的，崇高的；尊贵的，高尚的 | |
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169
admonishing
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| v.劝告( admonish的现在分词 )；训诫；（温和地）责备；轻责 | |
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170
lasting
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| adj.永久的，永恒的；vbl.持续，维持 | |
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171
blemishes
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| n.（身体的）瘢点( blemish的名词复数 )；伤疤；瑕疵；污点 | |
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172
sufficiently
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| adv.足够地，充分地 | |
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173
determined
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| adj.坚定的；有决心的 | |
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174
transcriber
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| 抄写者 | |
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175
deficient
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| adj.不足的，不充份的，有缺陷的 | |
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176
drowsy
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| adj.昏昏欲睡的，令人发困的 | |
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177
eminence
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| n.卓越，显赫；高地，高处；名家 | |
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178
counselor
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| n.顾问，法律顾问 | |
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179
eloquent
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| adj.雄辩的，口才流利的；明白显示出的 | |
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180
offense
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| n.犯规，违法行为；冒犯，得罪 | |
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181
equestrian
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| adj.骑马的；n.马术 | |
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182
opposition
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| n.反对，敌对 | |
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183
custody
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| n.监护，照看，羁押，拘留 | |
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184
deterred
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| v.阻止，制止( deter的过去式和过去分词 ) | |
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185
slaughters
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| v.屠杀，杀戮，屠宰( slaughter的第三人称单数 ) | |
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186
inhuman
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| adj.残忍的，不人道的，无人性的 | |
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187
persuasion
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| n.劝说；说服；持有某种信仰的宗派 | |
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188
profane
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| adj.亵神的，亵渎的；vt.亵渎，玷污 | |
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189
promiscuous
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| adj.杂乱的，随便的 | |
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190
engrave
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| vt.（在...上）雕刻，使铭记，使牢记 | |
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191
accrued
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| adj.权责已发生的v.增加( accrue的过去式和过去分词 )；（通过自然增长）产生；获得；（使钱款、债务）积累 | |
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192
animated
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| adj.生气勃勃的，活跃的，愉快的 | |
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193
martial
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| adj.战争的，军事的，尚武的，威武的 | |
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194
oracles
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| 神示所( oracle的名词复数 )； 神谕； 圣贤； 哲人 | |
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195
pointed
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| adj.尖的，直截了当的 | |
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196
solicited
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| v.恳求( solicit的过去式和过去分词 )；（指娼妇）拉客；索求；征求 | |
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197
ply
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| v.(搬运工等)等候顾客，弯曲 | |
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198
lyric
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| n.抒情诗，歌词；adj.抒情的 | |
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199
derived
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| vi.起源；由来；衍生；导出v.得到( derive的过去式和过去分词 )；（从…中）得到获得；源于；（从…中）提取 | |
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200
vein
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| n.血管，静脉；叶脉，纹理；情绪；vt.使成脉络 | |
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201
amicably
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| adv.友善地 | |
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202
conspire
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| v.密谋，（事件等）巧合，共同导致 | |
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203
abstained
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| v.戒（尤指酒），戒除( abstain的过去式和过去分词 )；弃权（不投票） | |
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204
awe
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| n.敬畏，惊惧；vt.使敬畏，使惊惧 | |
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205
outstripped
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| v.做得比…更好，（在赛跑等中）超过( outstrip的过去式和过去分词 ) | |
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206
entangled
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| adj.卷入的；陷入的；被缠住的；缠在一起的v.使某人（某物/自己）缠绕，纠缠于（某物中），使某人（自己）陷入（困难或复杂的环境中）( entangle的过去式和过去分词 ) | |
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207
distill
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| vt.蒸馏，用蒸馏法提取，吸取，提炼 | |
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208
afflicted
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| 使受痛苦，折磨( afflict的过去式和过去分词 ) | |
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209
sincerity
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| n.真诚，诚意；真实 | |
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210
bumpers
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| （汽车上的）保险杠，缓冲器( bumper的名词复数 ) | |
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211
sedulous
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| adj.勤勉的，努力的 | |
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212
concealed
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| a.隐藏的，隐蔽的 | |
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213
anvil
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| n.铁钻 | |
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214
condemn
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| vt.谴责，指责；宣判(罪犯)，判刑 | |
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215
rugged
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| adj.高低不平的，粗糙的，粗壮的，强健的 | |
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216
ornaments
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| n.装饰( ornament的名词复数 )；点缀；装饰品；首饰v.装饰，点缀，美化( ornament的第三人称单数 ) | |
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217
arraign
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| v.提讯；控告 | |
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218
mischiefs
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| 损害( mischief的名词复数 )； 危害； 胡闹； 调皮捣蛋的人 | |
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219
ridicule
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| v.讥讽，挖苦；n.嘲弄 | |
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220
sinister
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| adj.不吉利的，凶恶的，左边的 | |
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221
odious
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| adj.可憎的，讨厌的 | |
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222
fanatic
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| n.狂热者，入迷者；adj.狂热入迷的 | |
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223
distresses
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| n.悲痛( distress的名词复数 )；痛苦；贫困；危险 | |
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224
belches
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| n.嗳气( belch的名词复数 )；喷吐；喷出物v.打嗝( belch的第三人称单数 )；喷出，吐出；打（嗝）；嗳（气） | |
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225
fustian
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| n.浮夸的；厚粗棉布 | |
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226
esteemed
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| adj.受人尊敬的v.尊敬( esteem的过去式和过去分词 )；敬重；认为；以为 | |
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227
immortal
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| adj.不朽的；永生的，不死的；神的 | |
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228
defiled
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| v.玷污( defile的过去式和过去分词 )；污染；弄脏；纵列行进 | |
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229
vindictive
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| adj.有报仇心的，怀恨的，惩罚的 | |
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230
assassinates
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| v.暗杀( assassinate的第三人称单数 )；中伤；诋毁；破坏 | |
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231
leech
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| n.水蛭，吸血鬼，榨取他人利益的人；vt.以水蛭吸血；vi.依附于别人 | |
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