Читать книгу The Tatler, Volume 1 - Джозеф Аддисон - Страница 13

I am just come from visiting Sappho,124 a fine lady, who writes verses, sings, dances and can say and do whatever she pleases, without the imputation of anything that can injure her character; for she is so well known to have no passion but self-love, or folly, but affectation; that now upon any occasion they only cry, "'Tis her way," and "That's so like her," without further reflection. As I came into the room, she cries, "O Mr. Bickerstaff, I am utterly undone! I have broke that pretty Italian fan I showed you when you were here last, wherein were so admirably drawn our first parents in Paradise asleep in each other's arms." But there is such an affinity between painting and poetry, that I have been improving the images which were raised by that picture, by reading the same representation in two of our greatest poets. Look you, here are the passages in Milton and in Dryden. All Milton's thoughts are wonderfully just and natural, in this inimitable description which Adam makes of himself in the eighth book of "Paradise Lost." But there is none of them finer than that contained in the following lines, where he tells us his thoughts when he was falling asleep a little after his creation.

But now I can't forgive this odious thing, this Dryden, who, in his "State of Innocence," has given my great-grand-mother Eve the same apprehension of annihilation, on a very different occasion, as Adam pronounces it of himself, when he was seized with a pleasing kind of stupor and deadness, Eve fancies herself falling away, and dissolving in the hurry of a rapture. However, the verses are very good, and I don't know but it may be natural what she says. I'll read them:

She went on, and said a thousand good things at random, but so strangely mixed that you would be apt to say all her wit is mere good luck, and not the effect of reason and judgment. When I made my escape hither I found a gentleman playing the critic on two other great poets, even Virgil and Homer.127 He was observing, that Virgil is more judicious than the other in the epithets he gives his hero. "Homer's usual epithet," said he, "is Πόδας ὠχὺς, or Ποδάρχης, and his indiscretion has been often rallied by the critics, for mentioning the nimbleness of foot in Achilles, though he describes him standing, sitting, lying down, fighting, eating, drinking, or in any other circumstance, however foreign or repugnant to speed and activity. Virgil's common epithet to Æneas, is 'Pius' or 'Pater.' I have therefore considered," said he, "what passage there is in any of his hero's actions, where either of these appellations would have been most improper, to see if I could catch him at the same fault with Homer: and this, I think, is his meeting with Dido in the cave, where Pius Æneas would have been absurd, and Pater Æneas a burlesque: the poet has therefore wisely dropped them both for Dux Trojanus,

which he has repeated twice in Juno's speech, and his own narration: for he very well knew a loose action might be consistent enough with the usual manners of a soldier, though it became neither the chastity of a pious man, nor the gravity of the father of a people."