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ID	Title	Author	Corrected Date of Publication (TCP Date of Publication)	STC	Words	Pages
A67158	Country conversations being an account of some discourses that happen'd in a visit to the country last summer, on divers subjects : chiefly of the modern comedies, of drinking, of translated verse, of painting and painters, of poets and poetry.	Wright, James, 1643-1713.	1694 (1694)	Wing W3693; ESTC R38767	29,396	96

not sufficiently Naturalized to appear in a serious Poem Besides I esteem it a kind of Burlesque word and unsutable to the Dignity of Horace There is an other word said Mitis which I cannot pass without a Remark and that is the Particle Nay which I know is of Common use in Prose to highten and aggravate the Subject of Discourse but I cannot think it graceful in Verse as a too familiar and slight way of speaking 'T is without all question there are some words which are allowable in Prose but not in a Poem such as the word Lad which the Great Cowley tells in the Notes on his Davideis is not proper to be Read in an Heroick Poem and therefore uses the Word Boy instead of it and yet the word Lad is prefer'd in the English Translation of the Scriptures from whence he takes the Argument and Foundation of his Work After this it came in Course to a Gentleman whose Name I have forgot to produce his Specimen he told the Company that he had lately happen'd upon a French Epigram of a New and surprising Turn the manner of the Poets expressing his Design in the Close pleas'd me so well said he that I cou'd not forbear trying how the Thought wou'd shew in English It is an Address to Cardinal Richelieu form'd in such an Air that in my mind it is the neatest or if you will the gentilest way of begging a great Man's favour not without something like Reproach for neglect that ever I met with The French is this Armand l'aage afioiblit mes yeux Et tout ma chaleur me quitte Je verray bien tost mes ayeux Sur le rivage du Cocyte Je seray bientost des suivans De ce bon Monarque de France Qui fut le Pere des scavans En un seicle pleine d'ignorance Lors que j'approcheray de luy Il voudra que Je lui raconte Tout ce que tu fais aujourduy Pour combler l'Espagne de honte Je contenteray son desir Et par le recit de ta vie Je charmeray le déplaisir Qu'il receut au Champ de Pavie Mais s'il demande en quel employ Tu m'as tenu dedans le monde Et quel bien j'ay receu de toy Que veux-tu que je luy reponde And my English this Old Age begins to call I soon must go To my last home in the Dark World below Where busie Souls will Crowd some News to know There I shall tell Armand of your Renown The Voice of every Country every Town What Wonders you have done to serve the Crown How Wise how Great in every god like Deed How bountiful you are to all that need But most where Learning speaks or Merits plead When they shall ask as ten to one some may What you have done for me tell me I pray Illustrious Sir what wou'd you have me say Believe me Sir said Lisander you have hansomly and well exprest the Authors Turn of Thought in the Conclusion but I must needs say you have so little observed the Authors Expressions in all that goes before that in my Opinion this cannot properly be called a Translation but rather some Verses writ in imitation of the French You have well Paraphrased the Author's meaning in the main but certainly as a good Translation ought not on the one hand to be Literal or Verbal without a due Liberty to the property of Expression in our Language so on the the other it must not be a meer Paraphrase on the Author 's General Design without any respect to his form of expression Julio added that he could wish the word what had not been twice used so close together in the two last Lines What you have and what wou'd you for besides that correct Writers forbear to repeat the same words near the place where they have been used already unless the Enargy of the sense does absolutely require it the word what is harsh and unpleasant in the English Tongue as the word Car in the French which Monsieur de Gomberville one of those Select Wits who composed the French Academy rejected as offensive and fitter for a Disputation than a Romance or Poem and brag'd that he had not at all made use of that word in composing the five Volumes of Polexander After this Mitis produced Mr. Cowleys Epitaph in Westminster Abby render'd by him into English Aurea dum uolitant latè tua scripta per orbem Et famâ aeternùm vivis