Will your lordship be pleased to prolong my audience only so far till I tell you my own trivial thoughts how a modern satire should be made? I will not deviate in the least from the precepts and examples of the ancients, who were always our best masters; I will only illustrate them, and discover some of the hidden beauties in their designs, that we thereby may form our own in imitation of them. Will you please but to observe that Persius, the least in dignity of all the three, has, notwithstanding, been the first who has discovered to us this important secret in the designing of a perfect satire--that it ought only to treat of one subject; to be confined to one particular theme, or, at least, to one principally?
If other vices occur in the management of the chief, they should only be transiently lashed, and not be insisted on, so as to make the design double. As in a play of the English fashion which we call a tragicomedy, there is to be but one main design, and though there be an under-plot or second walk of comical characters and adventures, yet they are subservient to the chief fable, carried along under it and helping to it, so that the drama may not seem a monster with two heads. Thus the Copernican system of the planets makes the moon to be moved by the motion of the earth, and carried about her orb as a dependent of hers. Mascardi, in his discourse of the "Doppia Favola," or double tale in plays, gives an instance of it in the famous pastoral of Guarini, called Il Pastor Fido, where Corisca and the Satyr are the under-parts; yet we may observe that Corisca is brought into the body of the plot and made subservient to it. It is certain that the divine wit of Horace was not ignorant of this rule--that a play, though it consists of many parts, must yet be one in the action, and must drive on the accomplishment of one design--for he gives this very precept, Sit quod vis simplex duntaxat, et unum; yet he seems not much to mind it in his satires, many of them consisting of more arguments than one, and the second without dependence on the first. Casaubon has observed this before me in his preference of Persius to Horace, and will have his own beloved author to be the first who found out and introduced this method of confining himself to one subject.
I know it may be urged in defence of Horace that this unity is not necessary, because the very word satura signifies a dish plentifully stored with all variety of fruits and grains. Yet Juvenal, who calls his poems a farrago (which is a word of the same signification with satura), has chosen to follow the same method of Persius and not of Horace; and Boileau, whose example alone is a sufficient authority, has wholly confined himself in all his satires to this unity of design. That variety which is not to be found in any one satire is at least in many, written on several occasions; and if variety be of absolute necessity in every one of them, according to the etymology of the word, yet it may arise naturally from one subject, as it is diversely treated in the several subordinate branches of it, all relating to the chief. It may be illustrated accordingly with variety of examples in the subdivisions of it, and with as many precepts as there are members of it, which all together may complete that olla or hotch-potch which is properly a satire.
Under this unity of theme or subject is comprehended another rule for perfecting the design of true satire. The poet is bound, and that ex officio, to give his reader some one precept of moral virtue, and to caution him against some one particular vice or folly. Other virtues, subordinate to the first, may be recommended under that chief head, and other vices or follies may be scourged, besides that which he principally intends; but he is chiefly to inculcate one virtue, and insist on that. Thus Juvenal, in every satire excepting the first, ties himself to one principal instructive point, or to the shunning of moral evil. Even in the sixth, which seems only an arraignment of the whole *** of womankind, there is a latent admonition to avoid ill women, by showing how very few who are virtuous and good are to be found amongst them. But this, though the wittiest of all his satires, has yet the least of truth or instruction in it; he has run himself into his old declamatory way, and almost forgotten that he was now setting up for a moral poet.
Persius is never wanting to us in some profitable doctrine, and in exposing the opposite vices to it. His kind of philosophy is one, which is the Stoic, and every satire is a comment on one particular dogma of that sect, unless we will except the first, which is against bad writers; and yet even there he forgets not the precepts of the "porch." In general, all virtues are everywhere to be praised and recommended to practice, and all vices to be reprehended and made either odious or ridiculous, or else there is a fundamental error in the whole design.
