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“O seclum insipiens et inficetum!”

[“O stupid and tasteless age.”–Catullus, xliii. 8.]

I think the ancients had more reason to be angry with those who compared Plautus with Terence, though much nearer the mark, than Lucretius with Virgil. It makes much for the estimation and preference of Terence, that the father of Roman eloquence has him so often, and alone of his class, in his mouth; and the opinion that the best judge of Roman poets –[Horace, De Art. Poetica, 279.]–has passed upon his companion. I have often observed that those of our times, who take upon them to write comedies (in imitation of the Italians, who are happy enough in that way of writing), take three or four plots of those of Plautus or Terence to make one of their own, and , crowd five or six of Boccaccio’s novels into one single comedy. That which makes them so load themselves with matter is the diffidence they have of being able to support themselves with their own strength. They must find out something to lean to; and not having of their own stuff wherewith to entertain us, they bring in the story to supply the defect of language. It is quite otherwise with my author; the elegance and perfection of his way of speaking makes us lose the appetite of his plot; his refined grace and elegance of diction everywhere occupy us: he is so pleasant throughout,

“Liquidus, puroque simillimus amni,”

[“Liquid, and likest the pure river.”
–Horace, Ep., ii. s, 120.]

and so possesses the soul with his graces that we forget those of his fable. This same consideration carries me further: I observe that the best of the ancient poets have avoided affectation and the hunting after, not only fantastic Spanish and Petrarchic elevations, but even the softer and more gentle touches, which are the ornament of all succeeding poesy. And yet there is no good judgment that will condemn this in the ancients, and that does not incomparably more admire the equal polish, and that perpetual sweetness and flourishing beauty of Catullus’s epigrams, than all the stings with which Martial arms the tails of his. This is by the same reason that I gave before, and as Martial says of himself:

“Minus illi ingenio laborandum fuit,
in cujus locum materia successerat:”

[“He had the less for his wit to do that the subject itself supplied what was necessary.”–Martial, praef. ad lib. viii.]

The first, without being moved, or without getting angry, make themselves sufficiently felt; they have matter enough of laughter throughout, they need not tickle themselves; the others have need of foreign assistance; as they have the less wit they must have the more body; they mount on horseback, because they are not able to stand on their own legs. As in our balls, those mean fellows who teach to dance, not being able to represent the presence and dignity of our noblesse, are fain to put themselves forward with dangerous jumping, and other strange motions and tumblers tricks; and the ladies are less put to it in dance; where there are various coupees, changes, and quick motions of body, than in some other of a more sedate kind, where they are only to move a natural pace, and to represent their ordinary grace and presence. And so I have seen good drolls, when in their own everyday clothes, and with the same face they always wear, give us all the pleasure of their art, when their apprentices, not yet arrived at such a pitch of perfection, are fain to meal their faces, put themselves into ridiculous disguises, and make a hundred grotesque faces to give us whereat to laugh. This conception of mine is nowhere more demonstrable than in comparing the AEneid with Orlando Furioso; of which we see the first, by dint of wing, flying in a brave and lofty place, and always following his point: the latter, fluttering and hopping from tale to tale, as from branch to branch, not daring to trust his wings but in very short flights, and perching at every turn, lest his breath and strength should fail.