(1) Poesy is a part of learning in measure of words, for the most part restrained, but in all other points extremely licensed1, and doth truly refer to the imagination; which, being not tied to the laws of matter, may at pleasure join that which nature hath severed2, and sever3 that which nature hath joined, and so make unlawful matches and divorces of things — Pictoribus atque poetis, &c. It is taken in two senses in respect of words or matter. In the first sense, it is but a character of style, and belongeth to arts of speech, and is not pertinent4 for the present. In the latter, it is — as hath been said — one of the principal portions of learning, and is nothing else but feigned5 history, which may be styled as well in prose as in verse.
(2) The use of this feigned history hath been to give some shadow of satisfaction to the mind of man in those points wherein the nature of things doth deny it, the world being in proportion inferior to the soul; by reason whereof there is, agreeable to the spirit of man, a more ample greatness, a more exact goodness, and a more absolute variety, than can be found in the nature of things. Therefore, because the acts or events of true history have not that magnitude which satisfieth the mind of man, poesy feigneth acts and events greater and more heroical. Because true history propoundeth the successes and issues of actions not so agreeable to the merits of virtue6 and vice7, therefore poesy feigns8 them more just in retribution, and more according to revealed Providence9. Because true history representeth actions and events more ordinary and less interchanged, therefore poesy endueth them with more rareness and more unexpected and alternative variations. So as it appeareth that poesy serveth and conferreth to magnanimity, morality and to delectation. And therefore, it was ever thought to have some participation10 of divineness, because it doth raise and erect11 the mind, by submitting the shows of things to the desires of the mind; whereas reason doth buckle12 and bow the mind unto the nature of things. And we see that by these insinuations and congruities13 with man’s nature and pleasure, joined also with the agreement and consort14 it hath with music, it hath had access and estimation in rude times and barbarous regions, where other learning stood excluded.
(3) The division of poesy which is aptest in the propriety15 thereof (besides those divisions which are common unto it with history, as feigned chronicles, feigned lives, and the appendices of history, as feigned epistles, feigned orations16, and the rest) is into poesy narrative17, representative, and allusive18. The narrative is a mere19 imitation of history, with the excesses before remembered, choosing for subjects commonly wars and love, rarely state, and sometimes pleasure or mirth. Representative is as a visible history, and is an image of actions as if they were present, as history is of actions in nature as they are (that is) past. Allusive, or parabolical, is a narration20 applied21 only to express some special purpose or conceit22; which latter kind of parabolical wisdom was much more in use in the ancient times, as by the fables23 of AEsop, and the brief sentences of the seven, and the use of hieroglyphics25 may appear. And the cause was (for that it was then of necessity to express any point of reason which was more sharp or subtle than the vulgar in that manner) because men in those times wanted both variety of examples and subtlety26 of conceit. And as hieroglyphics were before letters, so parables27 were before arguments; and nevertheless now and at all times they do retain much life and rigour, because reason cannot be so sensible nor examples so fit.
(4) But there remaineth yet another use of poesy parabolical, opposite to that which we last mentioned; for that tendeth to demonstrate and illustrate28 that which is taught or delivered, and this other to retire and obscure it — that is, when the secrets and mysteries of religion, policy, or philosophy, are involved in fables or parables. Of this in divine poesy we see the use is authorised. In heathen poesy we see the exposition of fables doth fall out sometimes with great felicity: as in the fable24 that the giants being overthrown30 in their war against the gods, the earth their mother in revenge thereof brought forth31 Fame:—
“Illam terra parens, ira irritat Deorum,
Extremam, ut perhibent,
Coeo Enceladoque soroem,
Progenuit.”
Expounded32 that when princes and monarchs33 have suppressed actual and open rebels, then the malignity34 of people (which is the mother of rebellion) doth bring forth libels and slanders35, and taxations of the states, which is of the same kind with rebellion but more feminine. So in the fable that the rest of the gods having conspired36 to bind37 Jupiter, Pallas called Briareus with his hundred hands to his aid: expounded that monarchies38 need not fear any curbing39 of their absoluteness by mighty40 subjects, as long as by wisdom they keep the hearts of the people, who will be sure to come in on their side. So in the fable that Achilles was brought up under Chiron, the centaur41, who was part a man and part a beast, expounded ingeniously but corruptly42 by Machiavel, that it belongeth to the education and discipline of princes to know as well how to play the part of a lion in violence, and the fox in guile43, as of the man in virtue and justice. Nevertheless, in many the like encounters, I do rather think that the fable was first, and the exposition devised, than that the moral was first, and thereupon the fable framed; for I find it was an ancient vanity in Chrysippus, that troubled himself with great contention44 to fasten the assertions of the Stoics45 upon the fictions of the ancient poets; but yet that all the fables and fictions of the poets were but pleasure and not figure, I interpose no opinion. Surely of these poets which are now extant, even Homer himself (notwithstanding he was made a kind of scripture46 by the later schools of the Grecians), yet I should without any difficulty pronounce that his fables had no such inwardness in his own meaning. But what they might have upon a more original tradition is not easy to affirm, for he was not the inventor of many of them.
