Amongst books that are simply pleasant, of the moderns, Boccaccio's Decameron, Rabelais, and the Basia of Johannes Secundus (if those may be ranged under the title) are worth reading for amusement. As to the Amadis, and such kind of stuff, they had not the credit of arresting even my childhood. And I will, moreover, say, whether boldly or rashly, that this old, heavy soul of mine is now no longer tickled with Ariosto, no, nor with the worthy Ovid; his facility and inventions, with which I was formerly so ravished, are now of no more relish, and I can hardly have the patience to read them. I speak my opinion freely of all things, even of those that, perhaps, exceed my capacity, and that I do not conceive to be, in any wise, under my jurisdiction. And, accordingly, the judgment I deliver, is to show the measure of my own sight, and not of the things I make so bold to criticise. When I find myself disgusted with Plato's 'Axiochus', as with a work, with due respect to such an author be it spoken, without force, my judgment does not believe itself: it is not so arrogant as to oppose the authority of so many other famous judgments of antiquity, which it considers as its tutors and masters, and with whom it is rather content to err; in such a case, it condemns itself either to stop at the outward bark, not being able to penetrate to the heart, or to consider it by sortie false light. It is content with only securing itself from trouble and disorder; as to its own weakness, it frankly acknowledges and confesses it. It thinks it gives a just interpretation to the appearances by its conceptions presented to it; but they are weak and imperfect. Most of the fables of AEsop have diverse senses and meanings, of which the mythologists chose some one that quadrates well to the fable; but, for the most part, 'tis but the first face that presents itself and is superficial only; there yet remain others more vivid, essential, and profound, into which they have not been able to penetrate; and just so 'tis with me.
But, to pursue the business of this essay, I have always thought that, in poesy, Virgil, Lucretius, Catullus, and Horace by many degrees excel the rest; and signally, Virgil in his Georgics, which I look upon as the most accomplished piece in poetry; and in comparison of which a man may easily discern that there are some places in his AEneids, to which the author would have given a little more of the file, had he had leisure: and the fifth book of his AEneids seems to me the most perfect. I also love Lucan, and willingly read him, not so much for his style, as for his own worth, and the truth and solidity of his opinions and judgments. As for good Terence, the refined elegance and grace of the Latin tongue, I find him admirable in his vivid representation of our manners and the movements of the soul; our actions throw me at every turn upon him; and I cannot read him so often that I do not still discover some new grace and beauty. Such as lived near Virgil's time complained that some should compare Lucretius to him. I am of opinion that the comparison is, in truth, very unequal: a belief that, nevertheless, I have much ado to assure myself in, when I come upon some excellent passage in Lucretius.
But if they were so angry at this comparison, what would they say to the brutish and barbarous stupidity of those who, nowadays, compare him with Ariosto? Would not Ariosto himself say?
"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.]
