Advantage of Art in Poems cannot destroy the End which is not to be obtain'd in Painting without it, viz. a lively Representation of Nature. Similes, fine Thoughts, and shining Points, if they be just, and good, must certainly give a greater Idea of any Pain, than a bare and unpolished Rhime, without Beauty or Grace. This gives us a weak, a faint, an unmoving View of the Pain; That sets it close to us, magnifies and enlarges it: This gives it you as the reverse end of a Prospective Glass does Objects, That as the right end of it; so that if a Representation of our Pain be the Path to Success, Art will be no ill Help and guide in it; unless we'll suppose that our Mistress would be more sensibly touched with a Grubstreet Ballad, than a Copy of Verses by a Cowley or a Waller. But indeed, the Pain a Lover feels cannot be truely, and with Life represented without Similes, as is evident from the very Nature of the Mind, when in Pain: For 'tis an universal Measure of our Judgment of things to compare them with something else; and the Mind in expressing its Pains endeavours to make it known in its full Greatness: to give therefore the greater Image of it, it generally seeks out something by a Comparison of which it hopes to obtain that End; Comparison being the only Distinction of Degrees of things. This makes it narrowly in these Circumstances, regard and observe that Train of Ideas that continually pass before it, to call out such as are most proper for its purpose: For 'tis evident, (as Mr. Lock remarks) to any one that will but observe what passes in his own Mind, that there is a Train of Ideas constantly succeeding one another in his Understanding, as long as he's awake. An Assertion therefore of an Ingenious Friend of mine, to the Prejudice of the Moderns, against Similes in the Expression of the Passions of Love and

Grief, is contrary to the very Nature of the Mind. For let any Man endeavour to retain any particular Idea firmly and without Alteration, he will find it not in his Power to do it any considerable time, such a necessary Succession and Variation of Ideas (the Origin of Similes) is there in the human Mind. But because 'tis said that 'tis the nature of Grief to confine the Soul, straiten the Imagination, and extremely lessen the Number of its Objects, I shall only oppose the Assertion of this Gentleman (whom I have always allow'd a Man of great Wit and Sense) with an Observation of Mr. Le Clerk, (whom I'm sure no Man that knows his Works, will deny to be one of the best Philosophers of the Age) in the 6th. Chapter of his Ontologie and the 4th. Paragraph, he has to this purpose "This being so, we "observe that the time seems short to those who spend "it in Mirth, or any Employment they perform with "Pleasure and Desire; but on the contrary, Tedious and "Irksome to the Unfortunate, and those that are in Pain, "or to those that are against their Wills, oblig'd to some "troublesome Business. For we keep the Idea that is "Gratefull and Pleasant to us, as long without Variation "as we are able, and thus by the viewing of the fewer "Ideas, the time we spend in Pleasure and Content, "seems the shorter; whilst on the contrary, our Minds "endeavour to drive away a troublesome Idea, and strive "to substitute some others in its room; Turning, Winding, “Changing, Adding and Diminishing it, as the uneasie "inquietude Prompts. Thus the time seems longer than "it wou'd do else, by that vast and numerous Train of "Ideas, which, as I may say, shew themselves en passant "to the Mind, with an incredible Rapidity and Swiftness. From this just and rational Observation of Mr. Le Clerk 'tis evident, That Similes are not so unnatural in expres

sion of Grief or Pain, as some Ingenious Gentlemen contend: For the Mind (especially that which is us'd to an Expression of its self in Allegory and Similes) will easily in this Number of Ideas, meet with some that will answer the End, the Mind is born to with so much Impatience and Desire: For 'tis here also evident, That Grief multiplies nor lessens the Number of the Objects of the Mind.

From what has been said 'twill appear, That Similes cannot be an unnatural Expression of this Passion, or any Effects of it. I shall therefore proceed to those few particular Instances the Author of the Preface gives, by which he draws a short Parallel betwixt the Ancients and the Moderns. I am pleas'd, says he, with Tibullus, when he says, he cou'd live in a Desart with his Mistress, where never any Humane Foot-steps appear'd, because I doubt not but he really thinks what he says: But I confess, I can hardly forbear Laughing, when Petrarch tells us he cou'd live without any other Sustenance than his Mistresses Looks. I confess, I must ev'n here dissent from him too; for if you go to the Rigor or Severity of the Reason of both Expressions, they are equally impossible, and in Impossibilities as well as Infinites, there are no Degrees. For I can see no greater Probability of Living in a Desart where there were no Humane Footsteps, than on the Looks of a Mistress only; unless like Nebuchadnezzar, he wou'd feed on the Leaves of the Trees, and Grass of the Ground if there were any; which is not very kind to hope his Mistress wou'd comply with. But supposing it impossible, is there any Necessity of a Lovers saying nothing that exceeds the Bounds of Possibility? especially in Poetry, where Hyperbole's are justifiable almost to Extravagance. That certainly wou'd be most unnatural of all, for the Thoughts of a Man

really in Love, are naturally Extravagant ev'n to Impossibilities; tho possunt quia posse videntur. The very Definition of this Passion in Ethics, shews it violent and exorbitant. But we may in favour of Petrarch and Mr. Cowley, (who make use of the same Thought) say that they mean the Dyet of their Love, is a Look of their Mistress.

I must confess, I'm extremely surpriz'd to find your Ingenious Friend an Advocate for that which wou'd make all the Sir Courtly's Compositions of the Nation, the Standard of good Verses; when he himself is really so well qualify'd to write like Cowley and Waller, and has by his own Practice in those Verses that are Publish'd, better confuted his Preface, than all I can pretend to say.

II.

TO MY HONOURED AND INGENIOUS
FRIEND MR. HARRINGTON, FOR THE

MODERN POETS AGAINST THE

ANCIENTS.

1694

As the Justice and Generosity of your Principle, the sweet Agreeableness of your Humor, the Vivacity of your Wit, and the strength and force of your Judgment and Penetration, justly endear you to all your Acquaintance, so they qualify you for a Judge of the present Controversie betwixt the Moderns and the Ancients, for the Prize of Glory in Learning and Poetry. Monsieur Perault (whom I have not yet had the Opportunity to Read) has given it to the Moderns, Rapin to the Ancients: Mr. Rymer has with abundance of Indignation appear'd on Rapin's side. I cannot determine whether Mr. Perault has been too partial to his own Countrymen, (an Error on the right side) but I'm sure Mr. Rymer has been extremely injurious to his; which has made me perhaps, too angry with him in my former Discourses. But I assure my self that you are too good an Englishman, to let Friendship to any Man, bribe you to condemn those rough Effects of my Zeal for the English Nation. I will be more just than my Adversary, I will yield that Greece had Great Poets, notwithstanding all those monstrous Faults and Absurdities they abound with; tho he will not allow the English any Honour, because they have been guilty of Errors. Nay, I'll say more, that the Poetry of Greece was her most valuable Learning, for that still maintains its Share of Glory and Esteem, whilst her Philosophy is now