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for observation, to direct his powers of discernment, to point out the distinguishing marks of character, and dwell upon the charms of moral and intellectual beauty, as they may chance to occur in the classics that are used for his instruction. In reading Cornelius Nepos, and Plutarch's Lives, even with a view to grammatical improvement only, he will insensibly imbibe, and learn to compare ideas of greater importance. He will become enamoured of virtue and patriotism, and acquire a detestation for vice, cruelty, and corruption. The perusal of the Roman story in the works of Florus, Sallust, Livy, and Tacitus, will irresistibly engage his attention, expand his conception, cherish his memory, exercise his judgment, and warm him with a noble spirit of emulation. He will contemplate with love and admiration the disinterested candour of Aristides, surnamed the Just, whom the guilty cabals of his rival Themistocles exiled from his ungrateful country, by a sentence of Ostracism. He will be surprised to learn, that one of his fellow-citizens, an illiterate artisan, bribed by his enemies, chancing to meet him in the street without knowing his person, desired he would write Aristides on his shell (which was the method those plebeians used to vote against delinquents), when the innocent patriot wrote his own name without complaint or expostulation. He will with equal astonishment applaud the inflexible integrity of Fabricius, who preferred the poverty of innocence to all the pomp of affluence, with which Pyrrhus endeavoured to seduce him from the arms of his country. He will approve with transport the noble generosity of his soul in rejecting the proposal of that prince's physician, who offered to take him off by poison; and in sending the caitiff bound to his sovereign, whom he would have so basely and cruelly betrayed.

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In reading the ancient authors, even for the purposes school education, the unformed taste will begin to relish the irresistible energy, greatness, and sublimity of Homer; the serene majesty, the melody, and pathos of Virgil; the tenderness of Sappho and Tibullus; the elegance and propriety of Terence; the grace, vivacity, satire, and sentiment of Horace.

Nothing will more conduce to the improvement of the scholar in his knowledge of the languages, as well as in taste and morality, than his being obliged to translate choice parts and passages of the most approved classics, both poetry and prose, especially the latter; such as the orations of Demosthenes and Isocrates, the treatise of Longinus on the Sublime, the Commentaries of Cæsar, the Epistles of Cicero and the younger Pliny, and the two celebrated speeches in the Catilinarian conspiracy by Sallust. By this practice he will become more intimate with the beauties of the writing, and the idioms of the language, from which he translates; at the same time it will form his style, and by exercising his talent of expression, make him a more perfect master of his mother tongue. Cicero tells us, that in translating two orations, which the most celebrated orators of Greece pronounced against each other, he performed this task, not as a servile interpreter, but as an orator, preserving the sentiments, forms, and figures of the original, but adapting the expression to the taste and manners of the Romans: In quibus non verbum pro verbo necesse habui reddere, sed genus omnium verborum vimque servavi; « in which I did not think it was necessary to translate literally word for word, but I preserved the natural and full scope of the whole.» Of the same opinion was Horace, who says, in his Art of Poetry,

VOL. IV.

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Nec verbum verbo curabis reddere fidus
Interpres

Nor word for word translate with painful care

Nevertheless, in taking the liberty here granted, we are apt to run into the other extreme, and substitute equivalent thoughts and phrases, till hardly any features of the original remain. The metaphors of figures, especially in poetry, ought to be as religiously preserved as the images of painting, which we cannot alter or exchange without destroying, or injuring at least, the character and style of the original.

In this manner the preceptor will sow the seeds of that taste, which will soon germinate, rise, blossom, and produce perfect fruit by dint of future care and cultivation. In order to restrain the luxuriancy of the young imagination, which is apt to run riot, to enlarge the stock of ideas, exercise the reason, and ripen the judgment, the pupil must be engaged in the severer study of science. He must learn geometry, which Plato recommends for strengthening the mind, and enabling it to think with precision. He must 'be made acquainted with geography and chronology, and trace philosophy through all her branches. Without geography and chronology, he will not be able to acquire a distinct idea of history; nor judge of the propriety of many interesting scenes, and a thousand allusions, that present themselves in the works of genius. Nothing opens the mind so much as the researches of philosophy; they inspire us with sublime conceptions of the Creator, and subject, as it were, all nature to our command. These bestow that liberal turn of thinking, and in a great measure contribute to that universality, in learning, by which a man of

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taste ought to be eminently distinguished. But history is the inexhaustible source from which he will derive his most useful knowledge respecting the progress of the human mind, the constitution of government, the rise and decline of empires, the revolution of arts, the variety of character, and the vicissitudes of fortune.

The knowledge of history enables the poet not only to paint characters, but also to describe magnificent and interesting scenes of battle and adventure. Not that the poet or painter ought to be restrained to the letter of historical truth. History represents what has really happened in nature; the other arts exhibit what might have happened, with such exaggeration of circumstance and feature as may be deemed an improvement on nature: but this exaggeration must not be carried beyond the bounds of probability; and these, generally speaking, the knowledge of history will ascertain. It would be extremely difficult, if not impossible, to find a man actually existing, whose proportions should answer to those of the Greek statue distinguished by the name of the Apollo of Belvedere; or to produce a woman similar in proportion of parts to the other celebrated piece called the Venus de Medicis; therefore it may be truly affirmed, that they are not comformable to the real standard of nature: nevertheless every artist will own, that they are the are the very archetypes of grace, elegance, and symmetry; and every judging eye must behold them with admiration, as improvements on the lines and lineaments of nature. The truth is, the sculptor or statuary composed the various proportions in nature from a great number of different subjects, every individual of which he found imperfect or defective in some one particular, though beautiful in all the rest; and from these observations, corrobo

rated by taste and judgment, he formed an ideal pattern, according to which his idea was modelled, and produced in execution.

Every body knows the story of Zeuxis, the famous painter of Heraclea, who, according to Pliny, invented the chiaro oscuro, or disposition of light and shade, among the ancients, and excelled all his contemporaries in the chromatique, or art of colouring. This great artist being employed to draw a perfect beauty in the character of Helen, to be placed in the temple of Juno, culled out five of the most beautiful damsels the city could produce, and selecting what was excellent in each, combined them in one picture according to the predisposition of his fancy, so that it shone forth an amazing model of perfection. In like manner every man of genius, regulated by true taste, entertains in his imagination an ideal beauty, conceived and cultivated as an improvement upon nature: and this we refer to the article of invention.

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It is the business of art to imitate nature, but not with a servile pencil; and to choose those attitudes and dispositions only, which are beautiful and engaging. With this view, we must avoid all disagreeable prospects of nature which excite the ideas of abhorrence and disgust. For example, a painter would not find his account in exhibiting the resemblance of a dead carcass half consumed by vermin, or of swine wallowing in ordure, or of a beggar lousing himself on a dunghill, though these scenes should

'Præbete igitur mihi quæso, inquit, ex istis virginibus formosissimas, dum pingo id, quod pollicitus sum vobis, ut mutum in simulacrum ex animali exemplo veritas transferatur.-Ille autem quinque delegit.—Neque enim putavit omnia, quæ quæreret ad venustatem, uno in corpore se reperire posse; ideo quod nihil simplici in genere omnibus ex partibus perfectum natura expolivit.-Cic. lib. ii. de Inv. cap. 1.

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