but I cannot distinguish their poet from another.' Suppose two authors are equally sweet; yet there is as great distinction to be made in sweetness, as in that of sugar and that of honey. I can make the difference more plain, by giving you (if it be worth knowing) my own method of proceeding, in my translations out of four several poets in this volume-Virgil, Theocritus, Lucretius, and Horace. In each of these, before I undertook them, I considered the genius and distinguishing character of my author. I looked upon Virgil as a succinct3 and grave majestic writer; one who weighed not only every thought, but every word and syllable; who was still (ever) aiming to crowd his sense into as narrow a compass as possibly he could; for which reason he is so very figurative, that he requires (I might almost say) a grammar apart to construe him. His verse is everywhere sounding the very thing in your ears, whose sense it bears; yet the numbers are perpetually varied, to increase the delight of the reader, so that the same sounds are never repeated twice together. On the contrary, Ovid and Claudian, though they write in styles differing from each other, yet have, each of them, but one sort of music in their verses. All the versification and little variety of Claudian is included within

(1) I.e. the translator's manner, and not the author's, is the conspicuous feature; an obvious and unpardonable fault in one who is to be the interpreter or representative of another, and who is therefore not expected to intrude himself.

(2) Genius. This word, like wit, is variously used in our literature. It seems to be originally considered as equivalent to the Lat. ingenium, and denotes the inborn power or faculty of a man. As this, however, was the peculiar quality of the individual man, it also meant the characteristic talent, whatever it might be. That appears to be the sense above. Next, by a common metonymy, the possessor is taken for the possession, and genius, like wit, means a man of genius.

(3) Succinct, fr. Lat. succingere, p.p. succinctus, to gird up so as to leave nothing loose. This quality of style is one of the most important. It is thus characterised by Ben Jonson: "A strict and succinct style is that where you can take away nothing without loss, and that loss to be manifest." It is called by Lewes (Fortnightly Review) "the law of Economy," of which the object—“ equivalent to the removal or diminution of friction in mechanics-is the cutting off of redundancies -the rejection of whatever is superfluous." A wise discretion, however, should be used-"Economy is not miserliness. A liberal economy is often the best economy." We are not, in order to save clothing, to thrust our thoughts naked into the world. Virgil, we see above, is designated as succinct and very figurative.

(4) Numbers. The application of this word to measured or rhythmical composition is borrowed from classical usage-according to which the metrical feet were called numbers (numeri), as above. The derivative adjective numerous involves also the same idea, as employed by Milton ("Paradise Lost," b. v.)"Such prompt eloquence Flowed from their lips in prose or numerous (rhythmical, musical) verse," &c.

the compass of four or five lines, and then he begins again in the same tenor (pitch), perpetually closing his sense at the end of a verse, and that verse commonly which they call golden, or two substantives and two adjectives, with a verb betwixt them to keep the peace. Ovid, with all his sweetness, has as little variety of numbers and sound as he; he is always, as it were, upon the hand-gallop, and his verse runs upon carpet-ground. He avoids, like the other, all synalæphas, or cutting off one vowel, when it comes before another in the following word; so that, minding only smoothness, he wants both variety and majesty. But to return to Virgil: though he is smooth where smoothness is required, yet he is so far from affecting it (employing it exclusively), that he seems rather to disdain it; frequently makes use of synalæphas, and concludes his sense in the middle of his verse. He is everywhere above conceits of epigrammatic wit and gross hyperboles; he maintains majesty in the midst of plainness; he shines, but glares not, and is stately without ambition (ambitious display), which is the vice of Lucan. I drew my definition of poetical wit (genius) from my particular consideration of him; for propriety of thoughts and words are only to be found in him; and where they are proper, they will be delightful. Pleasure follows of necessity, as the effect does the cause, and therefore is not to be put into the definition. This exact propriety of Virgil I particularly regarded as a great part of his character; but must confess, to my shame, that I have not been able to translate any part of him so well, as to make him appear wholly like himself; for, where the original is close (condensed in meaning), no version can reach it in the same compass.

(1) Hand-gallop, i.e. a checked gallop, in which the rider keeps his hands on the bridle-in distinction from the full, unrestrained burst of the horse, when urged to speed.

(2) Majesty in the midst of plainness. A pregnant expression. The majesty which disdains outward show, is a genuine, self-sustained greatness, superior to aught that depends upon external ornament for its effect.

(3) Where they are proper, &c.-i.e. where the matter and style are exactly harmonious, and support each other. This, of course, is the perfection of writing, and it is needless, as Dryden says, to add to a definition of poetry thus constructed, that it is intended to give pleasure; it cannot fail to do so.

ARCHBISHOP TILLOTSON.1

SINCERITY, TRUTH, AND INTEGRITY.
(FROM "SERMONS," PUBLISHED IN 1671.)

TRUTH and reality have all the advantages of appearance, and many more. If the show of anything be good for anything, I am sure sincerity is better; for why does any man dissemble,2 or seem to be that which he is not, but because he thinks it good to have such a quality as he pretends to? For to counterfeit and dissemble, is to put on the appearance of some real excellency. Now the best way in the world for a man to seem to be anything, is really to be what he would seem to be. Besides, that it is many times as troublesome to make good the pretence of a good quality, as to have it; and if a man have it not, it is ten to one but he is discovered to want it, and then all his pains and labour to seem to have it are lost. There is something unnatural in painting (i.e. painting the face), which a skilful eye will easily discern from native beauty and complexion.