divine Poeta Hic placidâ jaceas requie Custodiant urnam Cana fides vigilcntque perenni lampade Musae Sit sacer iste locus nec quis temerarius ausit Sacrilega turbare man● venerabile Bustum Intacti maneant maneant per secula dulcis Couleii ●ineres serventque immobile Saxum Immortal in his Fame which daily Flies About the Globe here Divine Cowley lies His Urne inviolate all Ages keep Here let the Muses ever Watch and Weep For ever Holy let this place remain Untrod by Sacrilegious and Prophane Eternal Peace Sweet Cowley guard and may His Name preserve this Marble from decay Belamy who had been silent a long while this dry Discourse being insipid to him cou'd not now forbear observing to Mitis his Old Antagonist that in his Opinion he has taken too great a Liberty in the beginning of his Version the Latine mentioning Cowley in the second Person which he has vary'd in the English to the third contrary as he thinks to the Rules of a True and Just Translation Julio said that his addition of the Word weep tho' i● does really improve the sense yet being placed unluckily at the end of the Line looks as if it was taken in only for the Rhime sake Lisander observed that the Conclusion of this Epitaph especially as Mitis has exprest it in English has much the like thought with that composed for Michael Drayton whose Monument is very little distant from Mr. Cowley's and that the sense of their Epitaphs in this particular is almost as near as their Graves for thus the Composer of Mr. Drayton's Epitaph is supposed to speak to the Marble that covers him And when thy Ruins shall disclaim To be the Treasury of his Name His Name that cannot dye shall be An Everlasting Monument to thee Here Julio was call'd upon to produce his Essay of Translation He said he had lately chopt upon some Latine Verses which he found written before a Burtons Melancholy the Author of which Book assumed the Name of Democritus Junior Heraclite fleas misero sic convenit Aevo Nil nisi triste vides nil nisi Turpe vides Tu ride quantumque lubet Democrite ride Non nisi vana vides non nisi stulta vides Is fletu hic risu modo gaudeant unus utrique Sit licet usque Labor sit licet usque Dolor Nunc opus est nam totus eheu jam desipit Orbis Mille Heraclitis milleque Democritis Nunc opus est tanta

that Guido a Disciple of Hannibal did afterwards imitate him with much success There are of his Pictures very Beautiful and well managed His ordinary residence was at Bologna and it was he that first taught his Nephew Hannibal to use the Crayon Annibal quickly out went his Master in all particulars He counterfeited Corregio Titian and Raphaels manner in different Pictures excepting that they want the Nobleness the Grace and the Delicacy of Raphael and that his Cantours are not so Pure and so Elegant For the rest he was very accomplisht and very Universal His manner of designing is great and excellent Expressing what he knew with an admirable Genius Augustin Brother of Annibal was also a good Painter and a most excellent Graver He had a Bastard Son Named Antonio who died at the Age of 23 or 24 years who as 't is thought would certainly have surpast his Uncle Annibal for it seem'd from what we see of his that he would have taken a greater Flight Guido imitated chiefly Lewis Carache and always retain'd the same fashion of Painting with Lawrence the Fleming his Master who dwelt at Bologna and was Contemporary and an Emulatour of the said Lewis Guido made use of Albert Durer as Virgil did of the Poet Ennius and this he turn'd into his own manner with such Grace and Beauty that he alone got more Money and obtain'd more Reputation in his time than his Masters and than all the Disciples of the School of the Caraches tho' more capable han the. His Heads are no ways inferior to those of Raphiel Sisto Badalocchi designed better than the other Disciples but he died young Albano was excellent in all the parts of Painting and was skill'd in the Belles Lettres or polite Learning Dominicano was a very skilful Painter and very painful being not otherwise advantaged by Nature He was very profound in all that depends on Painting however he seems to have less Majesty than all the other Disciples of the Caraches John Lanfranc was of great Spirit and Vivacity and continued long in an excellent Gust of Design and Colour but having no Foundation but the Practique he quickly became liable to Correction in such sort that we see many of his things very * Strain'd and extravagant Strapassées where