(5) In this third part of learning, which is poesy, I can report no deficience; for being as a plant that cometh of the lust29 of the earth, without a formal seed, it hath sprung up and spread abroad more than any other kind. But to ascribe unto it that which is due, for the expressing of affections, passions, corruptions47, and customs, we are beholding48 to poets more than to the philosophers’ works; and for wit and eloquence49, not much less than to orators’ harangues50. But it is not good to stay too long in the theatre. Let us now pass on to the judicial51 place or palace of the mind, which we are to approach and view with more reverence52 and attention.
1 licensed | |
adj.得到许可的v.许可,颁发执照(license的过去式和过去分词) | |
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2 severed | |
v.切断,断绝( sever的过去式和过去分词 );断,裂 | |
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3 sever | |
v.切开,割开;断绝,中断 | |
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4 pertinent | |
adj.恰当的;贴切的;中肯的;有关的;相干的 | |
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5 feigned | |
a.假装的,不真诚的 | |
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6 virtue | |
n.德行,美德;贞操;优点;功效,效力 | |
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7 vice | |
n.坏事;恶习;[pl.]台钳,老虎钳;adj.副的 | |
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8 feigns | |
假装,伪装( feign的第三人称单数 ); 捏造(借口、理由等) | |
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9 providence | |
n.深谋远虑,天道,天意;远见;节约;上帝 | |
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10 participation | |
n.参与,参加,分享 | |
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11 erect | |
n./v.树立,建立,使竖立;adj.直立的,垂直的 | |
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12 buckle | |
n.扣子,带扣;v.把...扣住,由于压力而弯曲 | |
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13 congruities | |
n.适合,一致( congruity的名词复数 );全等 | |
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14 consort | |
v.相伴;结交 | |
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15 propriety | |
n.正当行为;正当;适当 | |
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16 orations | |
n.(正式仪式中的)演说,演讲( oration的名词复数 ) | |
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17 narrative | |
n.叙述,故事;adj.叙事的,故事体的 | |
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18 allusive | |
adj.暗示的;引用典故的 | |
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19 mere | |
adj.纯粹的;仅仅,只不过 | |
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20 narration | |
n.讲述,叙述;故事;记叙体 | |
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21 applied | |
adj.应用的;v.应用,适用 | |
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22 conceit | |
n.自负,自高自大 | |
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23 fables | |
n.寓言( fable的名词复数 );神话,传说 | |
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24 fable | |
n.寓言;童话;神话 | |
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25 hieroglyphics | |
n.pl.象形文字 | |
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26 subtlety | |
n.微妙,敏锐,精巧;微妙之处,细微的区别 | |
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27 parables | |
n.(圣经中的)寓言故事( parable的名词复数 ) | |
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28 illustrate | |
v.举例说明,阐明;图解,加插图 | |
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29 lust | |
n.性(淫)欲;渴(欲)望;vi.对…有强烈的欲望 | |
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30 overthrown | |
adj. 打翻的,推倒的,倾覆的 动词overthrow的过去分词 | |
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31 forth | |
adv.向前;向外,往外 | |
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32 expounded | |
论述,详细讲解( expound的过去式和过去分词 ) | |
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33 monarchs | |
君主,帝王( monarch的名词复数 ) | |
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34 malignity | |
n.极度的恶意,恶毒;(病的)恶性 | |
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35 slanders | |
诽谤,诋毁( slander的名词复数 ) | |
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36 conspired | |
密谋( conspire的过去式和过去分词 ); 搞阴谋; (事件等)巧合; 共同导致 | |
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37 bind | |
vt.捆,包扎;装订;约束;使凝固;vi.变硬 | |
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38 monarchies | |
n. 君主政体, 君主国, 君主政治 | |
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39 curbing | |
n.边石,边石的材料v.限制,克制,抑制( curb的现在分词 ) | |
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40 mighty | |
adj.强有力的;巨大的 | |
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41 centaur | |
n.人首马身的怪物 | |
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42 corruptly | |
腐败(堕落)地,可被收买的 | |
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43 guile | |
n.诈术 | |
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44 contention | |
n.争论,争辩,论战;论点,主张 | |
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45 stoics | |
禁欲主义者,恬淡寡欲的人,不以苦乐为意的人( stoic的名词复数 ) | |
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46 scripture | |
n.经文,圣书,手稿;Scripture:(常用复数)《圣经》,《圣经》中的一段 | |
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47 corruptions | |
n.堕落( corruption的名词复数 );腐化;腐败;贿赂 | |
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48 beholding | |
v.看,注视( behold的现在分词 );瞧;看呀;(叙述中用于引出某人意外的出现)哎哟 | |
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49 eloquence | |
n.雄辩;口才,修辞 | |
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50 harangues | |
n.高谈阔论的长篇演讲( harangue的名词复数 )v.高谈阔论( harangue的第三人称单数 ) | |
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51 judicial | |
adj.司法的,法庭的,审判的,明断的,公正的 | |
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52 reverence | |
n.敬畏,尊敬,尊严;Reverence:对某些基督教神职人员的尊称;v.尊敬,敬畏,崇敬 | |
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