But, to proceed, Dacier juftly taxes Cafaubon, faying, that the fatires of Lucilius were wholly different in fpecie, from thofe of Ennius and Pacuvius. Cafau bon was led into that mistake by Diomedes the grammarian, who in effect fays this: fatire, among the Romans, but not among the Greeks, was a biting invective poem, made after the model of the ancient comedy, for the reprehenfion of vices: fuch as were the poems of Lucilius, of Horace, and of Perfius. But in former times, the name of fatire was given to poems, which were compofed of several forts of verfes: fuch as were made by Ennius and Pacuvius : more fully expreffing the etymology of the word fatire, from fatura, which we have obferved. Here it is manifeft, that Diomedes * makes a fpecifical distinction betwixt the fatires of Ennius and thofe of Lucilius. But this, as we fay in English, is only a distinction, without a difference; for the reafon of it is ridiculous, and abfolutely falfe. This was that which cozened honeft Cafaubon, who, relying on Diomedes, had not fufficiently examined the origin and nature of thofe two fatires: which were entirely the fame, both in the matter and the form. For all that Lucilius performed beyond his predeceffors, Ennius and Pacuvius, was only the adding of more politenefs, and more falt; without any change in the fubftance of the poem: and though Lucilius put not together in the fame fatire feveral forts of verses, as Ennius did; yet he composed several fatires, of feveral forts of verfes, and mingled them with Greek verfes : one poem confifted only of hexameters; and another

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was entirely of iambicks; a third of trochaicks; as is vifible, by the fragments yet remaining of his works. In fhort, if the fatires of Lucilius are therefore said to be wholly different from thofe of Ennius, because he added much more of beauty and polishing to his own poems, than are to be found in thofe before him; it will follow from hence, that the fatires of Horace are wholly different from thofe of Lucilius, because Horace has not lefs furpaffed Lucilius in the elegancy of his writing, than Lucilius furpaffed Ennius in the turn and ornament of his. This paffage of Diomedes has also drawn Dousa, the son, into the fame error of Cafaubon, which I fay, not to expofe the little failings of thofe judicious men, but only to make it appear, with how much diffidence and caution we are to read their works; when they treat a fubject of fo much obfcurity, and fo very ancient, as is this of fatire.

Having thus brought down the history of fatire from its original, to the times of Horace, and fhewn the feveral changes of it; I should here difcover fome of thofe graces which Horace added to it, but that I think it will be more proper to defer that undertaking, till I make the comparison betwixt him and Juvenal. In the mean while, following the order of time, it will be neceffary to say somewhat of another kind of fatire, which alfowas defcended from the ancients: it is that which we call the Varronian fatire, but which Varro himfelf calls the Menippean; becaufe Varro, the most learned of the Romans, was the first-author of it, who imitated,

in

in his works, the manner of Menippus, the Gadarenian, who profeffed the philofophy of the Cynics.

This fort of fatire was not only compofed of feveral forts of verfe, like thofe of Ennius, but was alfo mixed with profe; and Greek was sprinkled amongst the Latin. Quintilian, after he had spoken of the fatire of Lucilius, adds what follows; "There is "another and former kind of fatire, compofed by "Terentius Varro, the moft learned of the Romans: "in which he was not fatisfied alone with mingling in "it feveral forts of verfe." The only difficulty of this paffage is, that Quintilian tells us, that this fatire of Varro was of a former kind. For how can we poffibly imagine this to be, fince Varro, who was contemporary to Cicero, but must confequently be after Lucilius? Quintilian meant not, that the fatire of Varro was in order of time before Lucilius; he would only give us to understand, that the Varronian fatire, with mixture of feveral forts of verfes, was more after the manner of Ennius and Pacuvius, than that of Lucilius, who was more severe, and more correct; and gave himself less liberty in the mixture of his verfes, in the fame poem.

We have nothing remaining of those Varronian fatires, excepting fome inconfiderable fragments, and those for the most part much corrupted. The titles of many of them are indeed preserved, and they are generally double from whence, at least, we may understand, how many various fubjects were treated by that.author. Tully, in his Academics, introduces Varro himself,

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giving us fome light concerning the fcope and defign of those works. Wherein, after he had fhewn his reafons why he did not ex professo write of philofophy, he adds what follows. Notwithstanding, fays he, that thofe pieces of mine, wherein I have imitated Menippus, though I have not tranflated him, are fprinkled with a kind of mirth and gaiety: yet many things are there inferted, which are drawn from the very intrails of philofophy, and many things feverely argued which I have mingled with pleasantries on purpose that they may more eafily go down with the common fort of unlearned readers. The rest of the fentence is fo lame, that we can only make thus much out of it; that in the compofition of his fatires, he fo tempered philology with philofophy, that his work was a mixture of them both. And Tully himself confirms us in this opinion; when a little after he addreffes himself to Varro in these words: "And you your"felf have compofed a most elegant and complete poem; you have begun philosophy in many places: "fufficient to incite us, though too little to instruct ❝ us.” Thus it appears, that Varro was one of thofe writers whom they called onsdoyeλolo, ftudious of laughter; and that, as learned as he was, his business was more to divert his reader, than to teach him. And he intitled his own fatires Menippean: not that Menippus had written any fatires (for his were either dialogues or epiftles), but that Varro imitated his ftyle, his manner, his facetioufnefs. All that we know farther of Menippus and his writings, which are wholly loft, is, that by fome he is efteemed, as, VO L. VII. M amongst

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‹ amongst the rest, by Varro: by others he is noted of Cynical impudence, and obscenity: that he was much given to thofe parodies, which I have already mentioned; that is, he often quoted the verses of Homer and the Tragic Poets, and turned their ferious meaning into fomething that was ridiculous; whereas Varro's fatires are by Tully called abfolute, and most elegant, and various poems. Lucian, who was emulous of this Menippus, feems to have imitated both his manners and his ftile in many of his dialogues; where Menippus himself is often introduced as a speaker in them, and as a perpetual buffoon: particularly his character is expreffed in the beginning of that dialogue, which is called Nexvoμartía. But Varro, in imitating him, avoids his impudence and filthinefs, and only expreffes his witty pleasantry.

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This we may believe for certain, that as his fubjects were various, so most of them were tales or stories of his own invention. Which is alfo manifeft from antiquity, by thofe authors who are acknowledged to have written Varronian fatires, in imitation of his of whom the chief is Petronius Arbiter, whofe fatire, they fay, is now printed in Holland, wholly recovered, and made complete: when it is made public, it will easily be seen by any one fentence, whether it be fuppofititious, or genuine. Many of Lucian's dialogues may also be properly called Varronian fatires; particularly his True Hiftory: and confequently the Golden Afs of Apuleius, which is taken from him. Of the fame ftamp is the Mock Deification of Claudius, by Seneca: and the Sympofium, or

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