It is hard to personate and act a part long; for where truth is not at the bottom, nature will always be endeavouring to return, and will peep out and betray herself one time or other. Therefore, if any man think it convenient to seem good, let him be so indeed, and then his goodness will appear to everybody's satisfaction; for truth is convincing and carries its own light and evidence3 along with it, and will not only commend us to

(1) "Tillotson is reckoned verbose and languid. He has not the former defect in nearly so great a degree as some of his eminent predecessors, but there is certainly little vigour or vivacity in his style."-Hallam, Lit. of Europe, iii. 297.

"I have heard Dryden frequently own with pleasure that if he had any talent for English prose, it was owing to his having often read the writings of the great Archbishop Tillotson."-Congreve.

"Tillotson's manner of writing is inimitable, for one who reads him wonders why he himself did not think or speak in that very manner.' ."-Goldsmith.

(2) To dissemble-strictly speaking is-to conceal the truth, not, as above, to seem to be that which one is not, which is, properly, to feign. Use, however, which is the" arbiter loquendi," justifies Tillotson's employment of the word. See note 2, p. 96.

(3) Light and evidence-the light which shows, the evidence which proves;-a pregnant expression.

every man's conscience, but, which is much more, to God, who searcheth and seeth our hearts; so that, upon all accounts, sincerity is true wisdom. Particularly as to the affairs of this world, integrity hath many advantages over all the fine and artificial ways of dissimulation and deceit; it is much the plainer and easier, much the safer and more secure way of dealing in the world; it has less of trouble and difficulty, of entanglement and perplexity, of danger and hazard, in it; it is the shortest and nearest way to our end, carrying us thither in a straight line,' and will hold out and last longest. The arts of deceit and cunning do continually grow weaker, and less effectual and serviceable to them that use them; whereas integrity gains strength by use; and the more and longer any man practiseth it, the greater service it does him, by confirming his reputation, and encouraging those with whom he hath to do to repose the greater trust and confidence in him, which is an unspeakable advantage in the business and affairs of life. But a dissembler must always be upon his guard, and watch himself carefully, that he do not contradict his own pretence (or assumption); for he acts an unnatural part, and therefore must put a continual force and restraint upon himself. Truth always lies uppermost, and if a man do not carefully attend, he will be apt to bolt it out: whereas he that acts sincerely hath the easiest task in the world; because he follows nature, and so is put to no trouble and care about his words and actions; he needs not invent any pretences beforehand, nor make excuses afterwards, for anything he hath said or done.

But insincerity is very troublesome to manage: a hypocrite hath so many things to attend to, so many ends to bring together, as makes his life a very perplexed and intricate thing. Oportet mendacem esse memorem, a liar had need of a good memory, lest he contradict at one time what he said at another; but truth is always consistent with itself, and needs nothing to help it out; it is always near at hand, and sets open our lips, and is ready to drop out before we are aware; whereas a lie is troublesome, and sets a man's invention upon the rack, and one trick needs a great many more to make it good. It is like building upon a false foundation, which continually stands in need

(1) Straight line. Barrow somewhere says that it is as true in morals as in mathematics, that a straight line is the shortest distance between two points.

(2) Hath. The verbal termination th may be considered in Tillotson's time obsolete, with the exception shown in this word, which maintained its ground even up to our own times, and was used frequently by Edward Irving in his stately and solemn periods. See the extracts from him.

of props to shore it up, and proves at last more chargeable (expensive) than to have raised a substantial building at first upon a true and solid foundation; for sincerity is firm and substantial, and there is nothing hollow and unsound in it, and because it is plain and open, fears no discovery; of which the crafty' man is always in danger, and when he thinks he walks in the dark (i.e. he thinks no one can see him), all his pretences 2 are so transparent, that he that runs may read them. He is the last man that finds himself to be found out, and whilst he takes it for granted that he makes fools of others, he renders himself ridiculous.

JOHN BUNYAN.3

1. THE COMBAT WITH APOLLYON.

(FROM "THE PILGRIM'S PROGRESS," PUBLISHED IN 1678.)

BUT now, in this Valley of Humiliation, poor Christian was hard put to it, for he had gone but a little way before he espied a foul fiend coming over the field to meet him; his name is Apollyon. Then did Christian begin to be afraid, and to cast in his mind whether to go back or to stand his ground. But he considered again that he had no armour for his back, and therefore thought that to turn the back to him might give him greater advantage with ease to pierce him with his darts, therefore he resolved to venture and stand his ground. For,

(1) Crafty. See note 5, p. 127.

(2) Pretence had not originally the meaning which it has now. It was something stretched out in front, but not necessarily, to blind or deceive. The pretence might be the truth. The sense above is rather neutral than positive, and is only fixed by the context. It has been sometimes confounded with pretension, from which, however, it is now quite separated in meaning See Trench's "Select Glossary," sub voce "Pretence."

(3) "The style of Bunyan is delightful to every reader, and invaluable as a study to every person who wishes to obtain a wide command over the English language. The vocabulary is the vocabulary of the common people. Yet no writer has said more exactly what he meant to say. For magnificence, for pathos, for vehement exhortation, for subtle disquisition, for every purpose of the poet, the orator, and the divine, this homely dialect, the dialect of plain working men, was perfectly sufficient."-Macaulay, Critical and Historical Essays, i. 420.