there was no occasion for it For the rest of those Disciples after the Death of their Master they all grew worse and worse in every particular of Painting Viola begun to make Landskips when he was very Old Hannibal took a delight to instruct him and we may see several Pieces of his Work wonderfully handsom and well colour'd In Germany and the Low Countries Albert Durer Lucas Aldegrave Isbin and Holbin were all of the same time Among whom Albert and Holbin were very skilful and had been of the first Rank had they seen Italy for we can blame them for nothing but their Gothick Gust and chiefly Albert. As for Holbin he carried the Execution beyond Raphael and I have seen a Portrait of his that put down one of Titians Among the Flemings we have had Rubens a Man to whom his Birth gave a Lively Wit Free Sweet and Universal he had a Genius capable to raise him not only to the Rank of the Antient Painters but also to the greatest Imployments and accordingly he was made choice of to go on one of the most famous Embassies that has been in our Age. His Gust for design did Tast more of the natural Fleming than of the Beauty of the Antique for he had been but a little time at Rome Tho' we may observe in all his Works a Grandeur and Majesty yet one may say truly that generally speaking he did not design well but for the other parts of Painting he understood and possest as much as ever Painter did His principal Study was made in Lombardy and particularly after the Works of Titian Paul Veronese and Tintoret from all which as one may say he skim'd away the Cream to gether for his own use certain general Maxims and infallible Rules which he always observed and by which he performed his Works with more facility than Titian more Purity Truth and Science than Paul Veronese and more Majesty Repose and Moderation than Tintoret In fine his manner was so firm so skillful and so prompt that it seem'd as if his Rare Genius was sent on purpose from Heaven to teach Mankind the Art of Painting His School was fill'd with many good Disciples among whom Vandike best understood the Rules and Ge●eral Maxims of his Master and did even surpass him in the Delicacy of his Carnations or Flesh Colours and in his Cabinet Pieces but he had as ill a Gust as him in that Part which relates to Design SECT V. Of Poets and Poetry AFter Eugenius had thus finisht his or rather Monsieur Fresnoy's Discourse of the Famous Italian Painters the Company fell into familiar Chat such as produced nothing Remarkable till the approach of Night caused the Visitants to think of home Mitis made Eugenius a very gentile Complement at parting and Julio profest that tho' his Entertainment was in all particulars extream Noble and Obliging yet nothing had more surprised him with Delight than the Sight of his Excellent Collection of Pictures As they return'd Mitis began a Discourse which lasted all the way near two hours He said it may be a Question which is the most Delightsom Painting or Poetry Understand me where both are good and in perfection for the little common Dawbings are no more to be valued in one than the Street Ballads and dispicable Rhimes of the other Whichsoever occasions the greatest Pleasures said Julio I will not determine for that may arise chiefly from the apprehension or different Genius of the Party who views the Picture or reads the Poem But I am apt to believe that Poetry is more useful to humane Life by Reason of its Moral Precepts and Instructions such as cannot arise from a Dumb Painting As Dumb as the Painting is said Lisander Pictures are thought to be of great use even by the way of Direction and Information beyond Sea and therefore they are so frequently placed in Churches there to highten the Affections and advance Devotion 'T is true this has been thought Superstitious here in our Country and therefore Pictures have been with us Excommunicated or Expell'd the Church and certain Texts of Scripture Writ up and down on the Walls instead of them and yet some People think this to be of as little use and less Ornament than the other for say they in Country Churches where it is most Practised many if not most of the Parish cannot Read whereas every Body understands the meaning of a Picture which indeed speaks all Languages And for that Reason they have been not improperly called The Lay-mens Books But to wave this Comparison of Painting and Poetry which has been allow'd in all Ages since Old Horace said Pictoribus atque Poetis Quidlibet audendi semper fuit